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Remixed With Love has set the benchmark for disco reworks for over a decade, with Dave Lee universally recognised as the most trusted name in the field when it comes to respectfully updating dancefloor classics from the original multi-tracks.

With original vinyl editions long deleted and constant demand from DJs and collectors, this brand-new one-off, vinyl-only release has been made possible via a fresh licensing deal with Sony Music, allowing eight of the most requested mixes from the catalogue to be pressed together for the first time.

This is not a repress; it is a bespoke, limited selection, and once the pressing has sold through, it cannot be repeated.

After two co-headlining tours over the past decade, (the) Melvins are continuing their long tradition with us of teaming up with another band on an album. Next up – Napalm Death! This isn’t just some split release with the bands each getting a side. Savage Imperial Death March is a full collaboration with both Melvins & Napalm Death playing together on all the tracks.


This release originally came out on super-limited CD and vinyl via AmRep in 2025 (tour and AmRep store only). This will be an extended version with 2 extra songs, brand new artwork from Mackie Osborne, new vinyl variants, and will be the official release for the first time at record stores, DSPs and more.


Napalm Death are credited as pioneers of the grindcore genre by incorporating elements of crust punk and death metal. Even after exerting an indelible influence on the entire world of heavy music for nearly 40 years, there is still no band on Earth that sounds like Napalm Death. Not just pioneers, but an enduring benchmark for invention and fearlessness in heavy and experimental music of all kinds, the Birmingham legends are still hurtling forward at full pelt.


The Melvins are one of modern music’s most influential bands. Having formed in 1983, the group — founded by vocalist/guitarist Buzz Osborne, with drummer Dale Crover joining a year later — has been credited with merging the worlds of punk rock and heavy music, forming a new subgenre all their own. Over their 40-plus-year career, they’ve released more than 30 original albums, numerous live records, and far too many to count singles and rarities.

Whole Cake Island: Sweets and Dangers in an Unforgiving World! As Luffy and his crew face an Emperor, Big Mom, for the first time, they must join forces to save Sanji in the extravagant kingdom of Totto Land.

Composer: Kohei Tanaka
Kohei Tanaka has been a lyricist, composer and arranger for a multitude of animated works and video games, including Sakura Wars, Assassination Classroom and the One Piece saga, since its inception.

To mark the 25th anniversary of its release, Doubts and Convictions by Troublemakers is officially reissued, more than twenty years after its original release in 2001.


Never reissued until now, this emblematic French Touch album—originally signed in Chicago, USA—captures a moment when French electronic music opened up to jazz, soul and transatlantic grooves.


A cult record whose sound remains timeless.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.

The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.

Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.

The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.


‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms.

To celebrate over ten years of groove and sonic elegance, Roche Musique presents its “BEST OF” compilation, available exclusively on vinyl. A handpicked selection of 20 essential tracks tracing the label’s DNA — a refined blend of modern soul, nuanced electronics, and timeless groove.



Featuring the label’s cornerstone artists — FKJ, Darius, Kartell, Zimmer, Cezaire, Crayon, Dabeull, Lossapardo — alongside acclaimed collaborators such as Reva De Vito, Darianna Everett, Ayelle, Leven Kali, Panama, Chester Watson, Sølv, and more. From “Vibin’ Out” to “Espoir”, through “Wildflowers” and “I Can’t Stop”, this compilation captures the very essence of Roche’s sound: warm, heartfelt, and endlessly groovy. A pure analog listening experience designed for true music lovers and vinyl collectors — every groove telling the story of a decade of passion and sound.

Crypt of the Wizard is proud to make available two legendary underground albums by Slutet on vinyl and digital formats. Here we present the debut self titled LP Slutet - Slutet
Slutet originated in Uppsala well over a decade ago, first emerging as a loose idea around 2010. The original cluster of strangely like minded individuals - Dingir, Ryttersson, J.P., Sviatopolk, were equally set on starting a cult as they were a band, the former emerging as a loose collective known as The End Commune, while the latter eventually began rehearsing together as Slutet on September 1, 2013.
From this constellation three notorious demo tapes sprung which were self-released in very limited numbers, and only available by trading bodily fluids, blood, and/or hair for the cassettes. “A very loose guess but we made probably around 20-30 hand-drawn/custom demo tapes of the first three releases. We got blood and hair from many places, actually the very first offering was from INDONESIA. Slovakia, Germany, USA, Argentina, Norway, Canada, Finland followed.... if my memory serves..... hazy years indeed”
J.P. left early 2015. Later that year, after trying the band as a bass-drum-vocals outfit for a while, Fjalar joined on guitar. This is the classic constellation. Dingir, Ryttersson, Fjalar, Sviatopolk. The same troupe playing to this very day.
While the difficulty of obtaining the demos certainly added to the band’s bottomless mystique, the subsequent release of the self-titled compilation / LP secured their reputation as one of the most interesting and unorthodox bands recording under the somewhat ill-fitting moniker of ‘underground black metal’.
First released as a cassette by Berlin label Teratology Sound & Vision, and later on vinyl in an edition of 100 by Goatowarex, the self-titled LP is the definitive document of the very early and very wild years of the band as they begin to take form, fulminating against whatever was on offer.
“Between September 2013 and September 2014 we rehearsed and recorded 3 very crude demo cassettes; although sub-par in many musical and performance-wise aspects, the passion seeping through those recordings were evidently very real.”

Die 6-LP-Box „60 Jahre Floh De Cologne Vol. 1“ ist eine umfassende Sammleredition mit historischen Aufnahmen der legendären politischen Rockband Floh de Cologne. Enthalten sind die originalen LP-Reproduktionen Vietnam,

Geyer - Symphonie, Lucky Streik, Fließbandbabys BeatShow, Profitgeier, die einen Querschnitt durch das frühe Schaffen der Band bieten. Die Box richtet sich an VinylSammler und Fans deutscher Underground- und Protestmusik und dokumentiert ein wichtiges Kapitel der Musik- und Kulturgeschichte.

Portrait in Jazz was Bill Evans' third album as a leader and his first LP with the talented bassist Scott LaFaro. The Evans-LaFaro collaboration would reach a climax with their June 1961 club recordings at the Village Vanguard in New York. Portrait in Jazz is made up of eight popular standards plus a couple of original compositions; Evan's 'Peri's Scope', and 'Blue in Green, co- composed by Evans and Miles Davis and first taped in March of 1959 by the two musicians in Miles' sextet that produced the perennial classic, Kind of Blue. This special edition features exclusive photographs by famous French jazz photographer Jean-Pierre Leloir. Includes the bonus track 'Autumn Leaves' (Mono take) from the same session but not on the original LP.










[j] Autumn Leaves [mono Take]

Orange Vinyl with exclusive illustrated notes/lyric insert ltd to 300 w/w.“Zimmerman conjures up a kind of Arcadian folk surrealism that is utterly his own” MOJO Never released before collection featuring Ian A Anderson & Maggie Holland recorded 72-80 is among Tucker’s finest - Free-ranging, Playful, Intimate - his Songpoet imagination unbound and in full bloom now on colour Vinyl for first time with (exclusive to this version) illustrated lyric insert with notes from Tucker.Recorded between 1972-80 this is the first ever release for ‘I Wonder If I’ll Ever Come True’ a stunningly beautiful, homegrown collection by Songpoet Tucker Zimmerman and friends. The range and depth is astonishing. From the heady surreal journey of ‘It All Depends’ Upon the Pleasure Man’, to the uplifting Gene Clark-esque 'So It Goes’, to some of his most beautiful & touching love songs in ‘Let’s Start Over Again’ & ‘Song’. Only one song has seen the the light of day before now - ‘Taoist Tale’ from his 1984 album ‘Word Games’. This recording from a decade earlier loses no power in its folkier stripped down style driven by Tucker’s strong narrative.

While living in bucolic seclusion in Belgium with Marie-Claire, Tucker invited visiting musicians (Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, Ian Anderson) into his home studio to play and live tape whatever songs he had at hand. Maggie Holland and Ian A Anderson feature, while Tucker found a freeing simplicity in just guitar, ’70s organ, bass and piano. We are so grateful to Ian A Anderson, who carefully kept and curated these recordings from 50 years ago. “Every time I would leave, Tucker would hand me another tape full of songs”. Ian worked with Tucker and ourselves to present this wonderful album. The collection is among Tucker’s finest - free-ranging, playful, intimate - his Songpoet imagination unbound and in full bloom. The ethos, the playing, the freedom, feels like Ronnie Lane’s time in the Welsh Borders. Unhurried, liberated, down-home and cosmic. Extraordinary music made among friends.
"Startling collection of intimate, home-recorded songs from the cult singer-songwriter adored by David Bowie and Big Thief alike.

When I first interviewed Tucker Zimmerman back in 2015 neither of us had any idea that, a decade later, he would be venerated by a new coterie of young fans, touring with maximal folk-rockers Big Thief and recipient of a concerted reissue campaign by the wonderful Big Potato Records. Last year I eulogised the “Arcadian folk surrealism” of his 1974 LP *Over Here In Europe but, if anything, this informal collection of intimate home-studio recordings is even better. Recorded between 1973 and 76 whilst living in Belgium and hosting such visiting folk musicians as Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, and Ian A. Anderson this is the kind of assured, organic freewheeling folk music that has the mellow, introspective rough-edged feel of some lost private-press LP, the kind rightly revered by Endless Boogie’s Paul Majors as “real people” music. A true find.” Andrew Male MOJO 4/5
“Here's a charming oddity: an unreleased album dating from the mid-Seventies by an American-born songwriter beloved of David Bowie and, more recently, Adrianne Lenker of the folk-rock band Big Thief. Zimmerman's a bohemian type who eschewed the big time for a life of gigging around Europe. He, his wife, Marie-Claire, and a handful of friends recorded these songs in seclusion in the Belgian countryside, and what songs they are. Slide On could have come from the Byrds when they discovered country music, Let's Start Over Again captures the dreamlike experience of being in love with unsettling clarity. This is a real unearthed gem.” 4/5 The Times

How do losers dance? According to Helmut, almost weightlessly, with soft feet, warm gestures, sometimes alone, sometimes together. Content Creatures, Helmut's fourth album, evokes the pop archetype of the "beautiful loser", who had almost disappeared from view in so-called late capitalism. In a present in which even suffering is often similarly instrumentalised and tailored to clicks like a competitive sport, this album sets a counterpoint: those who listen to it suddenly want to be enchanting losers again, useless and joyfully messing up, losing something beloved, having their hearts broken, giving up a dream, sinking into beauty.
You don't sink alone. Comforting harmonies envelop you, the voices of friends appear, accompany you for a while and then disappear again. Warm grooves, floating synths and delicate guitar lines characterise an indie sound that remains open and breathes.
Self-produced for the first time in his home studio in Neukölln, 'Content Creatures' sounds thoughtful and light at the same time. The album will be released digitally and on vinyl on 10 April 2026 on Berlin-based label St.Vladimir. There are four songs on one side and four songs on the other. The cover is adorned with an exceptionally pretty guinea pig. Helmut shows the special in the seemingly ordinary: a child's pet, the most ordinary of all, is his cover star and headstrong protagonist.

Wie tanzen Verlierer? Wenn man nach Helmut geht, dann fast schwerelos, mit weichen Füßen, warmen Gesten, manchmal allein, manchmal gemeinsam. Content Creatures, Helmuts viertes Album, evoziert den Pop-Archetypus des "beautiful loser", der im sogenannten Spätkapitalismus fast aus dem Blick geraten war. In einer Gegenwart, in der sogar das Leid oft ähnlich durchinstrumentalisiert und auf Klicks getrimmt ist wie ein Leistungssport, setzt dieses Album einen Kontrapunkt: Wer es hört, möchte auf einmal gern wieder ein bezaubernder Verlierer sein, nutzlos und freudvoll abkacken, etwas Geliebtes verlieren, das Herz gebrochen bekommen, einen Traum aufgeben, in Schönheit versinken.
Man versinkt nicht allein. Tröstende Harmonien legen sich um einen, die Stimmen von Freundinnen tauchen auf, begleiten einen ein Stück weit und verschwinden wieder. Warme Grooves, schwebende Synths und feine Gitarrenlinien prägen einen Indie-Sound, der offen bleibt, atmet. Erstmals in seinem Neuköllner Homestudio selbst produziert, klingt "Content Creatures" bedacht und leicht zugleich.
Das Album erscheint digital und auf Vinyl am 10.04.2026 auf dem Berliner Label St.Vladimir. Es hat vier Songs auf der einen und vier Songs auf der anderen Seite. Das Cover ziert ein außergewöhnlich hübsches Meerschweinchen. Helmut zeigt das Besondere im scheinbar Gewöhnlichen: Ein Kinderhaustier, das normalste von allen, ist bei ihm Coverstar und eigensinnige Protagonistin.

How do losers dance? According to Helmut, almost weightlessly, with soft feet, warm gestures, sometimes alone, sometimes together. Content Creatures, Helmut's fourth album, evokes the pop archetype of the "beautiful loser", who had almost disappeared from view in so-called late capitalism. In a present in which even suffering is often similarly instrumentalised and tailored to clicks like a competitive sport, this album sets a counterpoint: those who listen to it suddenly want to be enchanting losers again, useless and joyfully messing up, losing something beloved, having their hearts broken, giving up a dream, sinking into beauty.
You don't sink alone. Comforting harmonies envelop you, the voices of friends appear, accompany you for a while and then disappear again. Warm grooves, floating synths and delicate guitar lines characterise an indie sound that remains open and breathes.
Self-produced for the first time in his home studio in Neukölln, 'Content Creatures' sounds thoughtful and light at the same time. The album will be released digitally and on vinyl on 10 April 2026 on Berlin-based label St.Vladimir. There are four songs on one side and four songs on the other. The cover is adorned with an exceptionally pretty guinea pig. Helmut shows the special in the seemingly ordinary: a child's pet, the most ordinary of all, is his cover star and headstrong protagonist.

Wie tanzen Verlierer? Wenn man nach Helmut geht, dann fast schwerelos, mit weichen Füßen, warmen Gesten, manchmal allein, manchmal gemeinsam. Content Creatures, Helmuts viertes Album, evoziert den Pop-Archetypus des "beautiful loser", der im sogenannten Spätkapitalismus fast aus dem Blick geraten war. In einer Gegenwart, in der sogar das Leid oft ähnlich durchinstrumentalisiert und auf Klicks getrimmt ist wie ein Leistungssport, setzt dieses Album einen Kontrapunkt: Wer es hört, möchte auf einmal gern wieder ein bezaubernder Verlierer sein, nutzlos und freudvoll abkacken, etwas Geliebtes verlieren, das Herz gebrochen bekommen, einen Traum aufgeben, in Schönheit versinken.
Man versinkt nicht allein. Tröstende Harmonien legen sich um einen, die Stimmen von Freundinnen tauchen auf, begleiten einen ein Stück weit und verschwinden wieder. Warme Grooves, schwebende Synths und feine Gitarrenlinien prägen einen Indie-Sound, der offen bleibt, atmet. Erstmals in seinem Neuköllner Homestudio selbst produziert, klingt "Content Creatures" bedacht und leicht zugleich.
Das Album erscheint digital und auf Vinyl am 10.04.2026 auf dem Berliner Label St.Vladimir. Es hat vier Songs auf der einen und vier Songs auf der anderen Seite. Das Cover ziert ein außergewöhnlich hübsches Meerschweinchen. Helmut zeigt das Besondere im scheinbar Gewöhnlichen: Ein Kinderhaustier, das normalste von allen, ist bei ihm Coverstar und eigensinnige Protagonistin.

Killer Groove Records proudly presents "Keep Your Step", the explosive comeback by Italian rock steady & early reggae ambassadors The Appetizers, a soulful celebration of reggae's timeless spirit.


"Keep Your Step" marks the band's much-awaited return, landing April 10th on limited edition LP, CD digipack and digital format featuring two exclusive bonus tracks.

The Appetizers deliver a masterclass in roots reggae music with their highly anticipated second studio album, bridging Jamaica's golden age with contemporary relevance. "Keep Your Step" is a heartfelt sonic journey where the band blends rocksteady and early reggae with funk and soul influences to create a sound that's both genuine and refreshingly modern.

The fourteen tracks move fluidly between infectious dancefloor fillers and socially conscious lyrics. From the laid-back swing of "Feel Like Dancing" to the hypnotic rhythm of "Thicker Than Water", the band demonstrates their versatility while remaining true to the roots of Jamaican sound. "A Message from The Meters" pays tribute to the legendary funk pioneers, while the instrumental "Catch This" and "Make It Reggay" highlight the band's musical prowess and the deep connections between reggae and funk.

Meanwhile, tracks like "Fussy Girl" and "Behind My Shoulders" explore love's complexities with humor and soul. The album's heart lies in its social consciousness. "Cool and Deadly", "The Life", "Stormy Weather" and the album title track "Keep Your Step" tell stories of perseverance through life's struggles.

With the hopeful anthem "We Shall Overcome," The Appetizers deliver a timely message about genuine human connection in a social media-dominated era. The digital edition closes with "Get Some Rollin'" and "Swing and Sway," rounding out the journey with two additional gems.

"Keep Your Step" pays homage to Jamaican music legends, from Jackie Mittoo and Tommy McCook to Toots & the Maytals, while carving out The Appetizers' own distinctive sound. This is a groove made for both the dance floor and the soul, proving that reggae's power to inspire, unite, and uplift remains as vital as ever.

The production stays true to The Appetizers' signature sound: organic tones, deep groove, and that live-room vibe you only get when real musicians are locked in together. Luca Monza and Claudio Mambrini, the band's core members, handled the artistic production. Mastering came courtesy of the great JJ Golden (Black Pumas, Sharon Jones & The Dap-Kings, Jr. Thomas & The Volcanos, The Frightnrs) at Golden Mastering in Ventura, California. JJ is one of the most trusted engineers working in this sound, ensuring every ounce of warmth and authenticity came through.

The Appetizers are a rocksteady and early reggae band formed in Milan in 2020 by musicians deeply embedded in the Italian and international reggae scene. Musicians from different paths united by a shared vision: recreating that vintage Caribbean and American sound with authenticity, respect and a forward-thinking edge.

Drawing inspiration from Jamaica's golden era and channeling the soul of Delroy Wilson, Alton Ellis, the early Wailers, and The Upsetters, The Appetizers carry forward the essence of bass culture with a pure, fully organic approach.

Their debut album Listen Up! (2022), released via Belgian imprint Badasonic Records (home to The Slackers, The Aggrolites, David Hillyard & Victor Rice), featured ten original tracks and a dub cut by Victor Rice. Distributed across Europe, the UK, the US, and Japan, it quickly earned international recognition among reggae connoisseurs and selectors worldwide.

Following extensive touring, including shows with The Slackers, Black Uhuru, Skip Marley, and more, the band returned to the studio to record "Keep Your Step", their second album produced by Killer Groove Records. Here the band expands its musical language, weaving together the spirit of historic Jamaican labels like Studio One and Treasure Isle with '60s funk, arriving at a warm, organic, and timeless sound: soul, Jamaican roots, and modern sensibility in perfect balance. Their lyrics explore heartbreak, social issues, and reflections on life and music, performed with dedication and respect for tradition while always pushing forward.


If you're into The Skatalites, The Ethiopians, and those classic Caribbean rhythms, this one's for you.

2ND LP PRESSING

Cosmic Ear is a new group bringing together Christer Bothén, Mats Gustafsson, Goran Kajfeš, Kansan Zetterberg and Juan Romero. Their debut album TRACES is released by We Jazz Records on 23rd of May, 2025. Including 6 deep cuts, TRACES is an album that sees Cosmic Ear tracking down the "traces" of the legendary Don Cherry's legacy while paving their own way in contemporary creative music expression.

Christer Bothén, a collaborator with Don Cherry during his Swedish period in the 1970s, brings depth to the history of the band, while his bandmates each belong at the top of the game in Scandinavian jazz. Their music is meditative and deep, much recommended for fans of the likes of Don Cherry, Alice Coltrane, and Pharoah. That being said, listeners should approach Cosmic Ear only with openness and curiosity, without set stylistic boundaries, as it's the group's natural flow and togetherness that brings their music into a fresh territory of their own.

As John Corbett writes in his liner notes:

"The Cosmic Ear. Five souls, sometimes six, on the same road. The pied piper path of Mr. Cherry. Christer Bothén, one of Cherry's main collaborators in his Swedish period and one of the most beautiful bass clarinetists on planet earth, together with next-gen saxophonist Mats Gustafsson, who has carried so many torches in Cherry's procession, and younger Swedish stars trumpeter Goran Kajfes, bassist Kansan Zetterberg, and percussionist Juan Romero. Together a tempo is set, a path is charted. There are global grooves. A berimbau, a karignan (metal scraper from Guinea), donso n'goni. There are ET grooves. Synth, live-electronics, slide flute. The globe is a glove, a hand warmer that radiates with extraterrestrial power, returning the fingers to their place at the center of the galaxy; the Cherry path is a balm that restores essential moisture to the lips that blow life back into the megacosm. Let us all praise warm fingers and moist mouths."

Die 6-LP-Box „60 Jahre Floh De Cologne Vol. 2“ ist eine weitere Sammleredition mit historischen Aufnahmen der politischen Rockband Floh de Cologne. Sie enthält dieoriginalen Vinyl-Reproduktionen der LPs, Rotkäppchen,
Tilt!, Koslowsky, Mumien, Prima Freiheit und Faaterland, die das spätere Schaffen und die Entwicklung der Band dokumentieren. Die Box richtet sich an VinylSammler und Musikliebhaber, die die experimentelle und gesellschaftskritische deutsche Rockgeschichte in hochwertiger Edition bewahren möchten.

Marking twenty years since South African producer and DJ Esa Williams left Cape Town, Dala What We Must is a deeply personal and expansive debut LP, an exploration of movement, memory, and sound shaped by two decades of creative evolution.

Co-created with collaborator and multi-instrumentalist Robin G. Breeze, the album deftly combines field recordings, layered instrumentation, and emotionally resonant compositions into a nuanced, globally influenced body of work. It also stands as Esa’s most collaborative release to date, featuring contributions from musicians across London, Oaxaca, Nairobi, and Cape Town, each adding their own creative energy to a project built on openness, trust, and shared experience.

The album draws inspiration from Esa’s recent ventures into documentary scoring and soundtracking, with projects like Cursed (Audible) and The Invisible Hand teaching him to listen differently, to honour space, to serve the story. That sensibility permeates the album, resulting in music that breathes, lingers, and listens as much as it speaks.

The title, Dala What We Must, is a South African call to action: a reminder to do what’s necessary, even in uncertainty. Finalised in the months leading up to Esa’s transition into fatherhood, the record carries a sense of grounding, care, and quiet transformation.

Dala What We Must is a sonic reflection of journey and community, a deeply collaborative project rooted in connection and guided by intention.

Mit bisher über 30 Millionen Streams ihres Katalogs und einer Tournee-Geschichte, die das Download Festival, Graspop, Resurrection sowie Tourneen als Support für Electric Callboy und Bury Tomorrow umfasst, sind As Everything Unfolds sicherlich keine Neulinge in der Szene. Die Band, angeführt von der Powerfrau Charlie Rolfe, ist bekannt für ihre emotionsgeladene Musik sowie ihre dynamischen Live-Auftritte. Nun veröffentlicht die Band ihr drittes Album "DID YOU ASK TO BE SET FREE?" über Century Media Records. Das Album, benannt nach den Lyrics der Single "SET IN FLOW", zeichnet sich durch die bekannte und beliebte musikalische Intensität der Band aus, gepaart mit emotionalen Texten, mit denen sich Fans und neue Hörer gleichermaßen verbunden fühlen werden. Charlie, die sich nicht scheut, über die Inspiration hinter den Tracks zu sprechen, wechselt mühelos zwischen heavy Growls und klarem Gesang und lässt die Musik wie eine Achterbahnfahrt zwischen verschiedenen Genres wirken. Mit einem Feature von Dani Winter-Bates von Bury Tomorrow auf "WHAT YOU WANTED" würdigt die Band ihre Freundschaft und Tournee-Geschichte mit der britischen Metalcore-Band - ein Track, der sicherlich zu einem Fan-Favoriten werden wird. Nach dem Erscheinen des Albums müssen die Fans nicht allzu lange warten, um die neue Musik auch live zu erleben, denn die erste Festivalankündigung für den Sommer steht bereits fest.
Mit "DID YOU ASK TO BE SET FREE?" definieren sich As Everything Unfolds erneut als Band ohne Grenzen und als eine Gruppe, die man in der alternativen Musikszene im Auge behalten sollte - ihre größten Momente liegen vielleicht noch vor ihnen. Das Album wird als Standard-CD-Jewelcase, als trasparent-petrolgrüne LP sowie als digitales Album erhältlich sein.

4/5 Mojo review: ‘Sparse, hypnotic big-room techno that builds from the bass drum up

Double LP is released on 140gm black vinyl in a transparent gloss foil sleeve, artwork and design by Ian Anderson for Designers Republic. Circuitry Electronic launches with a release that stands as a statement of intent - an artist with few true peers within English electronic music, with an album that jumps out of the speakers and slaps you around the chops. G-Man is Gez Varley - one half of Sheffield pioneers LFO, and thirty years into his solo career, with his first vinyl album release since Avanti on Force Inc way back in 2002. Speaking to DJ magazine in 2014 Gez recalled his early days working with Mark Bell as LFO: “We were influenced by groups like 808 State. Unique 3, Nightmares On Wax and also stuff like Kraftwerk, Detroit techno and early electro. So when we first hooked up and made tunes together we just wanted to rock the dancefloor at our local club The Warehouse”.

Their eponymous track ‘LFO’ – a classic of the bleep and bass techno movement – was one of the first releases on the Warp label, gate- crashing the UK’s Top 20 whilst annoying Simon Mayo along the way. Having worked with the likes of Richie Hawtin, Karl Bartos, Laurent Garnier, Art of Noise, Radiohead, YMO and Alan Wilder, in addition to the LFO output, you'd expect Gez to know his way around a techno dancefloor rhythm and drum pattern, and this is an inventive funk-filled journey that never veers too far into experimental territory yet avoids the cliches and generic tropes that too often lose the listener when techno manifests in album form.

Re issue of the album on LP as previous versions had all sold out and were deleted.
Global Dance phenomenon Sammy Virji’s sophomore album ‘Same Day Cleaning’ sees the renowned party starter deliver UK Garage to the world like no one before. The new album is rooted in Sammy’s unmissable club ready production style and features a slew of legendary rappers & producers. The project lands after an insane year of global festival and headline touring for Sammy. ‘Same Day Cleaning’ follows Sammy’s hugely successful ‘If U Need It’ and his follow up singles including club mainstay ‘Damager’, with Interplanetary Criminal. The album also features Sammy’s massive link up with British icon Skepta, ‘Cops & Robbers’. ‘Same Day Cleaning’ is bigger, bolder and promises to propel Sammy Virji even further onto the global dance-music stage

Seamus Fogarty is the brilliant Irish singer/songwriter who previously released two critically acclaimed albums on Domino Records and his debut album via Scottsh cult label Fence records.
DIY pop, electronic noises and heartfelt ballads and stories is mixed on this amazing new album where Seamus once again prove to be a one of a kind songwriter and artist.

This is the Dahmers third album “Creature Feature” and the band continues to dig deeper in to a world of dark things, the things that don't belong, provokes, gives you the creeps or just makes you want to look away. “Our vision has been to explore and develop the bands sound but also to maintain the bands profound and colorful essence. “We want people to get excited when they hear the album, take them with us to another planet and make 'em forget about all the trouble in the world for a while” - Christoffer Karlsson (Lead singer/guitar)
The album was recorded and co-produced by Johan Gustafsson aka “The Johan and only” from the Hives in studio Ingrid in Stockholm. There's a new level and feel to the production with guest musicians on some tracks. With instruments like brass, cello, flute and piano the songs reaches their full true potential, along with added synth elements this gives the band a fresh feel. There's a wide variety of songs on the album where every track has it's very own theme, sound and characteristics. Where deep subjects like darkness, sorrow and alienation are being explored along with the bands continuing homage to the classic slasher and giallo flicks of the 70's and 80's, but also songs about a Swedish fakir, cults, rats and creatures from outer space. This album is a celebration to trash culture and to the underdogs, all delivered with a catchy uplifting chorus that The Dahmers is known for.
Creature Feature will be released on the bands own label Eerie sounds and will be out on February Friday the 13th.

With Alouette!, Les Louanges attempts to make sense of his human condition and Québécois identity by bringing guitars and Joual (the French language dialect spoken in Québec) to the forefront while still fuelling his signature grooves. More rock-oriented than his previous albums, this third effort is luminous yet rich in sounds, emotion and political commentary. It unfolds through a journey that will lead Loulou to encounter universal experiences such as illness, death, and true love.

The album is also the result of an artistic quest that began during a period of self-reflection, when Vincent Roberge (aka Les Louanges or Loulou) seized the opportunity to take a break after his last extended tour. Alongside the existential questions typical of someone approaching their thirties came a rediscovery of the classics—from Leonard Cohen and Prince to Richard Desjardins and the nursery rhyme that gives the album its name–, followed by total exploration. In addition to playing most of the instruments himself, the singer-songwriter revived obscure Quebec records through sampling and got to experiment with actual sound recording. Roberge co-produced Alouette! with his long-time collaborator Félix Petit (because why change a winning formula).

Four years after the success of his sophomore album Crash, Les Louanges returns more confident than ever, thanks to a renewed cultural and emotional baggage that allows him to reflect on the past to better engage with the present, while also enjoying it to the fullest. All of this, without overlooking the future, which he foresees with hope despite the collective challenges that await us.

Blue Hour is Nick Schofield’s first foray into ambient jazz music. The album is an ambient ode to Miles Davis’ In A Silent Way, and opens up Schofield’s sonic palette to introduce his childhood instrument, drums, with his contemporary ambient-electronic practice. Blue Hour features the intuitive, and totally improvised, trumpet playing of Scott Bevins (No Cosmos, Busty and the Bass).

Schofield grew up playing drums, but turned to creating experimental-electronic music when studying Electroacoustics at Concordia University. Well-known for his signature ambient aesthetic, Schofield has been called a “dazzling electronic artist” by Aquarium Drunkard and a “synth maven” by Constellation Records. Blue Hour marks the first time that he has merged his percussion practice with his ambient electronic explorations, and it is all in the service of reinterpreting Miles Davis’ 1969 watershed recording In a Silent Way.

Schofield improvised all of the drumming and main synthesizer parts over the course of a single day, recording in a church in Ottawa. These foundational layers comprise tender Moog pulses and Roland Juno-6 pads, some of which would not be out of place on the back half of Another Green World or Music Has the Right to Children.

If this was to be a reflection of In a Silent Way, of course there would need to be trumpet. Schofield invited Bevins to record the missing piece of the album during a one day recording session, where Bevins improvised all his trumpet parts having never heard the songs before. Scott Bevins’ contribution gives the music a leading instrumental voice, and his intuitive approach shows a perfect understanding of how to both integrate and elevate the compositions.

Blue Hour is itself a profound reference, an ambient adaptation, a dream realized and an uncanny synthesis of sounds, styles, and personal history.

Blue Hour is Nick Schofield’s first foray into ambient jazz music. The album is an ambient ode to Miles Davis’ In A Silent Way, and opens up Schofield’s sonic palette to introduce his childhood instrument, drums, with his contemporary ambient-electronic practice. Blue Hour features the intuitive, and totally improvised, trumpet playing of Scott Bevins (No Cosmos, Busty and the Bass).

Schofield grew up playing drums, but turned to creating experimental-electronic music when studying Electroacoustics at Concordia University. Well-known for his signature ambient aesthetic, Schofield has been called a “dazzling electronic artist” by Aquarium Drunkard and a “synth maven” by Constellation Records. Blue Hour marks the first time that he has merged his percussion practice with his ambient electronic explorations, and it is all in the service of reinterpreting Miles Davis’ 1969 watershed recording In a Silent Way.

Schofield improvised all of the drumming and main synthesizer parts over the course of a single day, recording in a church in Ottawa. These foundational layers comprise tender Moog pulses and Roland Juno-6 pads, some of which would not be out of place on the back half of Another Green World or Music Has the Right to Children.

If this was to be a reflection of In a Silent Way, of course there would need to be trumpet. Schofield invited Bevins to record the missing piece of the album during a one day recording session, where Bevins improvised all his trumpet parts having never heard the songs before. Scott Bevins’ contribution gives the music a leading instrumental voice, and his intuitive approach shows a perfect understanding of how to both integrate and elevate the compositions.

Blue Hour is itself a profound reference, an ambient adaptation, a dream realized and an uncanny synthesis of sounds, styles, and personal history.

Defying labels across the board, and turning old-style ancestral narratives into brutal and harrowing portraits of life on the edge of nowhere, the Fibbers wrap each of Lost Somewhere Between the Earth and My Home\'s 12 songs into a ball of fury and toss it against the wall of tradition, just to see what happens. Chaotic noise breakdowns give way to melodic singalongs, songs twist and turn through several side paths before reaching their destination, and everything sounds as if total annihilation is imminent. Scary, thoughtful and highly inventive, Lost is the sound of country gone to hell.

Defying labels across the board, and turning old-style ancestral narratives into brutal and harrowing portraits of life on the edge of nowhere, the Fibbers wrap each of Lost Somewhere Between the Earth and My Home\'s 12 songs into a ball of fury and toss it against the wall of tradition, just to see what happens. Chaotic noise breakdowns give way to melodic singalongs, songs twist and turn through several side paths before reaching their destination, and everything sounds as if total annihilation is imminent. Scary, thoughtful and highly inventive, Lost is the sound of country gone to hell.

HYPER GAL are restless. Since 2019, Kansai’s minimalist duo has been in persistent, perpetual motion.

In January of 2024, SKiN GRAFT Records introduced HYPER GAL to western audiences, giving the previously self-released album “Pure” a worldwide release. It was followed by “After Image”; a new full-length record; in September of that same year. In short order HYPER GAL left Japan to embark on a month-long European tour, performing at festivals such as Left of the Dial in Rotterdam and Le Guess Who? in Utrecht.

Consisting of Koharu Ishida (vocals) and Kurumi Kadoya (drums), HYPER GAL craft a sound all their own, characterized by avant-garde rhythms, looping landscapes, and hypnotic vocals. Their music resists traditional genre boundaries to carve out a truly singular sonic space.

With their fourth album “Our Hyper”, HYPER GAL thrust their sound into a deeper, harder core. Songs unfold into surprising shapes, embracing shadowy turns emboldened by a heavier low-end, while unearthing sharp takes on Japan’s harsh noise roots. The drums have grown even more acrobatic and unorthodox, while the vocals take on new colors, shifting from mesmerizing repetition to melodic, pop-tinged expression.

The album’s artwork is no less adventurous and features masks created by contemporary artist Tokiyoshi Akina and photographed in the band’s own hands, signaling resistance to the performative dualities of social media and a commitment to authenticity.
Despite the lean, unadorned two-piece setup, HYPER GAL’s music attains an intense and unmistakable presence - an unwavering momentum driven by an unrelenting intent. “Our Hyper” is HYPER GAL amplified.

"With each release they appear as mirage sculptors, using simple tools (drums, keyboards, vocals) in craft of multi-genre spanning work which only becomes more captivating the simpler their execution becomes...”
– MYSTIFICATION

With Variations for Light Waves, Swedish composer Linnéa Talp deepens the focus and intensity that shaped her 2022 debut Arch of Motion. Once again, the breath and hum of the pipe organ form the album’s core, but here she pushes further into deep listening and sonic nuance. Across seven pieces, she lingers on the instrument’s most resonant points, allowing its character to reveal itself slowly and patiently.
Talp’s path to this work has unfolded with similar steadiness. After first emerging with her project Deerest, she shifted toward improvisation and minimal composition, guided by an increasing sensitivity to sound and perception. Careful listening is now central to her practice, informing both her methods and her musical language.
The album was recorded over four years on pipe organs across Sweden, including a small funeral-chapel instrument in Lötsjökapellet—an environment Talp describes as an exceptional space for listening. Several pieces feature Christer Bothén (contrabass clarinet) and Mats Äleklint (trombone), whose playing blends seamlessly into her aerated organ tones. The improvisation “Air On Both Sides,” recorded in 2022 with Bothén, became the project’s starting point, an immersive bath in glowing harmonics. At times she interweaves Buchla recordings, setting electronic breath against acoustic resonance.
Talp’s fascination with quietness and delicacy is balanced by an interest in sonic brittleness. The closing title track gradually dismantles a downward chord progression, drifting into gentle collapse, while the brief opener pushes the organ’s pipes into gasping strain. These moments create a music open to chance, instability, and transformation.
Threads running through the album include an interest in chords, subtle improvisation, light, and memories of coastal landscapes. Talp also connects the work to the “thick white fog” surrounding her daughter’s birth. The result is music that envelopes like mist yet continually reveals new shapes—a world o

The cycle of life and nature is a precious and wondrous thing. We are born. We learn. We live. We die. And after death, another life awaits. When the world succumbs to the cold, dark grasp of winter, the promise of a spring birthing everything anew keeps hope alive. Such is the journey we make, and such is the lifespan of “Faþir”. Heaving, pulsating, filled with contrasts: ardent hostility and fiery revenge, blossoming life and lush fertility, soul-wrenching grief and deep anguish. Such is the path we walk under the guidance of the deities – the helping hand of a father, the nurturing wisdom in times of need. But sometimes, a treacherous god leads us into death and despair, albeit always with an underlying purpose. Such is “Faþir”.

With eloquence, elegance, and emotion, L. Swärd has created another monolith of sublime art to add to Forndom’s impeccable discography. This highly awaited follow-up to 2016’s “Dauðra Dura” is nothing short of a modern masterpiece, rooted in ancient ways. Expressive vocals and strings soar atop a foundation of unyielding drums, like spirits dancing in the skies yet bound to the human pulse. Never surrendering its strong connection to our mortal world, “Faþir” carries a deeply sacred dimension – a glimpse of the divine, seen through a lens of devotion and veracity. The joining of death and life, if you will.

The thick atmospheres and vast inner landscapes Forndom creates are more prevalent than ever, and from the first trembling string introduction of “Jakten” to the last wistful beat of “Hemkomst”, one is transported to another time, another place, and another mindset – leaving behind the calamity, stress, and superficiality of the modern world, and rediscovering the lost wisdom hidden behind the veil of passing years.

The sibling duo behind the music on Graceful Degradation — organ and drums, nothing more, nothing less — carve out a sound that feels unmistakably organic in a world drifting steadily toward the synthetic. Their interplay is entirely live, subtle in its details yet dynamic in its momentum, built on the kind of instinctive communication only brothers can share.
The music is fully instrumental, unfolding in a borderland where dreamy retro pop dissolves into the hazy textures of shoegaze and the unruly pulse of noisy, electronic leaning jazz. It’s a sonic world that feels both familiar and elusive, nostalgic yet inherently restless. Melodies shimmer and blur, rhythms swell and contract, and the space between the notes becomes as expressive as the notes themselves.
What emerges is a sound that resists easy categorization: warm but unpredictable, intimate yet expansive, grounded in the physicality of two musicians performing in real time. The organ breathes like a living organism, shifting from soft focus ambience to swirling, saturated harmonics, while the drums move with a fluid, human elasticity — sometimes whisper quiet, sometimes erupting with raw, kinetic force.
In this in between terrain, the duo has always found its identity and its freedom. Their music doesn’t chase perfection; it chases presence. It embraces imperfection, celebrates spontaneity, and insists on staying alive in a landscape where so much is becoming weightless and automated.
This is instrumental music with a pulse: subtle, dynamic, and unmistakably human.

Teddybears is a Swedish music group formed in Stockholm in 1991. The group consists of members Patrik Arve, Joakim Åhlund, and Klas Åhlund - with the latter two being known from their work with artists such as Robyn, Ghost, Katy Perry, Charli XCX, Madonna, Chrissie Hynde and many many more. Rock ‘n’ Roll Highschool was released in 2000 and was the band’s big breakthrough album, winning four Swedish Grammys and featuring the original “Punkrocker” version and “Yours to Keep”.

Since then, the band has been a household name in Scandinavia, but have also reached international success with hits such as “Cobrastyle” and most recently when “Punkrocker (feat. Iggy Pop)” was featured in the latest Superman movie, helping the track go viral and reach 80 million streams.

In 2026, Rock ‘n’ Roll Highschool is being pressed on vinyl for the very first time.

Teddybears is a Swedish music group formed in Stockholm in 1991. The group consists of members Patrik Arve, Joakim Åhlund, and Klas Åhlund - with the latter two being known from their work with artists such as Robyn, Ghost, Katy Perry, Charli XCX, Madonna, Chrissie Hynde and many many more. Rock ‘n’ Roll Highschool was released in 2000 and was the band’s big breakthrough album, winning four Swedish Grammys and featuring the original “Punkrocker” version and “Yours to Keep”.

Since then, the band has been a household name in Scandinavia, but have also reached international success with hits such as “Cobrastyle” and most recently when “Punkrocker (feat. Iggy Pop)” was featured in the latest Superman movie, helping the track go viral and reach 80 million streams.

In 2026, Rock ‘n’ Roll Highschool is being pressed on vinyl for the very first time.

10 songs from what is possibly the best anarchopunk band currently in existence. The dynamics of the tracks are refreshingly simple, a powerful yet neutral- sounding recording, with very little embellishment or stylized production to hide behind, approaching filth with distorted guitars, haunting bass lines, and steady drum beats, all elevated by the combination of the three voices perfectly balanced between melody and hatred. In a quantized world, one can perceive an endearing dose of human spirit through their tense and disturbingly melodic expressions. A modern Anarcho Punk classic that is surprising to find 40 years after the wonderful bands that spawned the genre, especially England. Includes poster and insert with lyrics.

Since reviewing Pomegranate Seeds: An International Benefit for Mutual Aid in Gaza, the compilation put out by the DISSIDENTS, I've been hunting for more VAMPIRE material, so when I saw I was assigned this LP I became very excited. VAMPIRE is an Australian band that plays apocalyptic anarcho- punk. A sense of extreme urgency pervades VAMPIRE's sound, and What Seems Forever Can Be Broken is ten songs that combine the demanding hardcore of CONFLICT, with a foundation of CRASS, and the rough-hewn delivery of raw punk. The resulting album is dark, hauntingly mesmeric, but also aggressive with a sense of communal voice. In other words, this is anarchopunk that is of the moment, and articulates exactly what contemporary punk is about without being preachy or elitist. This is that eye-to-eye, in-the-trenches vocalization of criticism that comes off as eye-opening and perspective-altering. What Seems Forever Can Be Broken is by far my favorite release thus far in 2025, but also might be the best album I've heard in a really long time. Like, this is benchmark-level material, so definitely give this a listen.

By the time Just One of Those Things was recorded, Nat "King" Cole was already considered by the general public as more of a singer and entertainer than a jazz pianist. Cole did his first sessions with the more jazz-oriented Billy May in 1951, but it wasn't until 1957 when they collaborated on this first LP - Just One of Those Things, a memorable album in which all 12 songs fit seamlessly together perfectly. It wasn't just May's arrangements that created such swinging music behind Cole's vocals though, it was also the band, which included many illustrious soloists: Harry "Sweets" Edison, Willie Smith, Pete Candoli, Jimmy Rowles and Lee Young, along with John Collins and Jack Costanzo, members of the celebrated Nat "King" Cole Trio.

Born into a musical family Al Manfredi started writing songs when he was child. As a teenager in 1965, he formed the Nuts & Bolts in the small beach town of San Clemente, California. Inspired by the Kinks, the Beatles and the Byrds, the group separated themselves from the pack by also performing original material written by Manfredi and band mate Mike Ingram. In late 1966 they changed their name to the Lost & Found and relocated to Phoenix, Arizona, where they cut a rare single, “Don’t Move Girl” b/w “To Catch the Sun,” which now commands high coin from ‘60s garage collectors. When they returned to San Clemente in early 1967 their music had taken a more psychedelic direction. The Lost & Found were riding high that year, until tragedy struck. Ingram was found hanged under suspicious circumstances and soon after Lost & Found drummer Mike Ryer died of cancer at the age of 19. Heartbroken, Manfredi gave up on the band scene completely and moved to Garden Grove to teach at his family’s music store. But alone, behind closed doors, he kept writing songs and working on his music, recording hours of tapes, often tracking all the instruments himself. In 1973 he chose six of his best songs, some of them written back in the Lost & Found days, and had them custom-pressed as an LP. Only a handful of copies were pressed, and most of these were sent out to various record companies in the hope of landing a deal. Despite the outstanding quality of the music, there were no takers. But decades later, collectors discovered the Al Manfredi album and hailed it a West Coast rock masterpiece. In his Acid Archives book, Patrick Lundborg called its discovery a deus ex machina and compared it to David Crosby’s first solo album and Hawaii-era Merrell Fankhauser, “not just the acutely captured mellowness, but the self-confidence and the talent.”This little-known West Coast rock masterpiece was rediscovered and celebrated by Acid Archives founder Patrick Lundborg and others around the time that Manfredi died in 1995. This version of the album, overseen by Manfredi’s son Exile, and with Manfredi’s story told by Ugly Things’ founder Mike Stax, presents the complete package of an incredible lost and found artist. Contains the album, as originally issued, on side A with unreleased music on side B.

Crypt of the Wizard is proud to make available two legendary underground albums by Slutet on vinyl and digital formats.
Slutet originated in Uppsala well over a decade ago, first emerging as a loose idea around 2010. The original cluster of strangely like minded individuals - Dingir, Ryttersson, J.P., Sviatopolk, were equally set on starting a cult as they were a band, the former emerging as a loose collective known as The End Commune, while the latter eventually began rehearsing together as Slutet on September 1, 2013.
From this constellation three notorious demo tapes sprung which were self-released in very limited numbers, and only available by trading bodily fluids, blood, and/or hair for the cassettes. “A very loose guess but we made probably around 20-30 hand-drawn/custom demo tapes of the first three releases. We got blood and hair from many places, actually the very first offering was from INDONESIA. Slovakia, Germany, USA, Argentina, Norway, Canada, Finland followed.... if my memory serves..... hazy years indeed”
J.P. left early 2015. Later that year, after trying the band as a bass-drum-vocals outfit for a while, Fjalar joined on guitar. This is the classic constellation. Dingir, Ryttersson, Fjalar, Sviatopolk. The same troupe playing to this very day.
Following on from the compilation Slutet began work on their next offering entitled Jihad. While the departure of J.P. left them temporarily without a guitarist, a chance meeting with Fjalar at a rave ushered in a new era for the band. “I met the drummer and the bass player at a psytrance rave in the forest. I didn’t have any band and I wanted to play music and I saw this fucking weirdo with long dreads and a Hellhammer shirt and I just went up to talk to him”.
After Fjalar joined the rather chaotic fray, songwriting duties were spread out more broadly and Jihad was rehearsed and recorded in a haze. First released as a cassette by Manifest Of Hate Creations, and later on vinyl in an edition of 100 by Goatowarex the release quickly sold out and became as legendary, and as incredibly difficult to obtain as the previous releases. “It has got some psychedelic improvs, some very unorthodox and quite genius vocal work, some electronic undertones, some noisy ambience, a message of existentialism; all this wrapped up in some sloppy but very authentic and intense black metal-ish music.”
“After the vinyl compilation was out (early 2015) we felt probably a bit directionless, and, having parted ways with a befriended and talented guitar player, we felt maybe a bit morally weakened to continue. First, for a year almost, we toiled on without the 6-strings and rehearsed quite lengthy material for a proposed upcoming LP. However, that material never surfaced. Then we got a new guitar player (Fjalar) and created and recorded this mess”.
It is with great pride that we make these albums available to a general audience and in a wider pressing without need for bloodshed.

Brighton-born, Cincinnati-based producer Marsh a.k.a Tom Marshall. ‘Lailonie’ is Marsh’s second studio album and debut Anjunadeep LP. After joining Anjunadeep back in 2018 via ‘Explorations 07’ with ‘Black Mountain’, Marsh has gone on to release a string of well received original EPs including ‘Prospect’ with label mate Nox Vahn, ‘Eu Topos’ and his latest ‘Lost In You’ as well as remixing some of the biggest artists in dance music including Above & Beyond and Armin van Buuren.

Marsh has previously released on Silk Music, where he released his debut album ‘Life On The Shore’ in 2017; and Enhanced Music’s progressive house imprint Colourize. Over the past 2 years, Marsh has become a firm Anjunadeep fan favourite all the while establishing himself as a future star of the electronic scene with a steady stream of tastemaker backing from Joris Voorn, Rufus Du Sol, Kölsch and BBC Radio 1’s Pete Tong and Phil Taggart. Recent years have seen him tour globally with Above & Beyond as well as share the bill with legends like Sasha & Digweed and Guy J.

The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop’s smoothest figures.

Spaceships on the Blade is the 2022 solo album from San Francisco legend, entrepreneur and rapper, Larry June. The 20-track album features the singles, “Private Valet,” & “In My Pockets,” and sees production from a wide range of producers such as, The Alchemist, Jake One, DJ Khalil, Cardo, DJ.Fresh, Chuck Inglish, Turbo & more. Enlisting the help from fellow rap luminaries such as 2 Chainz, Babyface Ray, Curren$y and more, Spaceships on the Blade shows that Uncle Larry always has an eye on expanding and diversifying income steams and will continue to do numbers for a long time. Good Job, Larry. 2xLP, Black Vinyl, Widespine Jacket, Printed Sleeves.

AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

VERY LIMITED TRANSPARENT PURPLE COLOURED VINYL - 100 UNITS ONLY FOR EUROPE


Lucky Number are thrilled to announce the release of both TRICK and RULES the latest albums to be released by the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G. Trick and Rules follow on the acclaimed heels of the November 2014 international release of Alex's fifth album, DSU. Recorded prior to DSU and previously only available via Alex's Bandcamp account, the albums have now been professionally mastered and are being made commercially available for the very first time.

Rules is soaked in the distinctive personality that is Alex G, the professionally mastered versions of these tracks further highlight that Alex has a serious knack for melodic songwriting.

In addition, Lucky Number are also thrilled to be releasing Trick, Alex's fourth album. Written and recorded just a few months after Rules, they both harbour a similar charm that makes it feel right for them to be released together.

Both Trick and Rules continue to showcase a prodigious song-writing talent, reaffirming that Alex G is one of the most promising and prolific American musicians today.

Ashley Tindall, AKA Skeptical, returns in peak form with Blimp EP — the fourth release on his Rubi Records imprint — delivering four meticulously crafted cuts of uncompromising drum & bass.

Opening with the title track, Blimp sets the tone with a deep, steppy wobbler that nods subtly to the title track from his second Rubi Records release, Capsize EP. All the signature Skeptical hallmarks are here: hypnotic, pared-back metronomic drums and shimmy-inducing, undulating subs that demand movement. Yet this time there's a noticeable shift — warm, underlying melodic pads bring an unexpected emotional depth. It's not dreamy, but it is more introspective than we're used to, showing another layer to his sonic palette.

So Good flips the script entirely. A dark, cinematic growler, it leans into ghosted vocal fragments and a futuristic film-noir aesthetic. Tense, claustrophobic rhythms and sinister textures create an unsettling atmosphere — tailor-made for those lights-out, pressure-heavy dancefloor moments.

Third comes the undeniable monster of the EP, Technology. Trademark "stink-face" Skeppiness is in full effect from the first bar. Disjointed sci-fi stabs and eerie pads collide with clinical, almost militaristic drum programming, all anchored by a devastatingly weighty bassline. Movement isn't optional — this is pure Skeptical, uncompromising and lethal.

Closing the EP is Bad Generation, a sound system–influenced weapon that finds Skeptical operating at his dubwise best. Fusing minimal D&B with heavyweight, roots-inspired rhythms is no easy task, but here it's executed with effortless authority. It's equally suited to shelling down a rave or getting lost in a deep, eyes-closed session.

Four tracks. Four distinct moods. 100% Skeptical.
Blimp EP confirms once again that his sound continues to evolve — sharper, deeper, and more refined with every release.

Support: Ben UFO, Joy Orbison, Gilles Peterson, dBridge, Break, DLR, Doc Scott, Mefjus, Kasra, Kings of the Rollers, Alix Perez, Jubei, Dub Phizix, Flight, Tasha, Loxy, Lens.

"Invaders Must Die" is The Prodigy"s 5th album, and is 40 minutes of having your head battered by future nostalgia, serotonin levels twisted by feel-good horrorcore and your synapses snapped by whiplash attitude. It"s the sound of The Prodigy mixing up genres, contorting the past and rewiring the future, ram-raiding through the tranquility of music"s status quo like a blot on the landscape of England"s dreaming. The first thing you notice about "Invaders Must Die" is how complete it sounds, a consistent collection of bangers all firing from the same cannon. The next thing you notice about "Invaders Must Die" is just how melodic it is. Not just melody in the vocal sense but in the heyday-of-hardcore keyboard-hookline sense. Yes, if The Prodigy have learned anything from the hugely successful live shows it was that those old skool rave anthems still rock hard - and are every bit as iconic to their generation as punk was to the nation"s forty-somethings. So "Invaders Must Die" is awash with references to the free party generation, thundering along like the mother of all E-rushes, all hairs tingling, spine jumping and lips buzzing. But not a retroactive arms-in-the-air, water-sharing nostalgia trip, but a set fuelled by punk"s saliva-dripping rabid snarl. "Invaders" also features Dave Grohl drumming on "Run With The Wolves".

Xylitol, aka producer and DJ Catherine Backhouse, shifts up the refinement and musical breadth for her second album Blumenfantasie, the follow-up to her Planet Mu debut Anemones.
With Blumenfantasie, Xylitol wanted “to make space and for the music to float and propel at once”, finding routes through the pointillistic figures, cascading synths and the meditative stillness of kosmische musik and bolder breakbeat programming. She reaches this delicate balance through careful subtraction, hoping “to convey a sense of intimacy and sadness but without sentimentality” which she manages with a feel and sound that's raw and intuitive.

Blumenfantasie rolls through detailed jungle workouts that flutter and bleep, through beatless ambience, taking a rare dip below 160 bpm for the elegiac Mirjana, the album’s most explicit nod to Krautrock with a drum break chopped up from Amon Duul II’s anthemic ‘Archangel’s Thunderbird’, through to Halo, a bare bones grime rhythm that calls to mind the missing link between industrial pioneers Nurse With Wound and Wiley's Eskibeat.

Catherine cast her net to draw in experimental audiovisual duo Sculpture and Reading based post-rock band The Leaf Library as collaborators, pulling the former’s whirling eddies of musique concrète into a slice of sublime aquatic jungle, and the latter’s radiophonic folksong into a dark and disorientating breakbeat workout equally indebted to Source Direct as to Broadcast.
Blumenfantasie moves with a confident, self-effacing fluidity which has been informed by DJ Bunnyhausen’s more regular DJ gigs. She speculates ‘if this album feels more cohesive than its predecessor it's likely because I've been DJing a lot more, with Worthing Techno Militia, with central and eastern european electronica collective Slav to the Rhythm, as well as being part of Italo Disco crew Flex. Moving between these zones seemed to open up hidden pathways between the disparate musical trajectories they represent.'
While Anemones contrasted the rough and the delicate, its successor is an album built for the head, hips and heart, with painterly sounds and a sense of intimacy that encourages deep listening while keeping its eyes on the strobelight and its feet on the dancefloor.

Born in Victoria, B.C., and shaped by formative years in Vancouver, artist and producer Sophia Stel found a rapt cult fanbase with her 2024 debut EP Object Permanence, a fiercely vulnerable collection of genre-agnostic earworms fueled by her full-bodied, affecting alto. By following her intuition and going against the grain of online fads, Stel is setting trends, not chasing them - always creating from a place of true originality. Her self-directed, sometimes spurâÇ`ofâÇ`theâÇ`moment digicam visuals for tracks like "I"ll Take It" and "You Could Hate Me" have the fuzzy realism of vintage photos or cherished memories: effortlessly cool without ever trying to be. In addition to earning co-signs from Troye Sivan and A.G. Cook and being selected for this year"s DAZED 100, she recently made her runway debut at Ann Demeulemeester"s PFW SS26 show and embarked on her first headline tour, which included a performance at Pitchfork Festival in Paris, following the release of her sophomore EP How to Win At Solitaire. Continuing to push the boundaries of today"s music landscape while honing a truly singular, post-genre sound that"s all her own, Stel is currently working on her debut album.

Tirakat brings together Jakarta-based trio Ali and Lebanese composer and multi instrumentalist Charif Megarbane in a collaboration rooted in long histories of cultural exchange between Indonesia and the Arab world. Ali are known for blending 1970s Indonesian psychedelic funk with Orkes Melayu, disco grooves, and Arab melodic forms, while Megarbane’s extensive catalogue has consistently explored similar cross-regional currents through jazz, library music, and Mediterranean-influenced arrangements. What connects the two is not genre alone, but a shared musical vocabulary shaped by overlapping histories, references, and lived cultural continuities.
The relationship between Indonesia and the Arab world stretches back over a thousand years, forged through Indian Ocean trade routes that carried not only goods, but languages, belief systems, instruments, and musical ideas. These exchanges were gradually absorbed into local traditions rather than replacing them. In Indonesia, Arabic musical elements entered through devotional practices and ensemble formats such as Gambus, Qasidah, and Orkes Melayu, where maq?m-derived melodic structures were adapted into local tuning systems and performance styles. Over time, these sounds became embedded within Indonesian popular music, shaping genres such as dangdut and informing a wider sonic landscape that remains audible today.

Cory Wong's eagerly awaited new studio album, Lost In The Wonder! The collection spotlights Wong's remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. Lost In The Wonder further affirms Wong's enduring love of musical collaboration, boasting a truly eclectic range of guest artists that includes Taylor Hanson, Devon Gilfillian, Stephen Day, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Benny Sings, Theo Katzman, and Magic City Hippies.

Audios fourth installment of its “selected pieces” series featured Kolter, Traumer, Josh Butler & Hersey. Artwork by Juli Jah.

Steve O’Sullivan returns under his Bluetrain alias, channeling the essence of dub into groovy,
endlessly cycling patterns shaped by submerged chords and tectonic low-end pressure. The influence of Mike Ink’s monolithic Studio One era is unmistakable, where reduction becomes
propulsion and each delay-trail etches its own pulse into the haze. Limited colourec vinyl.

Wewantsounds is delighted to release Ayam El Disco, a new selection of Egyptian 1980s disco and boogie cassette tracks curated by Egyptian DJ Disco Arabesquo, following his highly acclaimed Sharayet El Disco. Most tracks make their vinyl debut in this set. A journey through the funky sounds of 1980s Egypt, Ayam El Disco ("Disco Days") features Ammar El Sherei, Al Massrieen, and other underground artists from Cairo's vibrant cassette culture. The audio has been remastered for vinyl by David Hachour at Colorsound Studio in Paris, and the LP features artwork by Egyptian graphic designer Heba Tarek, along with a 2-page insert showcasing the original cassette artwork and insightful liner notes by Moataz Rageb.

The sonic worlds of Devon Rexi and John T. Gast collide in a vital meeting between two singular mavericks!

Following two lauded EPs on cult label South of North, Amsterdam-based Devon Rexi prepare to release their much-anticipated debut album, recorded by and featuring elusive 5 Gate Temple devotee, musician and producer John T. Gast, whose acclaimed catalogue continues to flourish.

Devon Rexi is a trio made up of Nicola Reverda (Nicolini), Nushin Naini and Goya van der Heyden (La Rat). They’ve quickly carved out their own sonic world, traversing krautfunk, post-punk and psyched-up no wave, all laced with a dub-heavy experimental mentality. Breathstep captures the band’s bass-heavy incantations, ripe with melodic chaos and rhythmic improvisation, while devilish cackles and processed vocals flirt over a jukebox of dubbed snippets and sliced textures.

The introduction of John T. Gast as producer and collaborator pulls the Devon Rexi sound deeper into bubbling dub territory, while his own palette is stretched and pushed into new terrain. Though Gast has firmly cemented his singular sound over the last decade, this interconnected process marks new ground for all involved. The result is a supreme convergence of esteemed musicians and a wickedly fine debut collaborative record.

Breathstep finds its home on Bristol imprint Accidental Meetings, whose ever-evolving sound and wide-ranging discography continue to grow. The album was recorded over the last year across Amsterdam, Lisbon and London.

*Kissa* is an immersive ambient electronic project crafted by Mathias, drawing inspiration from the serene and evocative atmosphere of Japanese jazz kissa cafés. These intimate spaces, known for their deep reverence for music, serve as the foundation for *Kissa’s* sonic landscape—where warm nostalgia and futuristic minimalism intertwine. Consisting of eight expansive compositions, *Kissa* abandons traditional rhythmic structures, allowing sound itself to guide the listener. Ethereal textures, evolving drones, and subtle harmonic shifts create a meditative experience that blurs the lines between memory and imagination. Each track is a portal—an invitation to lose oneself in sound, to explore the spaces between notes, and to embrace stillness as a form of movement. With *Kissa*, Mathias redefines the boundaries of electronic music, crafting an experience that is at once deeply personal and universally resonant. Whether serving as a soundtrack for introspection or a companion for late-night contemplation, *Kissa* embodies the essence of timeless listening—where music is felt, not just heard.

A 2024 remaster of Band of Skulls' critically acclaimed debut album, Baby Darling Doll Face Honey. The album was produced, recorded, and mixed by Ian Davenport, recorded at Courtyard Studios in Oxfordshire, and mixed at the House of Blues studio in Los Angeles. It features the single "I Know What I Am", which was released as the Single of the Week in Canada. This, along with the band's other two early albums, has been remastered for enhanced sound quality. Russell Marsden has also introduced a new lineup while teasing new music.

Twice Grammy-nominated, Mercury Prize and BRIT Award-winning artist Arlo Parks announces her new album, Ambiguous Desire, due April 3rd via Transgressive Records.



Ambiguous Desire is Parks at her most confident and experimental, supplanting live band sessions for modular synths, ableton plugins and samplers that channel the frenetic, vibrant spaces she was immersed in, all while spotlighting the acclaimed poetry and lyricism she’s beloved for.



Reflecting on the making of the record, Parks shares, "I danced more than ever as I made this record, I made more friends than ever too, found myself in the weird underbelly of New York juke nights, unleashed, laughed and laughed and laughed. This record has desire at its centre. Desire is a life force, it’s a wanting, a yearning, a momentum - we are all alive because there is something or someone we want - desire is an engine. But it is also mysterious, tangled, random, enlightening and HUMAN."



Parks crafted the album with producer Baird (Brockhampton, Kevin Abstract). Their process unfolded between NYC’s vibrant, community-rooted nightlife and long, introspective days spent in Baird’s downtown loft. The result is Parks’ most vulnerable, self-affirming, and euphoric work to date.

Die zweifach Grammy-nominierte, mit dem Mercury Prize und BRIT Award ausgezeichnete Künstlerin Arlo Parks kündigt ihr neues Album „Ambiguous Desire“ an, das am 3. April über Transgressive Records erscheinen wird.



„Ambiguous Desire“ zeigt Parks von ihrer selbstbewusstesten und experimentellsten Seite. Live-Band-Sessions wurden durch modulare Synthesizer, Ableton-Plugins und Sampler ersetzt, die die frenetischen, pulsierenden Räume widerspiegeln, in denen sie sich bewegte, während gleichzeitig ihre gefeierte Poesie und Lyrik, für die sie so geliebt wird, im Vordergrund stehen.



Über die Entstehung des Albums sagt Parks: „Ich habe während der Arbeit an diesem Album mehr getanzt als je zuvor, ich habe mehr Freunde gefunden als je zuvor, ich habe mich in den seltsamen Untergrund der New Yorker Juke-Nächte begeben, mich gehen lassen, gelacht und gelacht und gelacht. Dieses Album dreht sich um das Thema Begehren. Sehnsucht ist eine Lebenskraft, sie ist ein Verlangen, eine Dynamik – wir alle leben, weil es etwas oder jemanden gibt, den wir wollen – Sehnsucht ist ein Motor. Aber sie ist auch geheimnisvoll, verworren, zufällig, erleuchtend und MENSCHLICH.“



Parks hat das Album zusammen mit dem Produzenten Baird (Brockhampton, Kevin Abstract) produziert. Der Entstehungsprozess fand zwischen dem pulsierenden, gemeinschaftsorientierten Nachtleben von NYC und langen, introspektiven Tagen in Bairds Loft in der Innenstadt statt. Das Ergebnis ist Parks' bisher verletzlichstes, selbstbewusstestes und euphorischstes Werk.

Necropalace ist eine düstere, doomlastige Reise ins Schreckliche und Romantische, heraufbeschworen vom sich ständig weiterentwickelnden vampirischen Wesen WORM. WORM schrieb sein erstes Kapitel mit Veröffentlichungen wie "Foreverglade" aus dem Jahr 2021 und dem Split-Album "Starpath" mit Dream Unending aus dem Jahr 2023 (beide erschienen bei 20 Buck Spin). Diese Vision erweckte WORM zusammen mit Hulder, Devil Master, Gatecreeper und Frozen Soul auf der Decibel Tour 2023 auf der Bühne zum Leben. Dabei verkörperte WORM den Sound der Dunkelheit mit einem außergewöhnlichen Sinn für Ambition.
Gemischt von Arthur Rizk (Blood Incantation, Power Trip) und mit dem gefeierten Gitarrenvirtuosen Marty Friedman auf dem letzten Track des Albums "Witchmoon" ist "Necropalace" die bisher reinste Destillation von WORMs selbsternanntem "Nekromantic Black Doom", dargestellt in blutbeflecktem Technicolor. Ein cineastisches, unvergessliches Meisterwerk des modernen Metal.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

A fascinating record of Hawkwind’s activities in 1970 with all tracks recorded for BBC radio. Side One is the band’s first Top Gear session transmitted in September and Side Two is the Sunday Concert recorded just after their legendary appearance at the Isle Of Wight festival. Some Of That Stuff and I Do It would later be renamed Come Home and Master Of The Universe respectively. Comes with full recording details and extensive sleeve notes.

Twelve tracks from the New York Dolls recorded live for TV and radio in 1973, showcasing a raucous rock’n’roll band in their prime. Two cover versions – Hoochie Coochie Man and Give Her A Great Big Kiss – were never included on either of the band’s two original studio LPs. Comes with full recording details and extensive sleeve notes.

The title comes from a previously unreleased version of All The Young Dudes (track one, side one) specially recorded for the BBC. Elsewhere we have two further studio tracks aired by Sounds Of The Seventies, live versions of Midnight Lady and Thunderbuck Ram recorded for FM radio and a ferocious set of four live tracks originally broadcast on French TV in 1971.
Full recording details and extensive sleevenotes are included.

Scorsese Sounds - A Tribute To Martin Scorsese - The Finest Selection of Martin Scorsese"s Soundtracks Martin Scorsese ist nicht nur ein Meister des Films, sondern auch ein Virtuose der Musikauswahl. Mit "Scorsese Sounds" erleben Sie die unverwechselbare Klangwelt seiner größten Werke - von epischen Gangster-Sagas bis hin zu psychologischen Dramen und zeitlosen Klassikern. Diese exklusive Doppel-Vinyl vereint die Essenz der Soundtracks, die Scorseses Filme zu Kult gemacht haben. Jeder Track ist sorgfältig ausgewählt, um die Atmosphäre und Emotionen der legendären Szenen einzufangen - von der rauen Energie des New Yorker Untergrunds bis zur eleganten Nostalgie vergangener Zeiten. Ein Muss für Cineasten, Vinyl-Liebhaber und alle, die die Magie von Bild und Ton schätzen. Tauchen Sie ein in die musikalische DNA eines der größten Regisseure unserer Zeit.

‘Distracted’ is Thundercat’s fifth studio album, featuring contributions from an incredible cast of friends including A$AP Rocky, WILLOW, Tame Impala, Lil Yachty, Channel Tres, and a long awaited collaboration with the dearly departed Mac Miller. The record was primarily created in close collaboration with a new creative partner – the super-producer Greg Kurstin – plus Flying Lotus, Kenny Beats (Kenneth Blume) and The Lemon Twigs. In the six years since his GRAMMY-winning album ‘It Is What It Is’, Thundercat’s star has risen: playing stadiums worldwide with Red Hot Chilli Peppers with Flea naming Thundercat “the best bass player on the planet”; performing live with A$AP Rocky, Steve Lacy, Tame Impala, Gorillaz, Silk Sonic, Erykah Badu, Spinal Tap, Yo Gabba Gabba; collaborating with Haim, Smino, Kaytranada, Kamasi Washington and Justice. He also branched out into acting with a role in Star Wars: The Book of Boba Fett. His warm, playful presence is never too far away, and life’s all the more enlivened by it.

Le Futur c’est la drogue, which should here be translated as The Future Is the Drug, is not to be read as a promise, but as a statement of fact. The present is no longer an experience, but pure consumption. Life itself has taken the form of a dependency.

With this sixth album, Christophe Clébard goes straight to the point, driven by a free and repetitive form of writing, stripped of any syntactic rigidity. Words strike like balls against a wall, revealing darker zones of his mind where guilt, fear, and existential anxiety coexist.

The sound composition, equally minimal, sustains a dense and obsessive mental space, a vortex in which trance appears as the only escape. Driving drum machines, relentlessly hammered electronic loops, and a battered synthesizer, his music unfolds within a physical, strangely hypnotic synth-punk aesthetic that hits viscerally.

The Future Is the Drug is his sixth album.

Green Sleeve 2026 Repress

The earliest musical memories of young Prince Istari are of his mother beautifying the home with her piano playing. She would repeatedly play the tranquil pieces of Erik Satie. Skipping school and sitting in the sun, young Prince would listen to these catchy, calm compositions.

In the first week of 2024, the older Prince Istari rediscovered himself and found a box containing his mother's old sheet music. He transferred them to his computer and began spinning dub versions from them. It became a tapestry. As his mother used to say: "To weave a net, one must first spin." The form of the pieces dictated the direction each would take. The heavy dub transforms here into a light weightiness until it dissolves into a pure piano piece accompanied by a synthesizer. However, the last piece is much older, from the time when Prince was still known as Istari Lasterfahrer. The ending includes a distorted recording of Huberta, Prince's mother, playing a Gnossienne by Satie. At the end, she turns the sheet music, and the record can be turned back to the beginning.

In the essence of its material, this record rejects the Loudness War. The originality of the compositions guided the dub within their tracks, thereby imparting to each a form descriptive of its essence.

Twice Grammy-nominated, Mercury Prize and BRIT Award-winning artist Arlo Parks announces her new album, Ambiguous Desire, due April 3rd via Transgressive Records.



Ambiguous Desire is Parks at her most confident and experimental, supplanting live band sessions for modular synths, ableton plugins and samplers that channel the frenetic, vibrant spaces she was immersed in, all while spotlighting the acclaimed poetry and lyricism she’s beloved for.



Reflecting on the making of the record, Parks shares, "I danced more than ever as I made this record, I made more friends than ever too, found myself in the weird underbelly of New York juke nights, unleashed, laughed and laughed and laughed. This record has desire at its centre. Desire is a life force, it’s a wanting, a yearning, a momentum - we are all alive because there is something or someone we want - desire is an engine. But it is also mysterious, tangled, random, enlightening and HUMAN."



Parks crafted the album with producer Baird (Brockhampton, Kevin Abstract). Their process unfolded between NYC’s vibrant, community-rooted nightlife and long, introspective days spent in Baird’s downtown loft. The result is Parks’ most vulnerable, self-affirming, and euphoric work to date.

Die zweifach Grammy-nominierte, mit dem Mercury Prize und BRIT Award ausgezeichnete Künstlerin Arlo Parks kündigt ihr neues Album „Ambiguous Desire“ an, das am 3. April über Transgressive Records erscheinen wird.



„Ambiguous Desire“ zeigt Parks von ihrer selbstbewusstesten und experimentellsten Seite. Live-Band-Sessions wurden durch modulare Synthesizer, Ableton-Plugins und Sampler ersetzt, die die frenetischen, pulsierenden Räume widerspiegeln, in denen sie sich bewegte, während gleichzeitig ihre gefeierte Poesie und Lyrik, für die sie so geliebt wird, im Vordergrund stehen.



Über die Entstehung des Albums sagt Parks: „Ich habe während der Arbeit an diesem Album mehr getanzt als je zuvor, ich habe mehr Freunde gefunden als je zuvor, ich habe mich in den seltsamen Untergrund der New Yorker Juke-Nächte begeben, mich gehen lassen, gelacht und gelacht und gelacht. Dieses Album dreht sich um das Thema Begehren. Sehnsucht ist eine Lebenskraft, sie ist ein Verlangen, eine Dynamik – wir alle leben, weil es etwas oder jemanden gibt, den wir wollen – Sehnsucht ist ein Motor. Aber sie ist auch geheimnisvoll, verworren, zufällig, erleuchtend und MENSCHLICH.“



Parks hat das Album zusammen mit dem Produzenten Baird (Brockhampton, Kevin Abstract) produziert. Der Entstehungsprozess fand zwischen dem pulsierenden, gemeinschaftsorientierten Nachtleben von NYC und langen, introspektiven Tagen in Bairds Loft in der Innenstadt statt. Das Ergebnis ist Parks' bisher verletzlichstes, selbstbewusstestes und euphorischstes Werk.