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Occupying a unique space where folk, rock, pop, country, and jazz elements intermingle, Kenny Rankin (1940-2009) - whose golden voice was once described by jazz saxophonist Stan Getz as "a horn with a heartbeat" - was a genre-blurring singer whose soulful sound defied categorization.

The recording unites Colombian folk traditions with Latin American rhythms, Spanish flamenco, and jazz harmony across fourteen tracks-- twelve of them original-- that travel from the valleys of Colombia to the coasts of Peru and beyond. Centered on voice and guitar, the arrangements feature subtle touches of bass, percussion, flute, and accordion, revealing Gomez's gift for lyrical storytelling and emotional clarity. Two decades later, Cantos De Agua Dulce remains a timeless expression of Gomez's vision; music that flows with grace, bridges cultures, and honors the poetry of everyday life.

IS THE BEST is the manifestation of Prontaxan's collective mindset as a music group formed by visual artists, musicians, producers, and filmmakers.

IS THE BEST tells a story about release — how the constraints of routine can break free through celebration, and how Funkot becomes a universal language to speak about resistance, pressure, and acceptance of reality within the context of today's working class.

IS THE BEST is an expression of this phenomenon — where a masterpiece is one that breaks out of its shell to shine, be admired, discussed, and criticized by its audience.

IS THE BEST is born as Prontaxan's remedy for electronic music lovers across the globe.

Jiyu wird als moderner Late-Night-Nu-Cosmic-Space-Jazz beschrieben. Mit ihrem hochgelobten zweiten Album "Totem Of Quiet Mystic" erhielt die dänische Formation internationale Anerkennung von Medien wie Jazzwise und einer Vielzahl legendärer DJs wie Patrick Forge und Chris Coco. Die tiefgründigen, instrumentalen Arrangements, vollgepackt mit analogen Synthesizern, E-Piano, Bläserthemen, Chorarrangements und einzigartigen Bass-Drum-Percussion-Grooves, verschieben mutig die Grenzen zwischen den Genres und reichen von Contemporary über Jazz-Funk und World-Crossover bis zu Spiritual und Cosmic Ambient Jazz.

This is the first new Andy Boay album since 2013’s In The Light. I recorded it in January 2024 to a Yamaha MT8X 8-track cassette recorder in my room at the New York Center for Creativity & Dance in the East Village of Manhattan.

I mixed it in June 2024 with Joe Santarpia and Roberto Pagano at the Idiot Room in San Francisco. The three songs on Side A (“HBM,” “If I Ever Come Off,” and “You’re In The Air Now”) were initially arranged over several live performances using a multi-track looper. When I then sat down to track them to my tape machine, I meticulously sang and played out all repeating parts, layering and ping-pong-bouncing each doubled take to another tape-track. In this way I hoped to maintain the hypnotic quality of the looped parts while keeping them organic, singular, and fleeting. Side B is a triptych of more carefully arranged pop songs: a tremolo & mod-delay elegy to youth called “Careless,” bookended by two variations on the same theme — the stark, mellotron prayer of “One & One” and the lonesome after-hours funk of “I Want More”. The line “You took that walk for the two of us” has a dual meaning. In 2011, my friend Spencer Gilley took a long walk through Montreal while listening to demos I’d recorded.

He described the experience to me as magical, ecstatic, inspiring. His encouragement from that moment still echoes every time I sit down to write or record. Less than a year later, I met Florida musician Thomas Fekete. We formed a deep, brief friendship that lasted until his death in 2016. Thom entered my life during a chaotic time and helped me find direction and courage. He took me on a tour that shifted the course of my life. We bonded over surviving cancer as young men, Florida’s noise scene, and the strange lives we led as touring guitarists (he in Surfer Blood, me in Mac DeMarco’s band). Thom could always warmly anticipate all of my joy, humor, and curiosity—and all of my pain, anxiety, and fear. In this way, it felt like he was also taking that walk for the two of us—gently guiding me down a path he had already traveled. Andy Boay (Andy White) began playing and recording music as a teen in Orlando during the early 2000s, exploring noise, psych, and pop in bands and solo projects.

He has played in the duo Tonstartssbandht with his brother Edwin since 2007. He spent six years playing guitar in the touring band for Mac DeMarco. Andy Boay’s music taps the euphoric and the sorrowful, both onstage amongst friends and strangers, and tracking alone at his 8-track in the studio. These days he lives and works in the East Village neighborhood of New York City.

“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.” To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist / vocalist Holden and drummer / keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal.

Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. “I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.” And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.

Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.”

An earth-moving night in Chicago, 30 crazy years ago, caught HOT on tape and finally unleashed! Teengenerate were a force to be reckoned with in the ‘90s garage punk underground and with their string of classic singles and LPs, the Midwest was just STARVED for these heathens to break our minds wide open. And they did, and some of us were just “never the same.” Is this how Hozac started? YES, this was THE SEED. Just an awe-inspiring brute force of punk purity, slashing through incredible covers of THE KIDS, PAGANS, and FUN THINGS and sowing the seeds of obscure punk obsessions to no end with their savage treasure map of sick sounds.

The heat, the power, the rage and the euphoria, it just doesn’t always align like it did when Fink & Fifi took the stage. Sure enough, it was on THIS DAY 30 years ago that our minds were blown apart and our eyes were opened and a life-changing rock’n roll performance that commemorates the 50th release on the Hozac Archival subsidiary. Secretly recorded by Ken White, the Brides’ right hand man, and mastered by TIM WARREN of Crypt Records for maximum authenticity, Live at the Empty Bottle just explodes out of the grooves and will level anyone within earshot, just like it did when Teengenerate desecrated Chicago TWICE on the same night (check out their VML Live at the Fireside Bowl 7″ too!), exactly 30 years ago TODAY!

Cloud Clear Vinyl

GoldFord schreibt Soulmusik, die in der Wahrheit verwurzelt ist. Seine rauen, ungeschminkten Songs – zu gleichen Teilen Introspektion und Katharsis – setzen sich mit Herzschmerz, Heilung und den stillen Erkenntnissen auseinander, die mit Wachstum und Reife einhergehen. Seine neueste EP "Space Of The Heart" enthält seine jüngsten 2025er Singles "Got Your Right" und "Easy Does It", die mit 13(!) bzw. 16(!) Millionen Spotify-Streams schnell Anklang bei den Hörern fanden. Cloudy Clear Vinyl.

In celebration of the 40th Anniversary of the blockbuster summer film of 1984, SPACELAB9, in conjunction with Columbia Pictures, proudly presents The KARATE KID: 40th Anniversary Original Motion Picture Score Double LP!
Released for the first time ever on vinyl, the collection features the full 20 track score album by legendary composer Bill Conti, plus 7 bonus tracks.
Double LP package features beautiful original cover artwork created exclusively for this album by renowned artist Astor Alexander, plus stills from the original landmark 1984 film and a brief note from composer Bill Conti.

2024 Repress.

Chicha Libre’s debut album, Sonido Amazonico is finally available on vinyl in Europe. The double album contains all original tracks first published as a CD back in 2008. The vinyl edition is comprised of 3 sides of music, and a fourth side with an etching of iconic Venezuelan saint Jose Gregorio.

Chicha, Peruvian psychedelic cumbia, was first popularized outside of Peru by a compilation released by Chicha Libre's own Olivier Conan and entitled "The Roots of Chicha." The music proved popular around the world, being championed by people such as Elijah Wood, Matt Groening, Alex Kapranos and director Almadovar.

The Brooklyn band Chicha Libre started out as a tribute to Peruvian pioneers but quickly evolved into an original project which MTV has called “one of the world's preeminent Tropical Psychedelic band”. Indeed, while they remain true to their Chicha roots, Chicha Libre's quickly took a more psychedelic turn drawing from its members' alternative background.

Made up of Mexican, Venezuelan, French and American the band used surf guitar, organ sounds and Latin percussion to play a mixture of borrowed and homegrown sounds – but its music remains a freeform reinvention, not an exercise in nostalgic duplication.

The re-release coincides with the release of a new EP “Tequila y Aguardiente”, in collaboration with Son Rompe Pera and La Sonora Mazuren.

This album cover is quite mysterious, isn't it? Let's uncover what's behind it. The first notes of the opening track immediately set the tone: the journey begins. Take the album title literally and allow yourself to be comforted by the tenderness the British band is about to offer.



Dream pop is a genre of its own, characterized by a warm sound, enveloping bass lines, dreamy synths, and beautiful vocals. With "No Rush," Tokyo Tea Room guides the listener through an exploration of their emotions and an escape from everyday life.


Each of the 12 tracks on this project exudes the same tender energy, yet stands out with creative and meticulously crafted compositions. This project is poised to become a staple of the genre.

Astropolis Records — the label born from the legendary electronic French festival — celebrates a decade of electronic devotion with a generous and deeply emotional anniversary compilation - a bit late, but never short on flair.

This double vinyl gathers the many faces of the Astropolis galaxy: in-house artists, long-time companions of the festival, and rising voices from a perpetually vibrant French scene. Across 18 artists, listeners are invited on a sonic journey where rave legacy, electronic dreamscapes, and collective fervor intertwine — true to the DNA of a festival that’s never known boundaries.



The record opens with grace and wonder courtesy of Rone, whose electronic touch channels both the intimate and the infinite. Between electronica and downtempo, The Dolphin Ambassador bathes in luminous melancholy, offering a moment of calm before the storm. In the same contemplative vein, we’re proud to unveil one of the first productions from Célélé alongside Théo Muller: Drum and Drift, a subtle blend of dubby vibrations and sunlit textures.


Astropolis has always thrived on happy collisions — and this compilation is proof of it. The unlikely meeting between Mézigue and Swooh sends house spiraling into a g-tech vortex on Broken Roll To Venice, a playful burst of groove, hybrid energy, and cheeky mischief. The same spirit of alchemy fuels Belaria & Madben, whose Into The Void burns bright as a 90s rave-meets-EBM anthem wrapped in hypnotic trance. Zaatar & Trunkline bring raw intensity to Come Into The Light, a sweaty, visceral banger at the crossroads of techno, dark disco, and EBM.


French techno pillars Scan X & Electric Rescue deliver a masterclass in elegant machine soul on Lost In Time. When Manu Le Malin teams up with Kmyle, the result is as sharp as it is cinematic: Little Big Man pulses with dramatic tension, balancing raw emotion and restrained fury. Elsewhere, Oniris & Benjamin Rippert reconnect with the melodic techno spirit of the label’s early days on Sonate, guided by a craftsman’s sense of harmony.
For the machine lovers, Legowelt & Cuften resurrect the spirit of early electroclash on Liar, a carnal fusion of analog synths and DIY attitude. And for the diehard dancefloor devotees, KiNK finally releases a cult track from his live sets: Give Me, a breakbeat-meets-vintage-house stormer tailor-made for those late-night sweats.

This anniversary compilation reaffirms the label’s openness to new generations and hybrid sounds, while paying tribute to the techno roots that shaped its foundation. Like the festival itself, it embodies sincerity and collective energy — a small manifesto linking generations, aesthetics, and territories, celebrating roots without nostalgia and the future without bending to trends.

Lego Dave du Shit, a noble aristocrat from the vallée du Shit, traveled to the RCK JUMEAUX planet to answer the Bleast’s question: “Qui A Dub Maman?”


To do so, he had to explore the Îles Nvlles, inhabited by robots, where he learned the ancestral chant of the Witches of Good: “Which is Good.”
He’s waiting to return to Earth in September to reunite with his friend Loba from Gagra, and to take part in the LAST JAM of October.


That being said, he must also visit in November the guardian Mezacidub III, son of Mezacidub II and Valprius Organo (a clone of the Bilrituel Cyborg of Tarza Y7).


In a few words, APR7S is simply an expression used after the party – or “after” in English.

How about a volley of hydraulic heaters from one of Denmark’s finest?

Already a man of many projects, both on the label side and in the studio, Natal Zaks has minted a brand-new alias… Enter Aquafaba, the ocean floor operator kicking it on a subaqueous tip.

Not many moving like this today. Properly submerged techno, masterful and ultra-essential by Aquafaba, self-monikered after the starchy, liquid byproduct of cooking chickpeas. Patrick Star would be proud for sure.

From Aarhus to the deepest ocean trenches in pursuit of that fathoms-below sound. Nods to the Midwest – chiefly mid-’90s Robert Hood and Cajmere’s ‘Percolator’ – felt in parts, but it’s also riddled with ultra-engrossing detail. Zaks goes heavy with the effects as tracky rollers are propelled to new mesmeric heights, even allowing for a moment of proper widescreen ascension.

Heads-down dynamixxx in full effect as we harness immense hydraulic power. Eschewing instant dancefloor gratification, Zaks emerges with tension and funk, like only the finest strains of techno can achieve.

Eine streng limitierte Erstpressung von Arcas legendärem Mixtape @@@@@, das vor der Veröffentlichung ihrer KICK-Serie für Furore sorgte. Mit 62 Minuten voller Sounds, die jegliches musikalischen Quantensystem sprengen. Diese Arbeit ist eines ihrer bisher feinfühligsten und wohl erstaunlichsten Werke - hart, sanft, emotional, brutal, aufrichtig und verspielt - ein brutalistisches Kunstwerk auf Doppel-Vinyl mit einer gravierten D-Seite.

Global Sounds for Modern Dancefloors. Das sechste Album des DJ/Produzenten Captain Planet aus L.A. fängt den globalen Spirit seiner berühmten DJ-Sets ein. Clubs & Festivals rund um den Planeten feiern Captain Plant für seine Fähigkeit, afrikanische, lateinamerikanische und karibische Traditionen mit Hip-Hop, Dancehall und Electro-Funk zu fusionieren. Mit jahrzehntelanger Erfahrung liefert er einen vielseitigen und verbindenden Sound, der die Dancefloors weltweit zum Beben bringt. DIG vereint Sänger aus Brasilien, Kolumbien, Haiti, Nigeria, Ghana und Angola und verwebt ihre Traditionen zu bass- und drumslastigen Tracks mit mitreißender Energie. Die Top-Single "Tony's House" ist eine Neubearbeitung von Tony Allens "Afrodisco Beat", das gefühlvolle Outro "Mi Calor" featuret den langjährigen Koop-Partner Chico Mann.

Hip Hop icon and one of the genre’s most distinctive voices, Big L returns with 'Harlem's Finest: Return Of The King', the latest release in Mass Appeal's 'Legend Has It...' series.

Features guest appearances from Nas, JAY Z, Mac Miller, Joey Bada$$, Method Man and more

Hailing from Stuttgart, Ackermann delivers a no-compromise EP on Safe Space, combining rough-edge techno dynamics with high-tempo house energy and stripped-down hooks. Expect tight, driving drums, textured basslines and raw rhythm-tools built squarely for the dancefloor. Four original cuts, one steady mood: power-packed club action without fluff.