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Quaid + Shepherd’s “The Preset” 12” is a multi-mix single/release pushing and evolving the confines of the present funk sound. This London duo, which is composed of producer Quaid and vocalist Shepherd (who have been long-time collaborators), dives especially deep with these four banging club mixes of “The Preset”, channeled through the lens of 80s boogie-funk. Quaid explains that “early 80's boogie funk has always been a massive inspiration and a huge part of my day-to-day listening experience”, and these 4 mixes of “The Preset” serve to honor a “drum machine soul” tradition, while keeping the production and feel fresh for the dance-floor and the context of today. This release is stacked full of epic alternate mixes for listeners and DJs to experience: Most notably, there is a “Sysex” Mix from Atlanta’s elusive abstract boogie-funk producer Moon B (his first new production to release after a multi-year hiatus), which delves into his intangibly unique slanky-funk sound. Also included on the B side are the hypnotic and more uptempo “Wet Dreems” Mix and a “Dirty Dub” Mix from Quaid that truly leans into the quirky synth leads, crispy drum programming and heavy rolling bass.

* Originally released on the Crispy music label in 1995, from Dun Specialists, a collaboration between Chris Petter and Dougie Wardrop out of Conscious Sounds studio, London.

* `Dub to Dub Break to Break’, the first in a series of three, is a wildly varied selection of dubs, utilising funky breakbeats, hip hop-inspired beats and samples galore.

* Out of press for 31 years.

After years of steadily building momentum within the deeper side of drum & bass, Monika now delivers his long-awaited debut album, How We Saw Forever, landing this August on Spearhead Records.

UK-born and now based in New Zealand, Monika has developed a sound that blends deep rolling grooves, soulful textures, delicate musicality and moments of genuine emotional weight. Across the album he moves effortlessly between late-night introspection, euphoric warmth and darker, more experimental territory, showcasing an artist fully confident in his own sonic identity.

Having already made a strong impression through previous releases on Spearhead and appearances across the label’s 20-year anniversary campaign, How We Saw Forever feels like a major step forward creatively. From the haunting beauty of “What Turns Your World” featuring Oktae, through to the nostalgic rave energy of “Mango Pop” and the weightier pressure of “Syndicate”, the album captures Monika’s ability to balance emotion, atmosphere and dancefloor impact without ever feeling formulaic.

At its core, How We Saw Forever is an album about atmosphere, memory and emotion, music designed equally for solitary headphone moments and packed dancefloors at sunrise. There’s a cinematic thread running throughout the project, but also a raw honesty that gives the album its real depth.

Speaking about the album, Monika says:
“This project became a reflection of so many different seasons of life over the last few years. Some tracks came from really emotional places, others were written purely from joy and escapism, but together they tell the story of where I’ve been creatively and personally. I wanted the album to feel immersive, something people could disappear into.”

Released via BCee’s Spearhead Records — a label long celebrated for championing soulful and emotionally rich drum & bass. How We Saw Forever marks another exciting chapter for both Monika and the wider Spearhead family.

Love as Art, Love under the Patriarchy, Love as a political and radical act - in short 'The Fatal Flaw' examines Love from a deeper and philosophical perspective. Even the songs that aren't about Love, also are. They are about the absence of love, and what happens in those spaces, so they are songs about the necessity of love, and the consequences of its absences.

London's Spearmint follow-up their acclaimed 2023 record `This Candle Is For You' with the ambitious new concept album `Chase Me' New single "1986" evokes a time when the world wasn't connected by technology, but there was still a strong connection across the globe: music. Specifically in the song, it's folk in Newcastle and Madrid who are dancing to the same music. The vinyl version also features an exclusive track "Is It Just Nostalgia?" which sees the band time-travelling past `The Tube' and `Soul Train` to Friday nights of the past. Standby for the follow-up single in July_ Spearmint have been making great records since debut `A Week Away' in 1999 (`Sweeping The Nation', `A Trip Into Space', `We're Going Out'). Still the same line-up: Shirley Lee (singing, guitar), Simon Calnan (singing, keyboards), James Parsons (guitar) and Ronan Larvor (drums). This will be their eleventh album proper and the 65th release on their own hitBACK label. Re-united with producer Rhodri Marsden (Scritti Politti, Cardiacs), the `Chase Me' album tells a story of success, disillusionment, disconnection, peril, and resurrection. Anchored by three chases across a city at night, book-ended by two out-of-body experiences, and working towards a suite of uplifting love songs, it's a thriller, it's a horror, it's an allegory. Song-writer Shirley explains "The story would make a good movie I think_ but we don't know how to do that, so we did this." `Chase Me' will be available digitally, and on limited edition CD and vinyl. The vinyl version will be released on WIAIWYA records, and will include an exclusive 24 page full-colour lyric book, including photos and illustrations. Spearmint will premiere songs from the album alongside tracks from their catalogue that haven't been played for years, or ever in one instance, live at Colours in Hoxton, London, on Tuesday 29th September 2026.

With her new album Trespasser, Grace Potter introduces a beautifully unruly cast of characters who step into forbidden spaces with absolute abandon. As the spiritual sequel to 2023’s Mother Road, the four-time Grammy nominee’s seventh studio LP continues the kaleidoscopic storyline shaped by her many road trips from her Topanga Canyon home to her part-time residence in her native Vermont (a journey she’s made eight times in the last five years, usually on her own). But while Mother Road was born from a desperate need for solace in the midst of emotional freefall, Trespasser reveals an artist firmly anchored in her singular vision.

The latest chapter in a career marked by endless transformation and elite recognition—including sharing stages with rock & roll icons like the Rolling Stones & Robert Plant and earning praise from legends like Bob Dylan and Bonnie Raitt—Trespasser ultimately lights the way toward a more unbound and expansive means of moving through the world. Produced by her husband and frequent collaborator Eric Valentine (Queens of the Stone Age, Weezer, Slash) and recorded in a cross-country journey beginning at her home in Topanga with Benmont Tench, continuing in Nashville with Mother Road session players (members of Cage the Elephant, Kings of Leon, and Train), and completed in Vermont with members of her longtime live band, the album echoes its origins with a wayward sound that spans from stripped-bare soul to cosmic country to hellraising rock & roll—all while orbiting Potter’s force- of-nature voice and lavishly imagined storytelling. “We’ve always been taught that the trespassers are the bad guys, but to me it’s not about reckless rebellion,” says Potter. “It’s about exploring, physically and mentally and emotionally, and being willing to step outside the narratives we’ve accepted. Because in my experience, the places we’re told not to go are exactly the ones that show us who we really are.”

With her new album Trespasser, Grace Potter introduces a beautifully unruly cast of characters who step into forbidden spaces with absolute abandon. As the spiritual sequel to 2023’s Mother Road, the four-time Grammy nominee’s seventh studio LP continues the kaleidoscopic storyline shaped by her many road trips from her Topanga Canyon home to her part-time residence in her native Vermont (a journey she’s made eight times in the last five years, usually on her own).

But while Mother Road was born from a desperate need for solace in the midst of emotional freefall, Trespasser reveals an artist firmly anchored in her singular vision. The latest chapter in a career marked by endless transformation and elite recognition—including sharing stages with rock & roll icons like the Rolling Stones & Robert Plant and earning praise from legends like Bob Dylan and Bonnie Raitt—Trespasser ultimately lights the way toward a more unbound and expansive means of moving through the world. Produced by her husband and frequent collaborator Eric Valentine (Queens of the Stone Age, Weezer, Slash) and recorded in a cross-country journey beginning at her home in Topanga with Benmont Tench, continuing in Nashville with Mother Road session players (members of Cage the Elephant, Kings of Leon, and Train), and completed in Vermont with members of her longtime live band, the album echoes its origins with a wayward sound that spans from stripped-bare soul to cosmic country to hellraising rock & roll—all while orbiting Potter’s force- of-nature voice and lavishly imagined storytelling. “We’ve always been taught that the trespassers are the bad guys, but to me it’s not about reckless rebellion,” says Potter. “It’s about exploring, physically and mentally and emotionally, and being willing to step outside the narratives we’ve accepted. Because in my experience, the places we’re told not to go are exactly the ones that show us who we really are.”

Franc Fala & Benja land Crosstown Rebels debut with hypnotic collaboration, ‘Dirty Dancing’.
Out on 31st July 2026, the Dutch pair unite for a dark, groove-led first appearance on Damian Lazarus's label, backed by two distinct reinterpretations from Brazilian artist Malive.

Anchored in a heavy groove that never loosens its grip, Crosstown Rebels’ latest release, ‘Dirty Dancing’, brings together two Dutch artists whose ideas have been shaped by a shared creative language built over time. Amsterdam’s Franc Fala continues to build on what has been a rapid rise onto the global house circuit, with a run of notable releases coupled with a growing touring schedule, ensuring his records and name have been the talk of the town for many. Alongside him, regular collaborator, fellow countryman and close friend Benja has also ensured his approach to music has also landed with impact, leaning on energy and atmosphere to shape records designed to resonate beyond the dancefl oor. Here, the pair reunite for their biggest collaboration to date as they make their debut outing on Damian Lazarus’s revered imprint with a record crafted for the peak hours.

Everything revolves around a vocal hook that doesn’t sit in the background; it emerges to take over the track, keeping listeners locked into the groove beneath. Rather than pushing in obvious directions, it circles and tunnels deeper, drawing listeners in until it becomes the only thing that matters. On remix duties, Brazilian DJ/producer Malive delivers two contrasting interpretations that take command of the B-side. His ‘Noturno Mix’ pushes into shadowy, late-night territory, extending the track’s hypnotic pull through melodic textures and tension, whereas his ‘Goes To Rio’ mix takes a more fluid direction, loosening the groove and introducing bright keys alongside a slick rhythmic swing.

- After the collector 2024 Record Store Day 35th Anniversary edition & Special CD boxset of the seminal 1989 album, the album will be available again to everyone from July 31st , 2026 as 1CD & 1 LP Black new permanent editions.
- Produced by Stephen Street (The Smiths, Blur, The Cranberries, New Order).
- Vinyl mastered by Peter Beckmann at Technology Works

- July 31st also marks the long-awaited return of legendary Manchester outfit The Durutti Column, with "Renascent" their first new studio album in over fifteen years which already get a very strong response & support from key traditional media - with major features confirmed for Pitchfork, The Guardian, MOJO, Monocle and Record Collector to name a few.

- Many new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis).

One of the early breed of US death metal acts, Autopsy formed in 1987 in San Francisco. Drummer/vocalist Chris Reifert had gained initial recognition with Floridian genre pioneers Death & his participation on the classic debut, ‘Scream Bloody Gore’ before this new morbid creation was birthed. Autopsy released 4 albums on Peaceville Records in the early part of their career - beginning with the legendary debut, ‘Severed Survival’, in 1989 - before disbanding in 1995, with members going on to become the stalwarts of sickodelia in Abscess.

Autopsy triumphantly & officially returned from the grave after a 15 year hiatus with the 2010 EP, ‘The Tomb Within’. This was followed by the release of the band’s fifth studio album, ‘Macabre Eternal’ in 2011, as the group celebrated a new era of popularity & creativity. This reverence continues to this day as Autopsy itself nears its 40th anniversary, & still features the longstanding core trio of Chris Reifert, Eric Cutler, & Danny Coralles.

‘Mental Funeral’ was Autopsy’s second studio album, originally released back in 1991, & is rightly hailed as one of the greatest death metal albums of all time with its unhinged & uncompromising collection of odes to brutality & depravity, wrapped up in its highly distinctive raw, organic production.

‘Mental Funeral’ was recorded at Different Fur Studios in late 1990, with engineering work conducted by Ron Rigler. The iconic artwork appeared courtesy of Kev Walker, who had already provided the (at the time) controversial cover for Autopsy’s debut, ‘Severed Survival’.

This special 35th anniversary pressing of ‘Mental Funeral’ is presented on a limited red/green ink spot vinyl, featuring newly remastered audio courtesy of current Autopsy bassist Greg Wilkinson at his Earhammer Studios.

A phenomenal new vocal talent with uncompromising vision, SIENNA SPIRO is here with her debut album, Visitor, a striking opening statement from an artist of undeniable longevity. Visitor Features Billboard charting & RIAA Platinum & Gold singles “Die On This Hill” & “You Stole The Show”, as well as new hit single “The Visitor”. Having amassed over 1.3 Billion streams ahead of her debut album, SIENNA matches her dazzling musicality with a fierce dedication to crafting music of true substance.

Die "JoJo's Bizarre Adventure: Golden Wind" Vinyl enthält mit 26 Titeln von Komponist Yugo Kanno die musikalischen Highlights der vierten Staffel des Anime und ist so der erste Vinyl Release zu dieser Serie. Mit dabei sind natürlich einige der eindrucksvollsten Titel wie "Il vento d'oro" (Golden Wind) und "Esperienza d'oro", die diese gelb-orangene 140g Doppelvinyl zu einem Must-Have für Fans macht, das die Energie der Serie gekonnt transportiert.

Repress 2026
To celebrate 20 years since the release of Fatboy Slim's seminal album 'You've Come A Long Way, Baby' Toolroom are proud to present this truly mammoth release! Number #1 selling artists of 2017, CamelPhat, deliver a killer remix on what is arguably Fatboy Slim's biggest record ever, 'Right Here, Right Now'.
Black Vinyl With a Picture Sleeve

The fifth installment in the acclaimed Killed By Hardcore series dives deep into the global underground of early hardcore punk, collecting 35 raw and obscure tracks from 1981-1988. Featuring rare cuts from legendary and cult bands across North America, South America and Europe, Killed By Hardcore Vol. 5 captures the speed, aggression and DIY spirit that defined hardcore's formative years. From the chaotic attack of Confuse (Japan) and the pioneering hardcore of Olho Seco (Brazil) to forgotten gems from Belgium, Italy, Poland, Sweden, Yugoslavia, Norway and the USA, this volume shines a light on some of the most uncompromising records ever committed to vinyl.

This exclusive vinyl edition of Call Your Friends brings the album back to fans and collectors in a carefully crafted format. Faithful to the original release, this pressing celebrates the record’s distinctive sound and energy while offering a premium physical edition made for vinyl enthusiasts. Part of Be the Change, a project conceived and developed by Rude Cares to raise awareness about climate change and environmental sustainability within the music community, this limited eco-friendly variant connects the power of music with a commitment to a more sustainable future. Created alongside artists who share this vision, each release supports environmental action through a donation to Green Future Project, while 100 new trees are planted to fully offset the residual environmental footprint of the project. A vibrant and memorable album that captures the band’s personality and evolution, Call Your Friends remains a must-have for fans—now available in a special edition that extends its impact beyond the music.

For more than two decades, SOJA have elated audiences with their fresh yet timeless take on roots reggae, a sound born from their shared passion for making music that transports and inspires. On 'Without Surrender' -their first new album since the Grammy Award winning 'Beauty in the Silence' (2021) - the band deepens that communal spirit by collaborating with artists from all corners of the world, including The Elovaters, Brazilian Superstar Di Ferrero, Kolohe Kai, 311's Nick Hexum and more.

180g White Vinyl

* Following on from the hugely popular ‘Klavirni’ (Emika’s first solo piano album in 2015) her second installment of piano solos are a magical cluster of melodies, dreamy effects, obscure production mistakes with tape echo’s and other old analog gear.

* The pieces were recorded during the time she was pregnant with her first child Silvy, to whom she has dedicated this record ‘To Silvy who heard it first from the inside’.

* The collection of ‘Dilo’s’ which means moment in Czech, were recorded ‘in a state of ultra hyped up creativity combined with a massive fear about losing my identity or creativity as an artist once I would become a mother’ - says Emika about the album process.

* A truly personal affair and in keeping with the original style of the first Klavirni, all the Dilo’s were recorded improvisations by the composer on her home piano, this time in Berlin.

* Dilo 7 from the first album has been streamed more than 15 million times on Spotify and there will also be a ‘Red Edition’ repress of the album on vinyl.

* This release marks the 5 year anniversary of Emika Records, celebrating 5 years of independence since her days with Ninja Tune.

* Dilo Variations EP (not released previously before on vinyl) will come with the anniversary releases on a cute little 10’’ with updated artwork.

* This is also the final release in her Emika Records catalog before starting a new venture in 2020 with more details to follow later in the year.

* ‘Klavirni Temna’ which means dark piano in Czech, explores the relationship between dark and light, good and evil, death and rebirth.

* ‘Music is a powerful and sometimes unexplainable force.’ - Emika

Terence Fixmer Reimagines Chris Liebing & Luke Slater's 'Double Split' for CLR. Fixmer's remixes of Liebing/Slater's collaboration from the former's 'Evolver' LP release on 31st July.

Terence Fixmer has delivered two remixes of Chris Liebing and Luke Slater's 'Double Split' track, one of a handful of collaborations on Liebing's first-ever solo LP, 'Evolver', which was released in March this year. Having contributed to the LP as a member of The Alte Stuben Modular Ensemble, a super-group featuring Liebing, Daniel Miller, and Pascal Gabriel, Fixmer is a fitting choice to remix 'Double Split'.

Fixmer has been evolving his sound for more than 25 years. From deep and mind-bending to experimental and soulful, he is a visionary who has been hugely prolific, with many standout LPs and EPs on labels such as Mute Records, Novamute, Ostgut Ton, and Planete Rouge Records.

Fixmer's first 'Double Split' remix is inspired by the energy of the original, but focused on dubbier, hypnotic vibes. Strident drums and clattering percussion are stark by design, but smoky vocals and eerie synths hang in the air, bringing a bleak human futurism over all-consuming bass. Then comes the Melting Mind rework, which is boiled down to a handful of key elements, not least the original's penetrating acid line. It's an immersive, late-night dive that locks you in a state of constant motion and unrelenting pressure. The original from Chris Liebing and Luke Slater, a dark and futuristic roller with automated drums and layers of rusty synths encircled by acidic gurgles, completes the package.

ABOUT WORLD WITHOUT GOD: Alongside the band's early '90's counterparts 'World Without God', Convulse's first proper full-length, helped pave the way for a new generation of death-metal extremity. ABOUT CONVULSE REISSUES 2026: Finland's CONVULSE present the official 2026 Remastered, Reissues of their classic titles "World Without God", "Reflections" & the new demo compilation "From Resuscitation to Reincarnation - The Early Years" All three remastered titles are streaming now & pre-orders are out July 31, 2026 on LP/CD/CS formats. Convulse original member Rami Jämsä comments on the reissues: "I am very grateful for the Relapse Records from all these three classy Convulse reissues. "World without God" (1991) is our best known debut album with full of rotten old school death metal notes. But don't miss our hidden gem "Reflections" (1994), which is our second album and will be released first time ever on vinyl format. Death 'n roll album "Reflections" comes to home on Relapse Records after 30 years with a brand new layout and a brilliant remastered sound. Third release will be "From Resuscitation to Reincarnation" which presents Convulse's transformation from the straightforward death metal band to more diverse death&rock band. It includes our first demotape "Resuscitation of Evilness" (1990) and "Lost Equilibrium" EP (1992)." All 3 Convulse titles were Remastered by Jaakko Viitalähde/Virtalähde Mastering (Oranssi Pazuzu, Havukruunu).

About From Resuscitation to Reincarnation - The Early Years: "From Resuscitation to Reincarnation - The Early Years" presents Convulse's transformation from the straightforward death metal band to the more diverse death & rock band. It includes CONVULSE's first demotape "Resuscitation of Evilness" (1990) and the "Lost Equilibrium" EP (1992). ABOUT CONVULSE REISSUES 2026: Finland's CONVULSE present the official 2026 Remastered, Reissues of their classic titles "World Without God", "Reflections" & the new demo compilation "From Resuscitation to Reincarnation - The Early Years" All three remastered titles are streaming now & pre-orders are out July 31, 2026 on LP/CD/CS formats. Convulse original member Rami Jämsä comments on the reissues: "I am very grateful for the Relapse Records from all these three classy Convulse reissues. "World without God" (1991) is our best known debut album with full of rotten old school death metal notes. But don't miss our hidden gem "Reflections" (1994), which is our second album and will be released first time ever on vinyl format. Death 'n roll album "Reflections" comes to home on Relapse Records after 30 years with a brand new layout and a brilliant remastered sound. Third release will be "From Resuscitation to Reincarnation" which presents Convulse's transformation from the straightforward death metal band to more diverse death&rock band. It includes our first demotape "Resuscitation of Evilness" (1990) and "Lost Equilibrium" EP (1992)." All 3 Convulse titles were Remastered by Jaakko Viitalähde/Virtalähde Mastering (Oranssi Pazuzu, Havukruunu).

'Where the Smoke Goes captures the conscious and unconscious of Johnny Coley in duet between 2020-2024 AD. Alabama-born, Marseille-based artist Turner Williams Jr. wraps a selection of his dear friend Johnny’s penultimate compositions in arresting tone poems.
'The music buzzes and hums with distant trains, trembling strings, and lapping water, haloing our protagonist in a humid glow as he considers whether horses can live to 70 years old, cigarettes potent enough to knock you on your ass, and orchids facing the wrath of winter storms.
'This work began in the first Covid spring, as Johnny's advancing multiple sclerosis gave way to a permanent domestic confinement and a final period of prolific creativity. Johnny braved the toxic gales of social media to share his thriving poetry and visual art practice and to keep in touch with friends like Turner, who had recently moved abroad. For the first time, Johnny recorded himself, sending Turner fresh poems, day and night.
'Taking cues from late era Coil and the operas of Robert Ashley, Turner approached these recordings both as language and pure sound, arranging accompanying mosaics that emerge as much from Johnny’s unseen text as his mercurial drawl. Tracks draw from Turner’s solo practice as well as sessions including Henry Birdsey of Old Saw, members of the French underground (Manoir Molle, Loto Retina, Mona Assayag) and close Birmingham collaborators (Jasper Lee, Jimmy Griffin, Ladonna Smith). The voice is parsed and played as an instrument and each poem becomes a score.
'There is Johnny’s poetry and Johnny’s voice. These are two independent yet interwoven instruments. For Turner, Johnny's vocabulary, cadence, and timbre carry all of the contradictions that he writes about. His work is a dialogue of rich contradictions. "He plays with Southern American vernacular speech in his poetry while embodying it with his speech, creating a zone of emotional frisson. He loved combining opposites. Rough yet soft was one of his favourite descriptors", Turner recalls, "That was Johnny. ” Upon hearing the completed record, Johnny likened it to "a beautiful wood box, that when you open it there are fabrics shot through with silk threads and sharp fall woods smells - supporting and decorating the poems that fall out of them. ”
'This record captures something unconscious, atmospheric, and gives it unexpected materiality. Smoke that you can feel like grass under your feet. Stars that you can touch like a lover. Meeting for the final time in the summer or 2025, the time for words had passed so they just held hands and listened to the album opener Stargazer in silence as Johnny drifted off to sleep.'

Truth Manifest Records is honored and delighted to release Beyond Jazz Volume 3, the third volume in this superb, innovative four-part series! This exceptional vinyl release on Truth Manifest Records is from executive producer Malik Alston, with distribution from Mother Tongue.
Dive into the delightful beauty of Beyond Jazz Volume 3, in a sonic world of love, intuition, discovery and adventure. Let it take you to a place where you can’t get enough in a universe of electrified transformation and elevation, on a galactic ride to the space where good people, lovely people live forever.
This vibrant collection has special new remixes and edits based on Malik’s current radio show, Beyond Jazz, on motionfm.
Travel to the edge of your senses, further than your dreams can take you….Beyond Jazz.

American trumpeter Chet Baker was a major innovator in cool jazz, leading him to be nicknamed “the prince of cool”. He earned much attention and praise through the Fifties, partic- ularly for albums featuring his vocals. This included his 1954 album Chet Baker Sings and its follow-up Chet Baker Sings Again in 1985. The latter he released on the Dutch jazz label Timeless Records. He recorded the album with bassist Ricardo Del Fra, drummer John Engels and pianist Michel Graillier.

The album comes at a time when connection is needed more than ever. A generative connector and community leader Allison Russell, alongside production team Dim Star, cast a creative circle of collaborators to bring the songs to life, emerging from honest, raw dialogues between friends, lovers, chosen family, humans. The new record features Norah Jones, Joy Oladokun, Kara Jackson, Denitia, Ruby Amanfu, Devon Gilfillian, Kashus Culpepper, Brittney Spencer, Sara Watkins, Kyshona, Julie Williams, Chibueze Ihuoma and Ahya Simone. Available on "sea foam" coloured vinyl and digipak CD editions

Chesky Records, a New York label renowned for its audiophile-quality recordings and its "minimalist" approach to capturing sound in reverberant spaces, is proud to present The Audiophile Classical Collection Personally curated from the company's extensive back catalog, this anthology showcases the label's commitment to first- class, unprocessed sonics across a diversity of styles. From the single- player- to- a- part Baroque clarity of Vivaldi to the late-Romantic splendor of Wagner and Holst, every selection demonstrates the depth and brilliance of the Chesky sound.

Soul, jazz-rock, candombe and funk blend in the cocktail of La Banda's first and sole album. Often regarded as Argentina's first supergroup, the ensemble built a reputation on their explosive live performances during a time of political repression. Short-lived but unforgettable, the six-piece brought together top-tier jazz musicians—five Argentinians alongside Uruguayan icon Rubén Rada—to deliver a deep, hard-hitting sound that resonates far beyond its era.

Rada arrived in Buenos Aires bruised — a romantic disaster and a string of empty concert halls back in Montevideo had pushed him to start over at 35. Behind him lay a remarkable journey: from inventing candombe beat with El Kinto, to leading the Latin rock powerhouse Tótem, to recording cosmic jazz with Opa alongside the Fattoruso brothers. Trumpeter Benny Izaguirre, the band's architect, gathered around him a cast of heavyweights: pianist Jorge Navarro, an essential figure in the Buenos Aires jazz scene since the 1950s; saxophonist Bernardo Baraj, forged in Alma y Vida, Argentina's jazz-rock champions; and the irresistible rhythm section of bassist Ricardo Sanz and drummer Luis Ceravolo, both veterans of Astor Piazzolla's quintet. All three — Baraj, Sanz and Ceravolo — were simultaneously part of Banda Spinetta, the jazz-oriented project of Argentine legend Luis Alberto Spinetta.

The sessions also drew in two guests who needed no introduction: guitarist David Lebón — veteran of Pappo's Blues, Pescado Rabioso, Color Humano and Serú Girán, one of Argentine rock's true giants — and guitarist and producer Daniel Homer, a quietly indispensable figure across Buenos Aires' jazz and rock scenes.

Recorded in 1979 and gone almost as soon as it arrived — La Banda's brief existence and this sole album are what Buenos Aires sounded like when it was allowed to breathe. Between raids, between disappearances, in the stolen hours when music was louder than fear.

PRESENTED ON NUMBERED VINYL. Peaceville presents a very special collection of tracks from the more black metaloriented acts on the label, featuring a variety of new & recent bands, among firmly established legendary acts & influential names, with plenty of great showcases for what is to come in 2023, & also including a majority of exclusives. This pressing of 'Dark Side of the Sacred Star' is presented on limited numbered vinyl.

Repress
*BRAND NEW ALBUM RELEASED.

Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, `We're All Going To Be Fine', they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. Lost in Kyiv's music has always thrived on tension between the organic and the synthetic. On `We're All Going To Be Fine', that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. Guitars surge and recede in wide, panoramic arcs. At moments they shimmer and support, at others they thrash violently, accumulating layers of distortion and harmonic overtones. Acoustic instrumentation is interwoven with sequenced synth lines, pulsing arpeggiators, and carefully sculpted electronic textures that give the band's sound a sense of forward propulsion. Rhythm plays a central role in Lost in Kyiv's identity. The drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. "We almost consider this album as the first record of a new version of the band. That's why we decided to use the name Lost in Kyiv now. We don't want to erase the past, but it really feels like a new direction. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before." (Lost in Kyiv) FOR FANS OF Russian Circles * P.G.Lost * The Ocean * Cult of Luna * Brutus * This Will Destroy You

Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, `We're All Going To Be Fine', they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. Lost in Kyiv's music has always thrived on tension between the organic and the synthetic. On `We're All Going To Be Fine', that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. Guitars surge and recede in wide, panoramic arcs. At moments they shimmer and support, at others they thrash violently, accumulating layers of distortion and harmonic overtones. Acoustic instrumentation is interwoven with sequenced synth lines, pulsing arpeggiators, and carefully sculpted electronic textures that give the band's sound a sense of forward propulsion. Rhythm plays a central role in Lost in Kyiv's identity. The drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. "We almost consider this album as the first record of a new version of the band. That's why we decided to use the name Lost in Kyiv now. We don't want to erase the past, but it really feels like a new direction. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before." (Lost in Kyiv) FOR FANS OF Russian Circles * P.G.Lost * The Ocean * Cult of Luna * Brutus * This Will Destroy You

Das untote Quintett GRAVETY ist aus seinen Gräbern auferstanden. Angetrieben von der Kraft des mächtigen Cryptor haben sie neue epische Hymnen geschaffen, die diesmal düsterer und heavier sind. Auf ihrem dritten Album "Of Cults And Chaos" entführen sie ihre Children of the Grave in die verdammten Reiche des kosmischen Horrors. Inspiriert von H.P. Lovecraft und John Carpenters Apokalypse-Trilogie verbinden die Songs die Markenzeichen der Band wie treibende Riffs, eindringliche Parts, eingängige Refrains und dramatische Dual-Gitarren-Leads mit atmosphärischen Elementen und spannendem Songwriting. Tritt dem Kult bei!

BEAR's sound is a calculated collision of technical precision and unfiltered aggression _ a modern strain of European metal that balances math-inflected complexity with visceral, live-wire intensity. At the core of their identity a combination of brains and brute force. With Anhedonia, Belgian heavyweights BEAR deliver five songs of pure adrenaline and unfiltered heaviness that capture a band confronting the strange emotional vacuum that can follow trauma. Anhedonia is both a battle cry and a confession; a visceral document of resilience carved from years marked by illness, loss, uncertainty, and hard-won perseverance. Musically, Anhedonia represents a sharpened evolution of BEAR's already formidable sound. Known for their intricate rhythms, punishing riffs, and explosive intensity, the band made a conscious decision this time to strip away excess and focus on the core of each song. There is no wasted movement on this EP. Every riff lands with purpose. Every rhythmic shift feels earned. The band trimmed the fat without sacrificing identity, creating space for dynamics and melody to cut deeper than ever before. "The songs are somewhat stripped back, allowing more space for Maarten's vocals to really shine this time around. I feel like we really hit a great balance of maintaining our signature complex sound while also allowing for more experimentation and melody." (James Falck) Anhedonia acknowledges numbness without glorifying it. It confronts pain without being consumed by it. And in doing so, it transforms heaviness into something connective. BEAR have always been a band driven by conviction, and here they stand at their most authentic, vulnerable and ferocious. Together, BEAR create music that feels alive _ tense, volatile, and emotionally charged _ where technicality enhances impact, and heaviness carries genuine vulnerability beneath its surface. FOR FANS OF The Dillinger Escape Plan * Every Time I Die * Botch * Converge * Norma Jean * Coalesce * Herod

BEAR's sound is a calculated collision of technical precision and unfiltered aggression _ a modern strain of European metal that balances math-inflected complexity with visceral, live-wire intensity. At the core of their identity a combination of brains and brute force. With Anhedonia, Belgian heavyweights BEAR deliver five songs of pure adrenaline and unfiltered heaviness that capture a band confronting the strange emotional vacuum that can follow trauma. Anhedonia is both a battle cry and a confession; a visceral document of resilience carved from years marked by illness, loss, uncertainty, and hard-won perseverance. Musically, Anhedonia represents a sharpened evolution of BEAR's already formidable sound. Known for their intricate rhythms, punishing riffs, and explosive intensity, the band made a conscious decision this time to strip away excess and focus on the core of each song. There is no wasted movement on this EP. Every riff lands with purpose. Every rhythmic shift feels earned. The band trimmed the fat without sacrificing identity, creating space for dynamics and melody to cut deeper than ever before. "The songs are somewhat stripped back, allowing more space for Maarten's vocals to really shine this time around. I feel like we really hit a great balance of maintaining our signature complex sound while also allowing for more experimentation and melody." (James Falck) Anhedonia acknowledges numbness without glorifying it. It confronts pain without being consumed by it. And in doing so, it transforms heaviness into something connective. BEAR have always been a band driven by conviction, and here they stand at their most authentic, vulnerable and ferocious. Together, BEAR create music that feels alive _ tense, volatile, and emotionally charged _ where technicality enhances impact, and heaviness carries genuine vulnerability beneath its surface. FOR FANS OF The Dillinger Escape Plan * Every Time I Die * Botch * Converge * Norma Jean * Coalesce * Herod

Aus der fruchtbaren skandinavischen Post-Rock-Landschaft hervorgegangen, haben sich Oh Hiroshima einen Ruf dafür erarbeitet, Introspektion in einen weiten, cineastischen Klang zu verwandeln. Mit ,And the Dead Tree Gives No Shelter" setzen Oh Hiroshima ihr Streben fort, das Gleichgewicht zwischen Verletzlichkeit und Kraft zu verfeinern. Im Kern des Sounds von Oh Hiroshima liegt ein filigranes Wechselspiel zwischen Zurückhaltung und Entladung. Ihre Kompositionen bauen behutsam Spannung auf und lassen jede Ebene organisch entfalten: Klingende Gitarren, ferne Nachklänge und minimale rhythmische Impulse - die scheinbar schwerelos in der Luft schweben - bilden einen Kontrast zu jener wuchtigen Kraft, die sie entfesseln können. Klare, schimmernde Gitarrentöne breiten sich wellenartig durch dichten Hall und subtile Delays aus, während sich einzelne Linien oft in sanftem Kontrapunkt miteinander verflechten. Während sich diese Ebenen schichten, intensivieren sie sich allmählich und steuern auf jene Momente zu, in denen Verzerrung und Lautstärke die einst fragile Atmosphäre in etwas Immenses und Kathartisches verwandeln.Wenn die Musik ihre emotionalen Höhepunkte erreicht, tritt die Perkussion zwar bestimmender hervor, bleibt dabei jedoch behutsam in die Gesamtatmosphäre eingebettet. Oh Hiroshima beweisen beständig ein wachsendes Selbstvertrauen darin, die Grenzen ihres Sounds auszuloten. Durch die Verschmelzung von Harmonien, einer immersiven Produktion und einem tief intuitiven Gespür für das richtige Tempo haben Oh Hiroshima ein Album geschaffen, das von Intimität durchwoben ist und sich zugleich weit und raumgreifend anfühlt. Für Freunde von Alcest, Mogwai, God Is an Astronaut. CD, klassisch schwarzes und farbiges (limitiertes) Vinyl erhältlich.

Aus der fruchtbaren skandinavischen Post-Rock-Landschaft hervorgegangen, haben sich Oh Hiroshima einen Ruf dafür erarbeitet, Introspektion in einen weiten, cineastischen Klang zu verwandeln. Mit ,And the Dead Tree Gives No Shelter" setzen Oh Hiroshima ihr Streben fort, das Gleichgewicht zwischen Verletzlichkeit und Kraft zu verfeinern. Im Kern des Sounds von Oh Hiroshima liegt ein filigranes Wechselspiel zwischen Zurückhaltung und Entladung. Ihre Kompositionen bauen behutsam Spannung auf und lassen jede Ebene organisch entfalten: Klingende Gitarren, ferne Nachklänge und minimale rhythmische Impulse - die scheinbar schwerelos in der Luft schweben - bilden einen Kontrast zu jener wuchtigen Kraft, die sie entfesseln können. Klare, schimmernde Gitarrentöne breiten sich wellenartig durch dichten Hall und subtile Delays aus, während sich einzelne Linien oft in sanftem Kontrapunkt miteinander verflechten. Während sich diese Ebenen schichten, intensivieren sie sich allmählich und steuern auf jene Momente zu, in denen Verzerrung und Lautstärke die einst fragile Atmosphäre in etwas Immenses und Kathartisches verwandeln.Wenn die Musik ihre emotionalen Höhepunkte erreicht, tritt die Perkussion zwar bestimmender hervor, bleibt dabei jedoch behutsam in die Gesamtatmosphäre eingebettet. Oh Hiroshima beweisen beständig ein wachsendes Selbstvertrauen darin, die Grenzen ihres Sounds auszuloten. Durch die Verschmelzung von Harmonien, einer immersiven Produktion und einem tief intuitiven Gespür für das richtige Tempo haben Oh Hiroshima ein Album geschaffen, das von Intimität durchwoben ist und sich zugleich weit und raumgreifend anfühlt. Für Freunde von Alcest, Mogwai, God Is an Astronaut. CD, klassisch schwarzes und farbiges (limitiertes) Vinyl erhältlich.

Long overlooked outside specialist circles, Drammi e Speranze is presented for the first time ever on vinyl reissue, newly remastered to highlight the depth and tonal richness of Umiliani’s arrangements.

Originally released in 1976 on Piero Umiliani’s own Sound Work Shop imprint, Drammi e Speranze—issued under the pseudonym Rovi—stands as a refined example of his late-period library work.

Performed by a compact string ensemble and subtly augmented by piano, Hammond organ, Eminent organ, and Rhodes, the album unfolds through a series of classically-informed compositions where melody takes center stage. Each piece is concise, evocative, and purpose-built—reflecting the functional yet highly expressive nature of Italian library music at its peak.

Conceptually, the record is structured in two contrasting halves: the first side explores themes of optimism and resolution, while the second delves into darker, more introspective territories, mirroring the emotional duality suggested by its title (Tragedies and Hopes).

This release celebrates 100 years since the birth of Piero Umiliani, honoring the enduring legacy of a composer whose work continues to resonate across cinematic, library, and contemporary sample-driven music.

©℗ 1976, Liuto Edizioni Musicali / Licensed to Holy Basil Records by Liuto Edizioni Musicali

Recycled purple cassette tape The monster-collecting open-world RPG "Cassette Beasts" is delivering a furious 80's synth rock meets British indie soundtrack composed by Joel Baylis and featuring shooting star Shelby Harvey on vocals. This soundtrack is taking you on a journey across the mysterious island of New Wirral - from lo-fi acoustic ballads to all-out headbangers! By the way, welcome to New Wirral, a remote island inhabited by strange creatures you've only dreamed of, nightmares you hopefully haven't, and a cast of brave folks who use cassette tapes to transform for battle. To find a way home you'll need to explore every inch of the island, and record monsters to your trusty cassette tapes to gain their abilities!

It happens very rarely that you can praise a records without any reservations, this is the case here!!!



A lot of ink has flowed across the page since the Vogue/Swing release (1955) of that founding solo record. The repertoire was made up of pieces that Thelonious was playing in New York over that period, but in trio or with a quartet, here his music shows nakedness, i should say crudeness, whisch is completely overwhelming. It is a balck and white photograph of what is happening inside Monk's head; its sharpness is enthralling, as everyone has known for more than sixty years.



We enter the world of one of the most original artists. Monk, at 37, is at the peak of his art.

Art Blakey was the new hero on the Paris jazz scene, thanks to his Olympia concert on November 22nd 1958, and his subsequent appearances at the Club St. Germain. People swore by his 'Blues March' and 'Moanin', so why not get him to do the soundtrack for the film Molinaro just finished? The only problem, albeit a major one, was that time was short, so an original score was out of the question: the Jazz Messengers would have to preach the good word by other means. Fortunately, the band's tenor and arranger, Benny Golson, had become an expeet in the art of making somrthing new out of somrthing old, and he did it with equal talent and intelligence.Except for three originals, the musical sequences of the film are actually fragments from the Messengers' book, but in adapted versions; 'Whisper Not', for example, can be discerned underneath 'Ne Chuchote Pas'. It was an extremely hazardous process...but the result turned out to be remarkable!!!

Anathema formed in Liverpool in 1990, initially under the name of Pagan Angel & grew from a heavy doom/death metal style act into a more progressive & melodic group, blending rock elements with strong atmospherics inspired by classic acts such as Pink Floyd & Radiohead. The band signed with Peaceville Records after recording the 'All Faith Is Lost' demo in 1991, & is known for being part of the hallowed Peaceville doom metal trinity in the early 1990's (alongside fellow UK bands Paradise Lost & My Dying Bride), with some highly influential releases in the early part of their long, esteemed career. 'Pentecost III' was released in early 1995 & was recorded at the infamous Academy Studios in Yorkshire UK (My Dying Bride, Paradise Lost). 'Pentecost III' featured classic heavy & often hypnotic doom metal, as well as a reworking/rerecording of the 'Memento Mori' track from the 'Iliad of Woes' demo.

the producer, multi-instrumentalist, DJ and record collector Gabriel Cyr AKA Teleseen releases 5th album 'The Emotional Life of Savages' via French imprint Goldmin Music.

African rhythms, Latin heat and otherworldly electronics collide like neurons, processed through a New York state of mind. The pancontinental sounds are mirrored in his own life, which has oscillated back and forth between various countries.

A jazz background combined with a love for house and techno are ingrained in the grooves. Also key is the samba, baile funk and MPB that inspired him while living in Rio de Janeiro, plus the sounds he reabsorbed on returning to NYC's club scene.

This wide range of influences spanning the global underground coalesces into a rich, vital and coherent whole. Warm and soulful, but also evoking an intoxicating, heady atmosphere, the hypnotic and ultra-rhythmic tracks subtly shift and build to fever pitch, due primarily to deft polyrhythmic drums and percussion - both played and sequenced.

"Working on this record I finally found myself able to manifest a certain sound I'd been hearing in my head for years, combining the rhythmic intensity of afro-house and afro-Brazilian music with the more cosmic sounds of Detroit and deep house", explains Cyr on his musical vision.

The gentle sundowner glow of 'Myrtle Avenue' with its textured synth waves and wandering Parrish-esque keys acts as a precursor to the potent nocturnal adventure to follow: 'Espelhos' captures a similar essence to Black Science Orchestra's classic 'Save Us (The Jam)', before the heat goes up and heads go down for the eastern-tinged, autotune-laden fire of 'Khalil'.

The album then intensifies further still on the percussion-heavy, big bottomed cosmic throb of 'Jaguar', whilst Brazilian flavour meets tech house rush on 'Fundos', before the party reaches its feverish close on the wiggling batucada- meets-tribal-house of 'Temporada De Seca'.

Born in the north eastern United States, as an adult Cyr has always been nomadic. He has sought to live and immerse himself in other cultures and absorb their sounds, but eventually always succumbs to the Big Apple's magnetic pull. Back home, a key inspirational catalyst for the album was the Brooklyn-based party Africainoir, where he's a resident DJ.

Alongside cutting his teeth producing illbient/hip hop and working as an engineer, he ran his own studio for period, before starting his own label Percepts, on which to release his dub techno style debut. He has since released on 100% Silk, Boomarm Nation and Feel Up Records, and now 'The Emotional Life Of Savages' marks Teleseen's first album for Goldmin.

Limited Apricot/Rose Vinyl. After being only available on his "North America & Japan Tour 2025", Black Screen Records is excited to release the second pressing of VK Blanka's latest studio album "Knightclub" on 1xLP Rosé / Apricot Split Vinyl. The album comes with an exclusive vinyl bonus track "Black Catcher - Piano Version" and includes a lyrics sheet. The Japanese singer-songwriter and multi-instrumentalist also announced his return to AnimagiC 2026. The convention will be held from July 31st - August 2nd in Mannheim, Germany. Black Screen Records will also return and bring the Knightclub vinyl to the event. Since expanding his activities overseas in 2023, he has performed electrifying live shows in new territories, including North America, Europe, Saudi Arabia, and Latin America. At Brazil's largest anime convention, Anime Friends Sao Paulo 2024, he captivated a staggering audience of 10,000, their voices rising in fervent chants of his name, as he closed out the event as the final act of the night.










[j] 10OLD RIVALS [A SELF-COVER OF RIVALS!]
[k] 11BLACK CATCHER PIANO VERSION [BONUS TRACK]

RÏO is a sonic journey that begins in the waters of the Santa Rosa River (Argentina) and flows into Barcelona, uniting my roots with the pulse of the migrant experience.
This album is not just a collection of songs, but a tribute to the foundational memories of my childhood and an organic path where the past, present, and future flow within the same riverbed. It is an album that speaks of movement, of temperance, and of the need to affirm one’s own identity through change.

Lane Shi Otay Onii, known professionally as Otay:Onii, is one of the most inquisitive and genre-defying artists of her generation. A multifaceted creator whose work spans performance art, composition, installation, and avant-garde music practice. Otay:Onii is the first ever artist selected for the three-year Triennium Residency at Roadburn Festival. She was a contributing composer and performer in Florentina Holzinger's groundbreaking opera production `SANCTA` and has performed at festivals world-wide such as SXSW, Roadburn, CTM, Fusion, Creepy Teepy, LGW, Fekete Zaj, and Full of Lava. Otay;Onii has already been celebrated with many awards worldwide, included the Global Music Awards `Bronze Prize for Best Female Vocalist` and `Best Sound' at Audiovisual Arts Industrial Incubator Awards. Otay:Onii's new album `Love is in the Shit', is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, `Love is in the Shit' is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt. Low frequencies vibrate with a bodily presence, while sharp, high-frequency textures cut through with urgency. There is a sense of movement embedded in the sound; music that pulses, sways, and surges, never settling into static forms. Even at its most aggressive, there is an undercurrent of precision and intention. Her voice becomes increasingly elastic and versatile through the service of melody, spoken poetry and pain-ridden wails. "Many songs begin with a need to sing - I sing to summon grace at the peak of anger and tournament, I sing to summon tranquility from a 6 hour panic attack, I sing to get out of my mind which shows mercy for fear.

Lane Shi Otay Onii, known professionally as Otay:Onii, is one of the most inquisitive and genre-defying artists of her generation. A multifaceted creator whose work spans performance art, composition, installation, and avant-garde music practice. Otay:Onii is the first ever artist selected for the three-year Triennium Residency at Roadburn Festival. She was a contributing composer and performer in Florentina Holzinger's groundbreaking opera production `SANCTA` and has performed at festivals world-wide such as SXSW, Roadburn, CTM, Fusion, Creepy Teepy, LGW, Fekete Zaj, and Full of Lava. Otay;Onii has already been celebrated with many awards worldwide, included the Global Music Awards `Bronze Prize for Best Female Vocalist` and `Best Sound' at Audiovisual Arts Industrial Incubator Awards. Otay:Onii's new album `Love is in the Shit', is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, `Love is in the Shit' is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt. Low frequencies vibrate with a bodily presence, while sharp, high-frequency textures cut through with urgency. There is a sense of movement embedded in the sound; music that pulses, sways, and surges, never settling into static forms. Even at its most aggressive, there is an undercurrent of precision and intention. Her voice becomes increasingly elastic and versatile through the service of melody, spoken poetry and pain-ridden wails. "Many songs begin with a need to sing - I sing to summon grace at the peak of anger and tournament, I sing to summon tranquility from a 6 hour panic attack, I sing to get out of my mind which shows mercy for fear.

Following the success of the first vinyl release from the Moroccan label Sotor Records, featuring Zadig, Perc & Oscar Mulero, Sotor writes a new chapter in its discography with its second vinyl release. Meaning "lines" in Arabic, Sotor reflects its commitment to championing the diversity of the techno genre.
The label's ninth release, "Processing Range," is a musical ode to the lines of space-time. With four original tracks from the Portuguese producer, Sotor invites you on a techno journey between mental tension and physical release.
The album opens with DJ Dextro's "Controle," which delivers a massive, sharp rhythm, dystopian synths, and a true immersion into a techno black hole.
The journey continues with the second track on side A. This time, DJ Dextro unleashes an uncompromising version of "Blue Dot," achieving a precarious balance while showcasing his signature percussive style. The Portuguese artist delivers the perfect track to unleash a crowd.
On the B-side, DJ Dextro offers us the eponymous track, "Processing Range." We're quickly drawn into an allegory of this decadent modern world where humanity is rushing towards its own destruction. Expect dusty techno rhythms and that sumptuous synth that sounds like the end of times. Probably a future classic!
And you'll finish on a gentler but no less dynamic note from DJ Dextro. He concludes the EP with "31 Atlas," which will leave you weightless with its galloping bassline and abyssal synth.

Just when you thought you had heard it all.... Evil Grave were an exceptionally unique underground rock band from Malta that shook the islands with uncompromising attitude and dark imagery. In the early 1970s they ruled the Maltese scene and were voted best band in national polls. Heavily influenced by Black Sabbath and early progressive rock with a traditional Maltese flavour, Evil Grave never released any material during their existence. Several low budget demos were recorded at the time but, over the following years, the name Evil Grave simply vanished into obscurity. Until now! During a recent vacation to the islands, label owner Lee Dorrian became aware of the band and has spent the past three years tracking down as much information about them as he possibly could. With the blessing of original guitarist/songwriter John E Zammit Pace, we are excited to release this ungodly artefact upon the work for the very first time. Death From Malta, gathers together all known existing material from the band, the sound quality of which is decidedly lo-fi but, if anything, this only adds to the mysterious vibe of this simply enigmatic band.

'Matsuli Music is proud to announce the first vinyl reissue of Philip Tabane’s Sangoma ("Spiritual Healer") since its 1978 release. Remastered from the original tapes with lacquers cut by Frank Merrit and pressed on 180g heavyweight vinyl at Pallas in Germany, this definitive edition re-asserts the power of one of South Africa’s landmark recordings. Featuring new liner notes by cultural critic Kwanele Sosibo and artwork restoration by Siemon Allen, Sangoma returns in full force through an extended Malombo line-up, fronted by Tabane's spellbinding guitar - ancestral, timeless, and unbound.
'Philip Tabane (1934–2018), the mercurial guitar genius of South African music, forged a sound that was as rooted in the spirit world as it was in daily life. With the Malombo Jazzmen of the 1960s, Tabane disrupted Western notions of “jazz,” bringing the resonant rhythm of cowhide malombo drums into the foreground. While outsiders and the uninitiated often reached for labels like “primitive yet sophisticated,” Tabane and his collaborators named it more truthfully: “music of the spirit.”
'By the time of Sangoma, Tabane stood at a crossroads. Fresh from a period of three years’ touring in the United States where he graced the Newport Jazz Festival, and played alongside Miles Davis, Herbie Hancock, Pharoah Sanders and others, he brushed off comparisons with characteristic self-assurance: “No, I don’t play like Miles. Miles plays like me.” Back home in South Africa, and with a newly signed international distribution deal with WEA Records, he harnessed this momentum into a larger band setting, capturing a rare intensity.
'The result was Sangoma—an album that bridges contradictions: expansive yet intimate, celebratory yet haunted by exile and return. Tracks such as “Sangoma,” “Hi Congo,” and “Keya Bereka” are not simply performances but living testaments, songs that would remain in his repertoire for decades. Unlike the moody, immersive character of much of his work, here Tabane is on the move—urgent, restless, uncontainable. As he announces on the second track, “Maskanta wa tsamaya” (“something that kicks ass”).
More than four decades on, Sangoma is both an historical document and a timeless invocation. From his home in Mamelodi to the world and back again, Tabane’s spiritual healing endures—raw, electric, and unbowed.'

The 12" vinyl is now back from the pressing plant after months of delays. Availablefrom Phobia records treat your ears to something beautiful today, love from the Klaptrapers to all the drinkers, stinkers & thinkers out there. Line- up incl. members from Doom or/and Visions Of War

Synopsis: Welcome to Hyakkaô Academy, a prestigious institution where gambling rules supreme and determines the students’ social hierarchy. Here, those most skilled at betting accumulate wealth and power, while the losers sink into humiliation and bullying. Yumeko Jabami, a new student as elegant as she is unpredictable, shakes up the established order and quickly becomes someone to watch. Unlike the others, she seeks neither fortune nor status—only the adrenaline of risk excites her… and beware to anyone who thinks they can manipulate her.



Featuring 31 thrilling tracks across 2 LPs, "Notes for Kakegurui" takes you on a wild ride through electrifying instrumentals, stylish remixes, and unforgettable vocal duets like "Koi no Russian Roulette.”

I'm very excited to present the second Desolate release from this amazing band. "Dissekerad's newest and strongest 12" release yet. 12 new songs from a now-classic modern band made up of Swedish scene vets, all having put in their time in many other now- legendary acts: from TOTALITAR to MAKEBERT FYND, AVSKUM to BRAINBOMBS, and many more. Poffen's bands alone are probably too numerous to name at this point. VAGGARNA RASAR gives us exactly what we expect and hope for--a master class of Swedish mangel HC distilled to its most essential and purest form. Somehow the songs feel even more urgent this time, paired with fuller, thicker production than previous releases. The blown-out, contrasted-to-hell artwork perfectly represents the music, with song titles on the front cover because why not; fuck it. Time marches on and so does hardcore, but some things don't need to change.

To celebrate the legendary Young Fresh Fellows' 40th anniversary remix/re-release of their first album The Fabulous Sounds of the Pacific Northwest, the band took one day off their hectic touring schedule to head to Wilco's The Loft studio in Chicago. The band got GRAMMY-Award winner Tom Schick behind the boards, cut 11 brand new songs, and later added some legendary friends across the album, including Neko Case (sings lead on "Destination"), John Stirratt of Wilco (harmony vocals), Morgan Fisher of Mott the Hoople (keyboards), Jonathan Segel of Camper Van Beethoven (violin), Jenny Conlee of The Decemberists (accordion, harmony vocals), Mark Greenberg of Eleventh Dream Day (vibraphone), Peter Buck of R.E.M. (12-string guitar), and Dave "Max" Crawford of Poi Dog Pondering (trumpet). This fully realized version, Loft, has never been released before, and the cover is a faded/fated tie-in with 40th anniversary of YFF's second LP Topsy Turvy, released November 1985.

Bird or Snake is the second full-length album from Em Spel, whose intricate, flute-driven alt-folk pulses with life, from the driving drums and propulsively patterned guitars of “Poet” (featuring guest Sam Wagster on soaring pedal steel) through the organ and vocal-driven road trip love song of “Fruiting Body,” which features bird songs recorded on a handheld microphone in Maine. Bird or Snake teeters joyfully between art-folk and intimate indie rock, with delightfully dizzying vocal harmonies and songs that veer between rock, ambient, experimental, and folk.

This music sounds like nothing else, but fans of Weyes Blood, PJ Harvey, Kee Avil, Robert Wyatt, Laraaji, Laurie Anderson, and Brian Eno will all find something to love.