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PAUL WALKER: Paul Walker is the debut studio album by American post-hardcore band, Drug Church. It features 10 tracks, including "Thinking About Joining Drug Church", "Reading Youtube Comments", and "Clifton Country". SWELL: Drug Church, monsters of alt-rock, have weathered a year of dope shows and fan adoration since the release of their seminal punk masterpiece Paul Walker. Now, the chickens have come home to roost. The band has dedicated itself fully to a true ‘sophomore slump’ EP full of indulgent missteps and overreaching stabs at pop crossover. All that being told, they’re “the sickest band ever” has yielded real results. On Swell, Drug Church push their idiosyncratic blend of punk and alt to new heights of sick. Recorded with J. Robbins (every band, ever) in a big, professional studio, Swell delivers the biggest Drug Church sound to date. It’s pretty much the life-changer you assumed it would be. This new repress of the album includes remastered tracks. HIT YOUR HEAD: Drug Church is the logical limit of heavy alt. Like the Bee Girl from the Blind Melon video pitting hard for Helmet. Hit Your Head, recorded with Jay Maas, fully embraces the futureless aesthetic the band hinted at on previous records. This is worst-body-on-the-beach music. These are fired-from-your-window-tinting-job songs. An album for people on probation for crimes that aren't even cool. Big riffs and petty concerns.

PAUL WALKER: Paul Walker is the debut studio album by American post-hardcore band, Drug Church. It features 10 tracks, including "Thinking About Joining Drug Church", "Reading Youtube Comments", and "Clifton Country". SWELL: Drug Church, monsters of alt-rock, have weathered a year of dope shows and fan adoration since the release of their seminal punk masterpiece Paul Walker. Now, the chickens have come home to roost. The band has dedicated itself fully to a true ‘sophomore slump’ EP full of indulgent missteps and overreaching stabs at pop crossover. All that being told, they’re “the sickest band ever” has yielded real results. On Swell, Drug Church push their idiosyncratic blend of punk and alt to new heights of sick. Recorded with J. Robbins (every band, ever) in a big, professional studio, Swell delivers the biggest Drug Church sound to date. It’s pretty much the life-changer you assumed it would be. This new repress of the album includes remastered tracks. HIT YOUR HEAD: Drug Church is the logical limit of heavy alt. Like the Bee Girl from the Blind Melon video pitting hard for Helmet. Hit Your Head, recorded with Jay Maas, fully embraces the futureless aesthetic the band hinted at on previous records. This is worst-body-on-the-beach music. These are fired-from-your-window-tinting-job songs. An album for people on probation for crimes that aren't even cool. Big riffs and petty concerns.

On March 20, 1964, legendary American comedian and harpist Harpo Marx joined the Riverside Symphony on stage at a benefit for the Southern California organization. By then, the comic had been in semi-retirement, and after a series of heart attacks in 1961, he was told to stop working altogether. But to a lifelong performer, nothing compared to the feeling of being on stage. Benefit shows, he slyly argued, were not technically work, since he wasn’t getting paid. For the next few years, Marx’s wife and doctors grudgingly went along with the pitch. Harpo Speaks! The Riverside Symphony Concert, out June 5 from Ramseur Records, captures a considerably remarkable, one-of-a-kind performance: The silent Marx Brother, the one whose trademark persona led many audiences to believe he was actually mute, spoke. As Harpo Marx’s first, and last—recorded just six months before his death—live album, Harpo Speaks! places listeners in the room, immersed in the swell of the Riverside Orchestra as Marx performs alongside the symphony and leads them in a narration of Peter and the Wolf. In another unusual move for Marx, he allowed the recording of the show for posterity, though the tapes seemingly disappeared after his death. Harpo Speaks! is the result of heroic archival work. Recently discovered by longtime Marx Brother archivist John Tefteller, he and Marx biographer and expert Robert Bader set out to restore the long lost recording. “The fact that we have a recording is a miracle,” says Bader. “It was not the most professionally recorded thing.

It was very haphazard. The work that was done to rehabilitate it is stunning. It’s as if you’ve found something covered with layers of mold and dirt, got it all cleaned off, and now are able to see something brand new underneath it.” Across the recording’s near-43 minute runtime, Marx, alongside the Riverside Symphony, takes the cheering audience through the delightfully lighthearted “Toy Symphony” and carries them into the softly romantic “Moon Medley,” (a medley of “Fly Me to the Moon” and “How High the Moon,” arranged by his son Bill, alongside his own composition, “Moon Tune”) and a rare instrumental performance of his composition “Guardian Angels.” And then the concert’s true highlight: the near 22-minute long riveting narration of Peter and the Wolf. For the first time, Harpo reveals his voice: deep, yet soft-spoken, refined, yet still retaining the slightest hint of his New York City origin. And, in speaking, he entertained, getting laughs not just for his physical gags, but for the storytelling itself: the dramatic inflections in moments of suspense, the arch mischievousness, and tongue-in-cheek references to Goldwater, Rockefeller, and Nixon.

Mit "Eyes Full" legt Zoh Amba ein eindringliches Songwriter-Debüt vor - und zugleich die erste Veröffentlichung bei Matador. Bekannt geworden als Saxophonist:in der New Yorker Freejazz-Szene und gefeiert auf internationalen Festivals, kehrt Amba nun zu den eigenen Wurzeln zurück: zur Gitarre und zur Heimatstadt Kingsport in Tennessee. Die Songs auf "Eyes Full" tragen den rauen Geist dieser Landschaft in sich - zwischen schlingerndem Blues und Appalachian Folk. Im Zentrum steht das Sehen und Gesehenwerden. Amba richtet den Blick auf Menschen aus amerikanischen Kleinstädten: Arbeiter, Suchende, jene, die kämpfen und oft übersehen werden. Aufgewachsen in den Bergen Tennessees, zog Amba mit 17 nach San Francisco und später nach New York. Doch die Vergangenheit lässt sich nicht abschütteln - sie fordert ihre eigene Stimme. Lange glaubte Amba, dass instrumentale Musik allein zur Transzendenz führen könne. Doch irgendwann drängten sich Worte nach vorn. Die Gitarre wurde zum Werkzeug, um Erinnerungen und Erfahrungen direkt zu begegnen. So entstanden Songs voller Empathie für Menschen am Rand der Gesellschaft - Figuren zwischen Schmerz, Einsamkeit und Hoffnung. Aufgenommen wurde "Eyes Full" live und ohne Overdubs in den Drop of Sun Studios in Asheville. Kevin Hyland an der E-Gitarre und Jim White am Schlagzeug verleihen den Songs eine rohe, unmittelbare Kraft. Ambas Stimme knurrt, flüstert und brennt sich durch die Stücke. Zärtlichkeit und eruptive Energie liegen hier oft nur einen Herzschlag auseinander. "Eyes Full" ist ein Album, das hinschaut - und lange nachhallt.

Vince Staples is one of the most revered voices of his generation. Though he's a celebrated multi-hyphenate, making an impact in TV, film, & contemporary culture, music is where he most naturally pushes boundaries as an artist, storyteller, & creative force. Following a string of acclaimed introspective projects, Ramona Park (a melancholic tribute to his hometown) & Dark Times (deeper, more personal themes), Cry Baby is a more outwardly facing artistic statement and piece of social commentary.

Mit "Eyes Full" legt Zoh Amba ein eindringliches Songwriter-Debüt vor - und zugleich die erste Veröffentlichung bei Matador. Bekannt geworden als Saxophonist:in der New Yorker Freejazz-Szene und gefeiert auf internationalen Festivals, kehrt Amba nun zu den eigenen Wurzeln zurück: zur Gitarre und zur Heimatstadt Kingsport in Tennessee. Die Songs auf "Eyes Full" tragen den rauen Geist dieser Landschaft in sich - zwischen schlingerndem Blues und Appalachian Folk. Im Zentrum steht das Sehen und Gesehenwerden. Amba richtet den Blick auf Menschen aus amerikanischen Kleinstädten: Arbeiter, Suchende, jene, die kämpfen und oft übersehen werden. Aufgewachsen in den Bergen Tennessees, zog Amba mit 17 nach San Francisco und später nach New York. Doch die Vergangenheit lässt sich nicht abschütteln - sie fordert ihre eigene Stimme. Lange glaubte Amba, dass instrumentale Musik allein zur Transzendenz führen könne. Doch irgendwann drängten sich Worte nach vorn. Die Gitarre wurde zum Werkzeug, um Erinnerungen und Erfahrungen direkt zu begegnen. So entstanden Songs voller Empathie für Menschen am Rand der Gesellschaft - Figuren zwischen Schmerz, Einsamkeit und Hoffnung. Aufgenommen wurde "Eyes Full" live und ohne Overdubs in den Drop of Sun Studios in Asheville. Kevin Hyland an der E-Gitarre und Jim White am Schlagzeug verleihen den Songs eine rohe, unmittelbare Kraft. Ambas Stimme knurrt, flüstert und brennt sich durch die Stücke. Zärtlichkeit und eruptive Energie liegen hier oft nur einen Herzschlag auseinander. "Eyes Full" ist ein Album, das hinschaut - und lange nachhallt.

The Red Clay Strays have officially announced their highly anticipated third studio album, Grateful, via HBYCO Records and RCA Records. Alongside the announcement, the band has released the powerful new single “Demons In Your Choir”. Produced by Grammy-winning producer Dave Cobb, Grateful reunites the band with a trusted collaborator following their work on Made by These Moments. The album brings together x11 deeply personal songs shaped by themes of faith, redemption, and gratitude. he Red Clay Strays have seen a meteoric rise in recent years. Following major award wins, platinum certifications, and a breakthrough performance at the CMA Awards, the Alabama band continues to solidify its place as one of the most compelling acts in modern Americana and Southern rock. Standard Black LP Vinyl & CD formats. Marketing.

If – in some parallel universe (or perhaps a not-so-distant-future version of the one we’re already sentenced to living in) – the evil overloads of artificial intelligence were actually successful in their attempts to create convincingly enjoyable “original music,” more specifically tasked with wholly encapsulating my own personal tastes by data-chugging some cocktail of – oh, I don’t know – the posters on my wall, the records in my “most listened to” pile, the mixtapes I made for others, intensive physical scans of my auditory cortex, amygdala, hippocampus, heart strings, whatever else they have splayed out on their autopsy table with the intention of generating one all-encompassing “perfect band” based on the fruitful sum of their findings – that band, for me, would be (or would at least sound exactly like) the Tara Clerkin Trio. It is, quite simply, without exception, the music I wish to hear.

Formed in Bristol UK (where none of them are from yet all of whom are deeply engrained) in 2020, the Tara Clerkin Trio – as it somewhat democratically exists today, despite the singular authority implied by its name – consists of the titular Tara Clerkin, her partner Sunny Joe Paradisos, and Sunny’s brother, Patrick Benjamin. I’ll confess, I don’t know what their respective roles are within the operation and there’s only a very small part of me that cares to learn, as one of my favorite qualities in an objective listening experience is the mystery of who is playing what, which sounds are “authentic” versus synthesized, which chunks are performed “live” in a room together versus meticulously Frankenstein’ed from measure to measure, or how exactly the overall sound is so (seemingly) effortlessly achieved. Though, I suspect, if and when I do witness a live performance by this band at any point, my enjoyment of the music will not be lost in my better understanding of it.

With two extraordinary mini-albums – In Spring (2021) and On The Turning Ground (2023) – making a splash on London’s formidable World of Echo label in wake of their self-titled 2020 debut, this upcoming Somewhere Good LP is, in many ways, the band’s most realised work. In running their usual gauntlet of idiosyncratic (*an overused adjective for which here there is regrettably no sufficient alternative) approaches, Clerkin & co. colour in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener’s imagination – all while somehow sounding more like themselves than ever before.

Of course, there are traceable influences herein, if one felt that such comparisons were necessary to properly examine and enjoy this music (they aren’t)… Being the big dumb American from the small boring town that I am, cornfed on ‘90s alternative radio with the enchantingly exotic sounds of Maxinquaye and Mezzanine emanating from my chunky tube television, I can’t help but to make a blatantly obvious reference to a “Bristol sound”, ie the whole trip-hop trip, the pastoral crooning over the suggestive urban grime of cracked electro/piano treatments, the digitally-yet-primitively reconstructed James Bond soundtrack string-beats, etc.. But the Tara Clerkin Trio is so infinitely much more than that. There are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You’re Feeling Sinister, or – in expanding on our alternate reality – a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty).

The hazy, unmappable skyline-mirage of droning harmonium, upright bass, peculiarly accentuated wind instruments, acoustic guitar, hushed yet literally mighty keys combine to hypnotizing effect. The band may make underlying nods to jazz, sure, but it’s not appropriation, it’s that they have the actual chops to build it out. Beneath the janky samples and oddball percussive embellishment lies actually great drumming. Beyond the manipulated vocal witchery and woefully reflective plain-spoke moments are Tara’s subtly inspired melodies, sung with what might honestly be the glue to the whole crazy equation. A calming consistency throughout the otherwise unpredictably dynamic, boldly intuitive, uniquely British exploration of this (their own) universe in song. – Ryan Davis (Chicago, February 2026)

Heartbreak Station, released in 1990, is the third studio album by American rock band Cinderella. The record climbed to No. 19 on the Billboard 200 and earned platinum certification the following year. VH1 described the album’s shift in direction as “bluesy and brawny,” a fitting summary for a project that produced three Billboard Hot 100 singles; “Shelter Me,” “Heartbreak Station,” and “The More Things Change.”

The album marked a deliberate move away from the glam‑metal sound that defined Night Songs and Long Cold Winter. Instead, Cinderella embraced a rawer, more stripped‑down blues approach. Speaking to the Los Angeles Daily News shortly before release, frontman Tom Keifer explained the evolution: the band aimed for a “rawer, simpler approach,” reducing reverb and overdubs to let the songs breathe. Keifer also noted that blues played a major role in shaping his songwriting during this period.

Adding to the album’s depth, former Led Zeppelin bassist John Paul Jones arranged the string sections for two tracks. The band sought him out after being impressed by his orchestral work for artists like The Rolling Stones and Donovan.

Heartbreak Station includes an insert with lyrics and is available on black vinyl.

American singer, songwriter and guitarist Boz Scaggs rose to fame in the 1970s with several top 20 hit singles in the United States. In 1976, he teamed up with a group of session musicians who would later form Toto and recorded his seventh album, Silk Degrees, which became a huge hit. The album reached #2 on the US Billboard 200, #1 in a number of countries around the world, and spawned three hit singles: “Lowdown,” “Lido Shuffle,” and “What Can I Say,” as well as the MOR standard “We’re All Alone,” which was later recorded by Rita Coolidge and Frankie Valli.

Silk Degrees is available as a limited edition of 750 copies on translucent blue coloured vinyl and includes an insert.

The Scottish singer Donovan embraced the folk-music boom during the sixties that swept both England and America.

In 1965 Fairytale was released, his second studio album which planted the seed of what was yet to come. It foreshadowed the jazzy feel and descriptions of life in urban London that Donovan would continue to explore over the next two years. Fairytale features his hits “Colours”, “Universal Soldier” and “Jersey Thursday”.

Fairytale is available as a limited edition of 750 individually numbered copies on transparent vinyl.

N.O.B.A. returns on Vibes Addikt with a raw and hypnotic vinyl only release, crafted for the most intense moments on the dancefloor. Blending driving techno energy with dark trance influences, the track unfolds through pounding kicks, razor-sharp synths and relentless tension before descending into an enchanting break layered with haunting Gregorian chants. A cinematic and almost mystical sequence before the track erupts back into full-force rave energy.

Following the identity and collector spirit of previous Vibes Addikt releases, this 10’’ edition fully embodies the label’s vision: dynamic, emotional and entirely dedicated to vinyl culture. No digital format, no streaming platforms — only pure analog pressure for DJs and collectors chasing rare weapons for the dancefloor.

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Vibes Addikt, le label de N.O.B.A. — régulièrement soutenu par des artistes tels que Charlotte de Witte, Amelie Lens, Klaudia Gawlas, Thomas Schumacher et bien d’autres — dévoile une nouvelle sortie ultra exclusive : un vinyle 10’’ pressé à seulement 150 exemplaires dans le monde.

N.O.B.A. revient sur Vibes Addikt avec une vinyl only release brute et hypnotique, pensée pour les moments les plus intenses du dancefloor. Entre techno frontale et influences trance sombres, le morceau déploie des kicks massifs, des synthés acérés et une tension constante avant de plonger dans un break envoûtant porté par des chants grégoriens hantés. Une séquence presque mystique et cinématographique, avant le retour d’une énergie rave explosive.

Dans la continuité de l’identité et de l’esprit collector des précédentes sorties Vibes Addikt, cette édition 10’’ incarne pleinement la vision du label : dynamique, emotionnel et entièrement dédiée à la culture vinyle. Aucun format digital, aucun streaming — uniquement la puissance du son analogique pour les DJs et collectionneurs en quête de pièces rares.

The incredible talent that is Jamie Myerson returns with another stellar EP packed with old school sensibilities and atmospheric charm. A1 - Photosphere Photosphere opens with a warm synth and filtered beats before a raucous kaleidoscope of breaks take over your senses, while a devilishly simple piano melody, layers of airy vocals and sampled effects jostle for your attention adding texture to an already immense array of sounds. All elements are clear and distinct in the mix, offering something new with each listen in exceptional detail and clarity. A2 - Naked Eye Changing up the vibe with a twist, Naked Eye is a a deeply atmospheric piece that opens with synths and light percussion before a relaxed old-school breakbeat and bassline drop and kick start a gloriously laid-back journey which builds and builds with trademark JLM Productions panache - adding a flurry of strings, micro melodies across the soundscape and a perfectly-tuned amen layer to the breaks. AA1 - Evolution Operator Next up: enter the sounds of Evolution Operator, opening with a DJ-friendly filtered break intro coupled with intriguing, intense padwork which builds towards a drop of dancefloor two-step beats featuring none other than the legendary Apache break. Combining driving atmospheric energy delivered from a plethora of melodies and effects with old school sensibilities results in another fine floor filler for the discerning setlist. AA2 - Lightlike Completing the EP we are treated to Lightlike, another gloriously reminiscent piece of music reflecting yesteryear with JLM’s crisp, detailed approach to production. Opening beat-free with glistening pads, subtle drums are gently added before classic Airtight breaks drop with a cacophony of synthwork, cymbals and crafted melodies swirl throughout the elements to create a classic yet modern collage of atmospheric drum & bass. Words by Chris Hayes (Spatial/Red Mist)

Spatial stalwart and ambient master Aural Imbalance returns for a fresh slice of atmospheric heaven with Unknown Universe. A1 - Alien Lifeform A serene, distinctly atmospheric synth intro with light hats introduces Alien Lifeform, Aural Imbalance toying with filtered breaks and a deep bassline which ushers in trademark melodic pads and a thoughtfully constructed amen pattern. Rolling and intense, the track embodies Spatial’s love for the floor as well as the absorbed listener, nodding along to the laid-back rhythms on the 2am train home. A2 - Indigo Soothing, calming synths create an evocative introduction peppered lightly with cymbals and gentle intrigue, before the Circles break takes center stage with a delightfully constructed and crisply programmed pattern. A spirited breakdown with a subtle trance-like quality ensues before the breaks take over again, all set to a suitably earthy 808 bassline humming away below. AA1 - Empty Universe Deliciously clean and chunky Hot Pants breaks provide a DJ-friendly intro to Empty Universe, a blissful rolling track which sees Aural Imbalance fusing incredible 80’s synthwave vibes, rolling deep basslines and micro melodies with that timeless and evocative break - programmed to perfection - culminating in a stunningly atmospheric piece, fresh for the discerning listener - just as we like it at Spatial. A2 - Lunar Phase Kick back as Aural Imbalance closes the EP in fine form with a leisurely trip to the dark side of the moon. Lunar Phase opens with a short intro featuring sullen tones and light hats before a hypnotic break pattern takes over proceedings, and airy padwork circles above. A meandering melody builds throughout the piece and develops its final form during a luscious breakdown, and through the closing stages of this truly beautiful track. Words by Chris Hayes (Spatial/Red Mist)

Absentia marks the powerful return of Belgium's Splendidula with a deeply immersive journey into atmospheric black doom metal. Massive slow burning riffs, reverberating guitars and layered vocal textures create a dense and haunting soundscape where crushing doom weight meets the cold, ethereal edge of black metal. The album unfolds through dark, hypnotic atmospheres and emotionally charged passages, balancing melancholy, intensity and cinematic depth.
Two outstanding special guests add further impact to the record: Aaron Stainthorpe of My Dying Bride and High Parasite, and Tim Yatras known for Austere and Germ. Their distinctive voices add depth and intensity, further enhancing the dramatic and evocative atmosphere of this powerful and immersive album.

For fans of: Alcest, My Dying Bride, Amenra, Sylvaine, Austere

Santamaria Brothers are the latest incarnation of a lifelong musical journey rooted in rhythm, rebellion, and reinvention. The children of Peruvian and Ecuadorian immigrants to Australia, brothers Pat and Andrew Santamaria grew up steeped in the sounds and culture of Latin America - a deep inheritance that coloured everything they did, even as they moved through scenes and styles far from home.

In their youth, the brothers sharpened their first musical swords playing in globally touring indie bands. As the rhythm section of cult outfit Lost Valentinos, they had the opportunity to see the world and learn from the best; touring with, working alongside, and releasing music through the likes of Soulwax, Ewan Pearson, and Kitsuné. Taking those experiences home, they dove deep into the rave underground, co-founding of the crucial Sydney-centric techno label, warehouse party collective, and long-running radio show Motorik! In that guise,they helped shape the city’s electronic music scene over the past decade from the booth, the studio, the airwaves, and the street.

Now, after years behind the decks and on both sides of the mixing board, Santamaria Brothers return to their roots - releasing music under the family name for the first time. With We Got Latin Soul, they bring it all together on a 4-track EP of club-ready edits (via Sosilly Records). Reworking four towering figures of Latin soul; Mongo Santamaria, Ray Barretto, Pucho & The Latin Soul Brothers, and Joe Bataan — the brothers inject each cut with tasteful touches of Balearic haze and chugging acid house pressure, honouring the originals while making them sing on today’s dancefloors.

This is Latin soul filtered through a unique blend of antipodean rave culture, crate-digging, and relentless reinvention. It’s joyful, percussive, and made for the club - a full-circle moment from two lifers forever finding new ways to move bodies.

Repress of the 10 year anniverssary vinyl reissue of “The Empyrean” By John Frusciante cut for the original analog tapes at Bernie Grundman’s mastering. includes hi res audio download card. THE EMPYREAN is the eighth solo album by JOHN FRUSCIANTE. It was originally released in January of 2009, reaching number 151 on the US Billboard 200, 105 on UK Albums Chart and number 7 on the Top Heatseekers. It contains contributions from RHCP bandmate FLEA and former guitarist of The Smiths Johnny Marr. John Frusciante is an American guitarist, singer, composer, and producer. He is best known as the guitarist of the rock band Red Hot Chili Peppers. He recorded five studio albums with them and was recently inducted into the ROCK & ROLL HALL OF FAME. Frusciante has an active solo career, having released twelve solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new wave and electronica. He has also recorded with numerous other artists, including the Mars Volta, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; Josh Klinghoffer and Joe Lally, with whom he released two albums as Ataxia; and various collaborations with both Klinghoffer and Omar Rodríguez-López. He has also produced and/or recorded with Duran Duran, Wu-Tang Clan, Swahili Blonde, Black Knights, The Bicycle Thief, Glenn Hughes, Ziggy Marley, Johnny Cash, George Clinton, Johnny Marr, Dewa Budjana and others.

Death Is Not The End present the first volume in a survey of a form of Brazilian country music known as música caipira ("hillbilly music") - a stripped-back forerunner to música sertaneja, the Brazilian equivalent to US country & western which in it's contemporary form has come to dominate the domestic music industry in recent decades. This collection covers some of the earliest recordings made by the pioneering folklorist Cornélio Pires at the end of the 1920s, through to records from the 30s, 40s & 50s and the beginning of the 60s.

Somewhat rooted in Portuguese troubadour folk traditions, música caipira is typically performed by a duo singing in parallel thirds and sixths, drawing upon a Portuguese-Brazilian style known as moda de viola - with the viola being the viola caipira, a Brazilian-style ten-string guitar that is the core instrument of the music. Born out of the "outback"-style region in north-eastern Brazil, these songs tell stories of pain, love, loss & betrayal - often backed by homemade guitars using invented tunings. Away from the polished pop country & western-stylings of the sertaneja, these recordings could be viewed as the Brazilian equivalent to the roots music of the American dustbowl or Appalachia.

A few words for the album
Moment’s Aeternity:
a 12/8 composition celebrating the raw power of the “moment”, marked by whirling improvised moments between drums, bass clarinet and Harris P’s Armenian duduk.

Pajko, fire in the forest on the mountain:
in Sokratis own words: “I have a really vivid memory as a child. I was staring at the Djena mountain from my window in Archangellos which sits on the Pajko mountain. A little beam of light shone far in the horizon; it was a fire that in my little eyes looked as if the giants of Almopia were trying to communicate with each other using phryktoria (a way of contacting through fire in Ancient Greece).”

Footprints of some Giant Steps:
While the classic compositions of two true Jazz Giants- Wayne Shorter and John Coltrane- are certainly different, they do both connect in a mystical way. Rearranged in 5/8 combining half of each melody and half of each one’s chord progression, keeping the form of the piece for improvisation, still in 5.

Oson Zeis Fainou (Seikilo’s Epitaph):
found in a tomb stone in the Northeast of Greece, this is the only melody saved from the ancient times. It is accompanied by lyrics contemplating the meaning of life:
Ὅσον ζῇς φαίνου
μηδὲν ὅλως σὺ λυποῦ πρὸς ὀλίγον ἐστὶ τὸ ζῆν τὸ τέλος ὁ xρόνος ἀπαιτεῖ.
‘’While you live, shine
don’t feel blue for anything because our life is short and time demands an end.’’

Here is to Oghene K:
’’Hey man, where is the groove?’’, he would say, just to trigger another wave of inspiration for Sokratis. Oghene was a true force of nature, a well of kindness, a masterful artist that left this world too early. This one is for him.

Balkan Riff (for Milcho Leviev):
Milcho Leviev (1936-2019), was a long-time friend and collaborator and a true inspiration for expression, creativity and colorfulness. Expressing the deep sentiments evoked by the Balkan sound and history, this is a sorrowful dialogue between bass clarinet and contrabass.

Spirits of Djena:
one of the most esoteric and personal moments of the album. Composed and recorded during the challenging times of the COVID-era, you can hear the baritone and tenor saxophone firmly grounded on a crispy, hypnotizing contrabass groove.

Sokratis Votskos Quartet
Kostas Anastasiadis / Giorgos Klountzos - Chrysidis: Drums
Leandros Pasias: Piano
Vaggelis Vrachnos: Contrabass
Sokratis Votskos: Soprano Saxophone, Bass Clarinet and Compositions


Sokratis Votskos is a jazz saxophonist, clarinetist, composer, educator, and bandleader from Greece. Deeply invested in unearthing the folk sounds and heritage music of Greece and Eastern Europe, he weaves these into modern jazz compositions though the use of melodies, polyrhythms, and his reedy, timeless tone. He leads the Sokratis Votskos Quartet, he is one half of Kolida Babo and member of the Reggetiko Project. A highly regarded sideman and ensemble player, he has worked extensively with renowned jazz musicians with several highly acclaimed releases (MiC, Jazzman, Walt Disney and now Fair Weather Friends Records).

He has performed his music in numerous venues and festivals worldwide from Vinterjazz in Copenhagen, to the EFG London Jazz Festival where he performed at the legendary Ronnie Scott’s alongside Greg Foat.

He is also an archaeoacoustics researcher and enthusiast, having completed his Master studies on the field of ancient ritualistic caves of Greece research.

Leandros Pasias was born in Thessaloniki, Greece. At age 10 was introduced to piano, continuing his studies at the Modern Conservatory of Thessaloniki and later at the Conservatorium van Amsterdam in the department of jazz piano.Ηe holds a classical harmony diploma and a BA at the Department of Music Studies at the Aristotle University of Thessaloniki. In 2020 he received jazz improvisation lessons from Aaron Parks.

With a series of appearances in multiple international jazz festivals, Leandros has collaborated with a wide range of musicians from Nicolas Masson and James Wylie to Marina Osk, Ivo Papasov and Haris Lambrakis, among others.

A member of the Yako Trio, he released “OdesSea” on Fair Weather Friends Records (2021).

Vangelis Vrachnos was born in Thessaloniki, Greece, in 1989. While he started playing the bass at the age of 12, alongside his brother, his studies would commence a few years later. Introduced to double bass at the age of 23, he undertook jazz double bass studies at the Codarts Αcademy of Rotterdam. He has participated in several festivals such as the Technopolis and Odessa international jazz festivals. Since returning to his hometown, in 2015, he has been a founding member of Mordana and Yako Trio and has collaborated with a series of musicians like James Wyllie, Sokrates Votskos and Dimitis Agelakis, among others.

Kostas Anastasiadis is a tireless researcher, that has been diligently studying Tradition and its evolution, creating a fresh amalgam of sound moods. His mature improvisational virtuosity highlights a uniquely individual artistic expression and was recognized with the ̈Unique Individual Stylist" award by the PIT (Percussion Institute of Technology) in Los Angeles, California. He has been associated with various ensembles that have garnered significant interest in the global music scene. As an educator, he is the founder of "The Harmony of Rhythm" musical method, which aims to explore and establish the elements that constitute the concept of rhythm.

Giorgos Klountzos-Chrysidis was born in Thessaloniki in 1991. Following studies at the Modern Conservatory of Thessaloniki, he moved to France and the Conservatoire de Nice. With performances at well-known festivals like Nice Jazz Festival, Nuits du Sud and Jazz à Vienne, he had the opportunity to meet the American drummer Leon Parker, who encouraged him to move to Paris, where he spent the next two years under his tutoring and guidance.

In 2016, came a defining moment in his career as he traveled to New York for the first time. He participated in the quartet of saxophonist Diego Rivera for a series of performances and attended lessons by Rodney Whitaker and Randy "Uncle G" Gelispie at Michigan's State University.

Collaborations include Xavier Davis, Ricky Ford, Nicolas Masson, Diego Rivera, Craig Bailey, Baptiste Herbin, Marc Abrams, Pantelis Stoikos, Antonis Anissegos, David Lynch, Ziad Rajab and Ivo Papasov, among others.

Hiroshi Sato's masterpiece “Awakening” has been reissued for the fourth time in a new color “Pastel Blue Vinyl”. The album was cut by world-renowned engineer Bernie Grundman based on high-spec sound data digitally converted to 96KHz/24bit from the original master tapes. The pressing was done at Sony Music's factory in Japan. This is Hiroshi Sato's fourth original album released in June 1982 after his career in Los Angeles, and his first album for Alpha Records. Featuring Canadian female vocalist Wendy Matthews and using the most advanced drum machine at the time, “LinnDrum,” this mellow and soulful album is a perfect fusion of Sato's sound sense and the atmosphere of American West Coast, and has transcended generations, continues to influence many musicians. Guest guitarists include Tatsuro Yamashita, Tsunehide Matsuki, and Yuji Toriyama! Limited edition.

Xzibit – Kingmaker markiert die lang erwartete Rückkehr der Westcoast-Legende, sein erstes Album seit 2012. Vollgepackt mit Heavyweight-Kollaborationen präsentiert Kingmaker Branchengrößen wie Dr. Dre, Ice Cube, Busta Rhymes, Redman, Royce Da 5'9", Ty Dolla $ign und viele mehr. Mit einer knallharten Produktion und Xzibits charakteristischer, messerscharfer Darbietung verbindet dieses Album rohe Lyrik mit erstklassigen Beats und bekräftigt Xzibits Status als Hip-Hop-Powerhouse. Kingmaker ist ein Muss für Shops und Fans gleichermassen und wird in der gesamten Kulturszene für Aufsehen sorgen.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.

Formed in 1992, Boris boldly explores their own vision of heavy music, where words like "explosive" and "thunderous" barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billow smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way. This is the first-ever and particularly-anticipated official vinyl release of Boris's essential 2000 album, Flood. The album was originally released in Japan, only on CD. Delivered in four equally important movements, Flood is simultaneously delicate, dense, undulating, devastating, emancipating, hypnotic and triumphant. Each season of the album has its own sense of place, best revealed listen-by-listen. With the album, Boris broaden their vision of musical possibility, with a notable and imaginative influence from visionary American minimalist Steve Reich, weaving in prog, drone and slowcore into a multifaceted symphony. There simply has never been another piece of music like Flood.

"Time Is Slipping Away is an album by American R&B/jazz fusion producer, composer, keyboardist and vocalist Dexter Wansel. It is the last of four studio albums released at Philadelphia International Records. The album contains songs with different styles from P-funk to sophisticated quiet storm music to instrumental jazz-funk. It features the two popular songs ""The Sweetest Pain"" and ""I'll Never Forget (My Favorite Disco)"". The former song features vocals by soul singer Terri Wells. Time Is Slipping Away is available as a limited edition of 500 copies on purple coloured vinyl and includes an insert with lyrics."

The American rock band was formed in 1996 by lead singer and guitarist Alex Band and guitarist Aaron Kamin. They’re best known for their hit single “Wherever You Will Go”, which topped the Adult Top 40 for 23 consecutive weeks, making it the second longest running #1 hit in the chart’s history. The track featured on their debut album Camino Palmero, which was released in 2001. At the time, the band’s lineup included Band, Kamin, Sean Woolstenhulme, Nate Wood and the Grammy Award-nominated multi-instrumentalist Billy Mohler.

Camino Palmero was a commercial success and was certified with a Platinum status in several territories. In addition to the hit “Wherever You Will Go”, the band spawned two more singles, “Adrienne” and “Could It Be Any Harder”. The album features several guest performances; Whitesnake member Paul Mirkovich, who is also the band leader of Cher; session musician Bob Glaub, who played with artists such as Bruce Springsteen, Journey, Bob Dylan and many more; producer Ron Fair, who produced multiple #1 hits.

"I think I have never met anybody, with the exception of Brazilian guitarists Baden Powell and Toquinho, as connected to his instrument as Agustín Pereyra Lucena" – Vinicius de Moraes

Far Out continues its exploration into the singular catalogue of Argentine guitarist and songwriter Agustin Pereyra Lucena with a special Record Store Day edition of his most celebrated album Ese Dia Va A Llegar.

Agustín Pereyra Lucena was one of South America’s outstanding guitarists. Hailing from Buenos Aires but obsessed with the music of neighbouring Brazil, Agustin abandoned his architecture studies to pursue music full-time, earning friendship and collaborations with Brazilian music's greatest figures including Vinicius de Moraes, Baden Powell, Toquinho, Dorival Caymmi, Maria Bethania and Chico Buarque.

Originally released in 1975, the album has been better known in some parts of the world as Brasiliana – a title repurposed by Agustín's European record label in the 70s to exoticize the sounds of South America for the continental market. It finds Agustin and band—which includes key collaborators Guillermo Reuter on contrabass, and Carlos Carli on drums and percussion— at their most blissfully laid back. The album features idiosyncratic renditions of classics by Antonio Carlos Jobim, Vinicius de Moraes, João Donato and Agustin’s personal hero and friend Baden Powell, alongside Agustín's own works which ooze with captivating mystical wonder.

The analog warmth of the recording is such that it feels like you’re there in mid-seventies Buenos Aires, on a balmy late night session at Estudios Audión, with a group of phenomenally impressive musicians. The heat generated is offset only by the cool temperament of everyone involved. On the handful of vocal tracks on the album, Agustin’s gentle voice is responded to by the liquid smooth vocals of Laura Hatton, Luis Maria Cosenza and Patricia Scheuer.

Agustin’s unique position in the annals of his continent’s musical history has been lovingly maintained by Agustin’s nephew Jose Luis Pereyra Lucena, who has entrusted Far Out Recordings to preserve and re-release Agustin’s works. The music has been professionally remastered at London’s Metropolis Studios, using multiple copies of well kept original vinyl.

Reissued worldwide for the first time under its original title and cover as Agustin originally intended, Ese Dia Va A Llegar will be presented in a limited edition obi-stripped gatefold replica sleeve.

Phoenix Reimagined (Live) by Lakecia  Benjamin, a powerful live studio album capturing an unforgettable performance. Previously available only on CD, it features standout performances from jazz icons John  Scofield, Randy  Brecker, and Jeff “Tain” Watts, and earned nominations in two Grammy categories—Best Jazz Performance and Best Jazz Instrumental Album.

Welcoming prolific and essential Mexican artist Andy Martin to Animalia, with his mesmerising, mind-bending musical interpretation of the Nahual, a common & integral figure of the belief systems of ancient Indigenous peoples of the Americas, which embodies the spiritual connection between humans & animals. In some traditional stories, this connection is so strong that they are said to transform into one of them. Tierra de Nahuales refers to a region of ancient America inhabited by these mythological beings, which in this EP become part of the Animalia universe, shaped by psychedelic broken rhythms, tribal sounds, and dub influences. A release that feels both deeply personal to Andy's musical & cultural identity as well as the label's own - a telling ode to the abilities of the depth & outer worldly sense to his music - a world-building, shapeshifting & one of a kind artist who feels truly at home in the Animalia family.

Renowned Italian jazz master Nicola Conte presents an incandescent limited edition 7" single for Record Store Day 2026. "Terra Em Transe" and "Naquela Base" are brand new tracks from sessions for Conte's forthcoming Far Out Recordings album, drawing deep from early 70s Brazilian jazz and modal hard bossa while underlining the vital role of the arts in social and political struggle.

In Nicola's own words: "Terra Em Transe' is a dedication to visionary director Glauber Rocha and to all free thinkers willing to portray the conflicts, contradictions and lies of those in power around the world." The original composition takes inspiration from Milton Nascimento's vocal harmonies and Tamba 4's sophisticated samba-jazz.

'Naquela Base' is a stunning reinvention of João Donato's classic: pure modal hard bossa recorded entirely live in the studio. Inspired by samba-jazz classics like Tenório Jr.'s "Embalo" and Paulo Moura's "Fibra", the track is carried beautifully by Teppo Mäkynen's masterful drumming, with solos from Gaetano Partipilo on alto saxophone and Pietro Lussu on piano, supported by Ameen Saleem on double bass and Abdissa Assefa on percussion.

Having released music with Blue Note, Impulse! and Schema records, Nicola Conte's relationship with Far Out Recordings has produced his acclaimed Umoja project, his five-part Viagem compilation series, and most recently Viaggio, a compilation exploring Italy's library music renaissance from 1970-79.

'Terra Em Transe / Naquela Base' will be released as a limited edition 7" single for Record Store Day 2026 via Far Out Recordings.

Fresh from fine outings on Legofunk Records and Scruniversal Records, Frank Virgilio pops up on historycal Hollywood Records with a quartet of warm and seductive workouts. He kicks things off via the sun down beauty and latin mood of "Is This The Spirit Of The Party ?", before joining the dots between beatdown, disco 80' and dancefloor on the bubbly and hypnotic "That's The Groove!" The other side is dedicated to a double version of a classic killer dancefloor of 80' " DJ's Talk" by the american singer Vivien Reed . Frank Virgilio and L.D.F. aka Lello Di Franco give 2 different ways to read the track . A slightly bolder than the original (but no less deep) mixture of drifting melodies, head-nodding house beats, groovy bass, select vocal snippets and enveloping chords.

Die US-Kultband veröffentlicht ihr viertes Album.

Als die Idee für ein viertes Album (zum zweiten Mal) aufkam, war American Football klar, dass es düsterer werden würde. Nach einer einjährigen Welttour mit ausverkauften Konzerten zum 25-jährigen Bandjubiläum und der Veröffentlichung eines Coveralbums (mit Songs von Iron & Wine, Ethel Cain, Blondshell, u.a.) tat sich das Quartett mit Produzent/Toningenieur Sonny Diperri (My Bloody Valentine, M83, Kurt Vile) zusammen, um sein bis dato essentiellstes Album aufzunehmen. LP4 verbindet atmosphärische Soundlandschaften mit emotionaler Katharsis im Post-Rock-Stil. Anders als alles, was American Football bisher aufgenommen hat, fügt sie sich dennoch nahtlos in ihren stetig wachsenden und beeindruckenden Katalog ein. LP4 ist ein ambitioniertes künstlerisches Statement einer Band, die die Grenzen von Genre und Kultur immer wieder neu definiert. Es ist ein wunderschönes und vielschichtiges Album, das sich Zeit nimmt, seine Schönheit zu entfalten, während es gleichzeitig die dunkleren Seiten anklingen lässt, die sich so gut wie möglich verbergen. Das Album enthält Gastvocals von Brendan Yates (Turnstile), Wisp und Caithlin De Marrais (Rainer Maria).

Following the global success of its first chapter and in that spirit, “MoBlack presents: FROM LATIN AMERICA WITH LOVE ” gathers four tracks that channel the pulse, colour and vocal character of the region. Rather than following a single stylistic path, the compilation moves through different shades of Latin-influenced club music, where percussion, groove and spanish-tinged vocals play a central role.

Casino isn’t just a track to me. It comes straight from my love for the classic Italian American gangster films I grew up on. Being Italian, I was obsessed with movies like Casino and Goodfellas. I’ve watched them more times than I can count. The style, the tension, the way the characters talk and carry themselves always hit me differently.

The idea for this track actually came from one of those iconic moments: a scene between De Niro and Pesci as their relationship starts to unravel. I’d seen it countless times, but this time I stopped and thought: what if I used this in a track? Would it elevate the music or would I ruin one of the greatest films ever made? That thought lit the spark.

I wanted to capture that same energy. The power. The danger. The drama. And bring it into sound. Casino is the result. Raw, cinematic, and authentic. I hope it hits you the same way those films have always hit me.

–EDEF

“So Help Me God is the long-awaited second album from Kelsey Lu, arriving June 12 2026 via Dirty Hit. Moving between shadow and release, the 10-track record follows her groundbreaking 2019 debut Blood and is co-produced by Lu, Jack Antonoff and Yves Rothman, mixed by Oli Jacobs, with contributions from Sampha, Kamasi Washington and Kim Gordon. Across the record, Lu blends distorted guitars, choral swells and dark electronic pulses into a sonic landscape that moves between devotional intensity and cinematic scale. So Help Me God expands Lu’s singular creative universe - where music, visual art and performance converge into one multidisciplinary project, marking the return of one of contemporary music’s most singular voices.”

“So Help Me God is the long-awaited second album from Kelsey Lu, arriving June 12 2026 via Dirty Hit. Moving between shadow and release, the 10-track record follows her groundbreaking 2019 debut Blood and is co-produced by Lu, Jack Antonoff and Yves Rothman, mixed by Oli Jacobs, with contributions from Sampha, Kamasi Washington and Kim Gordon. Across the record, Lu blends distorted guitars, choral swells and dark electronic pulses into a sonic landscape that moves between devotional intensity and cinematic scale. So Help Me God expands Lu’s singular creative universe - where music, visual art and performance converge into one multidisciplinary project, marking the return of one of contemporary music’s most singular voices.”

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

Maria is the debut album from renowned Brazilian electric bassist and composer Moyses Dos Santos. A homecoming for the London-based artist, Moyses’ debut reconnects him with his North-Eastern roots while assembling an international cast of collaborators including legendary Brazilian arranger Arthur Verocai, US trumpet sensation Theo Croker and London-based vocal star Lynda Dawn.

After relocating from Brazil to London in the early 2000s, Moyses dos Santos quickly became one of the capitals’ most in-demand players, sharing stages, studios, and writing credits with best-selling artists including Nile Rodgers, Janelle Monáe, Emile Sandé, Gregory Porter and Omar.

In 2022, Moyses toured with Brazilian jazz-funk legends Azymuth, completing the rhythm section alongside Brazilian drumming master Ivan "Mamão" Conti. "It felt like he was my wise Brazilian grandfather figure." Moyses recalls. "When you spend so many years working internationally, you unconsciously start to leave certain parts of yourself behind. Mamão encouraged me to reconnect with Brazilian music, and that's where this record really began."

Brazil’s North-east, where African, indigenous and European traditions collided and fused most intensely, produced a musical heritage unlike anything else on earth, Moyses dos Santos is a product of this syncretism. On Maria, named after his mother, Moyses brings the musical vocabularies of his youth to the fore. From the soul of the church band where he began to learn his trade as a musician, to the rolling batucadas – maractus, baiaos, sambas and frevos – which he played throughout his teenage years.

Drawing on the lineage of North American electric bass giants like George Duke, Jaco Pastorius, and Stanley Clarke, Moyses runs Brazilian musical traditions through jazz, funk, soul and disco: his sound charged with the cosmopolitan energy of London's contemporary jazz scene.

Lead single and album opener “Boa Viagem’ is joyous, carnivalesque dancefloor jazz: a timeless groove for the nightclub and street party alike. Calling directly to a higher power “Brazilian Spirit” is an astral-jazz phenomenon, featuring the transcendent trumpet playing of Grammy nominated Theo Croker. On “Saudade” Moyses calls upon iconic Brazilian maestro Arthur Verocai, whose signature string arrangements cascade around the divine vocals of ascendant London artist Lynda Dawn.

With impeccable style, charisma, warmth and virtuosity, Moyses steps forward with his stunning debut Maria: out on vinyl, LP, CD and digitally on the 12th June 2026.

As the so-called “Latin boom” becomes a new anchor for hard-swung club sounds, it is crucial to recognize that the region’s musical culture extends far beyond dembow edits and the pop-trap hybrids that have edged into the mainstream. Monterrey-born, New York City-based producer and DJ Delia Beatriz, aka Debit, returns to NAAFI with Potpourri, a generous and kinetic collection of dancefloor-oriented tracks filled with percussive flourishes, squelching 303 basslines, and rhythmic mutations that actively challenge the status quo. Rather than rebuilding “Latin sounds” as a fixed category, the album rethinks their internal logic, tracing the evolution of techno and house in cities like Detroit, Chicago, and New York alongside parallel innovations emerging in Mexico, Colombia, and across the wider Latin world. Positioned on the bridge between Mexico and the US, Potpourri does not seek synthesis as a gesture of smooth fusion, but as a site of disruption.

The album can be heard as a loose follow-up to System (2018), Debit’s NAAFI-released EP that expanded the sonic potential of tribal guarachero through triplet-driven rhythms, industrial pressure, and noisy reconstruction. Potpourri retains guaracha as a structural backbone while drawing further influence from veteran DJ and producer Javier Estrada—who also appeared on System—and particularly from his fast-paced, nonlinear style of mixing. That approach becomes a formal principle here: canonical structures are dismantled, repetition is avoided, and tracks evolve without sacrificing propulsion. Coming after the introspective temporal inquiry of Desaceleradas and the speculative historical acoustics of The Long Count, Potpourri arrives as a deliberate surge of energy. As Beatriz explains: “It’s a manifesto for rethinking form and sound in dance music. By stepping outside traditional structures and embracing the potpourri approach, I’m creating new meaning with familiar rhythms. I’ve also been applying this to my DJ sets, using it as a tool to break free from established norms and explore new narrative possibilities.”

Years in the making, Potpourri imagines an alternate timeline in which the psychedelic squelch of acid—echoing pioneers such as DJ Pierre and Mr. Fingers—and the dub-inflected atmospheres of Basic Channel entered into direct and sustained contact with Latin American club mutations. Those references are legible, but never merely quoted. Instead, they are folded into syncopated hi-hats, overdriven kicks, and unstable arrangements that absorb both the intensity of the parties Beatriz remembers from Monterrey and the abrasive edge she sharpened at DIY noise shows in New England. The result is unmistakably a dancefloor record—heard in tracks as forceful as “Pero like” and the peak-time pressure of “tuvesuerte”—but one saturated with grotesque, psychedelic atmospheres, where sounds dissolve into hoarse croaks, acidic smears, and anxiety-inducing growls. Here, the rave becomes not simply a site of release, but a platform for navigating identity, hybridity, and artistic formation across borders. Moving through peaks and ruptures, Potpourri reveals a party narrative that is not linear but multidimensional.

By folding together the fluidity of DJ culture, the experimental charge of acid, and the rhythmic vitality of guaracha, Potpourri proposes a space of formal and political innovation within Latin America’s rapidly expanding electronic music landscape. It is a record that refuses containment, pushing against the templates through which Latin electronic music is often consumed, and insisting instead on friction, instability, and transformation as generative conditions for the dancefloor.

Damian Dalla Torre returns with People Pleaser, a record shaped by movement, collaboration and an ever-deepening relationship with sound as environment.
The Leipzig-based multi-instrumentalist, composer and producer first found wide attention with his 2022 debut Happy Floating, and his subsequent album I Can Feel My Dreams was named the #1 Contemporary Album of 2024 by The Guardian, an accolade that broadened his audience and deepened confidence in his evolving voice. That second album, written between Europe and South America, opened unexpected doors and took Dalla Torre to stages across New York, Japan and Italy. “When you release music, it’s very intimate,” he reflects. “You show your emotions pretty raw. I was kind of scared. But getting so much positive feedback gave me a lot of self-confidence to try out more.”

People Pleaser begins in that quiet shift of confidence.

The title stayed with him for months before he committed to it. “It was a working title for a long time,” he says. “I didn’t actually think I would use it. But this term also felt somehow relevant in connection with the phase of self-negotiation during the development process. Some aspects are related to pressure, others are positive.” The ambiguity felt right. Rather than presenting it as a statement, Dalla Torre leaves it open, an invitation rather than a confession.
At the centre of People Pleaser is collaboration. Guitarist Bertram Burkert, whose playing stretches from classical delicacy to electric abstraction, joined Dalla Torre in the studio for an intensive three-day session, recording a wide palette of textures that would become the backbone of the album. Vocalist Laura Zöschg, a key live collaborator, harpist Babett Niclas, organist Felix Römer, tape experimentalist Markus Rom, marimba and vibraphonist Volker Heuken and Japanese artist Manami Kakudo also contribute, creating a sound that feels intimate yet expansive.

2026 Repress

"To make authentic Jungle you’ve got to get the breaks right sonically and LMajor does that without effort. Something in the tone of his drums really spoke to me and I knew immediately I wanted a record for Astrophonica. Authentic UKG is also all in the drums and it turns out he can do those too. Throw in some killer hooks and riffs and it’s the perfect combination - full of vibe and character” - Fracture

‘Can’t Do It’ is raw dance floor Jungle in a drawn out and journey like fashion. They don’t make ‘em like this anymore. Incredibly fun to mix - can you do it?

‘Spinnin’ is all blissed out UKG with dizzying chord stabs and vocal ticks. Wait for the irresistible walking bass line to take you by the arm and go for a stroll.

The drums in ’Feelin’ are so in the pocket that there’s no space for your wallet and keys so forget them and just bubble. Heavy sub bass will have the rest of your jeans flapping.

‘Hush’ closes the EP on a high with trademark LMajor breaks and drawn out arrangement. No need to rush this one, just tune out to the rhodes and Think break workout before the lashing and metallic Amen ramps up the excitement. Shhh, just listen.

2026 Repress

Jack Stevens aka Sully has become somewhat of a cult figure in the jungle world with his output being in high demand. His work is unmistakable. It’s always true to it’s origins while simultaneously adding new takes and juxtapositions in palette and composition. A true artist that excels in his field.

Stevens returns to Astrophonica with Swandive, a body of work presented in dual energies - dark & light, body & mind, Yin & Yang. In Werk you’re put to the test physically as es- ki-like percussion stabs grab the attention and demand a response. A staple in Fracture’s DJ sets for the last year or so.

Poison demonstrates a side to Stevens’ production that is harder, meaner, cruder and all together more brutal than he is known for. The result is an infectious mix of venomous bass and corrupted drum breaks fit to kill any dance.

The title track Swandive begins to counterbalance the fierce energy and bring some harmony opening with calming strings and trademark icy melodies before elevating to an intense state of amen divinity that twists and turns in a story like fashion.

Memories completes the balance with euphoric bass stabs and emotional strings culminat- ing in a searing and conclusive anime-like solo. Some of Stevens’ most daring work. The cycle is complete.

2026 Repress

Fresh his Keysound D&B opus Blue, Sully returns to Astrophonica with four pristine slabs of breakbeat science. "Flock" places the full strength melodic elements over the faraway amen echoes in a way that's not dissimilar to early Good Looking. "Helios" is a much colder flashback to the darker corners of jungle's formative dance; all breathy minor key chords and vapour trails of paranoia countered neatly by a precision dub vocal sample. "Crystal Cuts" recalibrates the focus to the drums by way of broad jazz chord strokes while "Hours/Miles & Still" concludes affairs on an emotional electronica tip where the breakbeats thanks to a beautifully arresting intro. Powerful.

When I first heard YELKA play I thought to myself: “I’d like to play in that band.”

In the meantime I have realised that it would not be as easy as I imagined. The fluffy easy sound that gets created is so particular that it would not be so easy to execute those exact sounds of the band. This is mostly due to the unconventional harmonies of the guitar. Daniel himself said he is content with the guitar and added an extra one on almost all of the songs. Which I, as a fan of Daniels anarchic approach to playing, love.

Also Yelka’s groovy smooth bass playing is in the forefront of the album once again. Her sound bounces through the guitar riffs as if it's the most common thing on earth. Once Yelka adds her vocals to the songs, that’s when they almost become pop and reminiscent of Velvet Underground.

Christians drums hold these two together through the track list, with a fun Krautrock and jazz influenced style. Everything was recorded live and it sounds fantastic!

The 6th track of the YELKA album "Jeans" is a highlight with the piano support from Federico Corazzini, who adds lush open jazz chords to the incredible intricate harmonies of the band. Arne Bergner (Studio Popschutz) who is once more responsible for the production of the album, also added a beautiful choir arrangement. The finishing touches completing YELKA´S wonderful sound as always added by Norman Nitzsches Mastering (Mokik Studio).

From top to bottom an amazing album: "King of the World" (Steely Dan cover), a pop song with a fantastic keyboard solo from `the one and only Dan Ra´ alias Daniel Nentwig (The Whitest Boy Alive), "Moon for Now", an atmospheric jazz-ish tune, to "Walking Whispering", a strong 9-minute guitar heavy number... I think there are more than two guitars in this one.

American indie rock/pop/jazz whatever - school (after all, it's the third album in the band's America trilogy) and yet above all Berlin, in its most likeable and perhaps even coolest form.

Masha Qrella

Quartier Celeste is a unique project in today’s landscape: here’s Premier Voyage, an album that goes beyond music to offer a complete universe, almost an autonomous mythology, which unfolds through music, lyrics, videos, and a collection of visual artifacts.

It all began with a revelation: the discovery of NASA’s sound archives, recordings collected during space missions to the outer
reaches of the solar system. What can be heard as we approach the Sun? What sound does a black hole produce when its electromagnetic activity is translated into audible frequencies? What does Jupiter's fifth moon whisper through the instruments of
a probe?

From track to track, we drift through an immense space — sometimes calm, almost meditative, sometimes shaken by cosmic storms. We encounter supernovas, cosmic rays, magnetic fields, stellar winds, and clouds of antimatter. The infinitely large rubs shoulders with the infinitely intimate: the fragile, close voice offers a human counterpoint to these titanic forces. The whole is mystical, contemplative, punctuated by bursts of noise, areas of shadow, and flashes of light amid vast areas of darkness.

n a career spanning over 50 years James Brown became known as a progenitor of funk music and influencing the development of many other genres. All his hit songs, hidden gems and collaborations are now bundled on Collected. It contains 29 songs, including music from his early days with the Famous Flames, the J.B.’s and a wide collection of tracks from his solo career.

Brown began his career as a gospel singer and joined a rhythm and blues vocal group, the Famous Flames, as the lead singer in the 1950s. Later on he formed his own band and released successful singles as "Papa's Got a Brand New Bag", "I Got You (I Feel Good)" and "It's a Man's Man's Man's World". While developing the funk to a new level he created the J.B.’s, with which he scored hits like "Get Up (I Feel Like Being a) Sex Machine" and "The Payback". Brown was inducted into 1st class of the Rhythm & Blues Music Hall of Fame, the Rock and Roll Hall of Fame and Songwriters Hall of Fame. During the years he gained different honorific nicknames including "Godfather of Soul", "Mr. Dynamite", "The Hardest Working Man in Show Business" and "Soul Brother No. 1".

Music On Vinyl proudly presents a special coloured edition of the James Brown Collected compilation, which is available as a limited edition of 7.500 individually numbered copies on gold vinyl, and includes an insert with liner notes.

Born from a demo session originally recorded in 2011, “I Like” finally came to life when Daniele “Shield” Contrini and Piero Pirupa reunited in late 2025 to complete the track, transforming an early idea into a powerful new collaboration featuring two legendary voices of house music: The Egyptian Lover and Paris Brightledge.

Daniele “Shield” Contrini, founder and creative force behind Rebirth Records, joins forces with globally respected DJ and producer Piero Pirupa to deliver a record designed to fire any dancefloor.

Blending Italo disco influences, classic house grooves and a powerful bassline, “I Like” carries a warm, uplifting energy while paying tribute to the golden era of club music. The track is driven by the unmistakable vocal presence of The Egyptian Lover, the pioneering American artist, producer and DJ Greg Broussard. Widely recognized as one of the architects of West Coast electro and early hip-hop, he helped shape the sound of 1980s Los Angeles electronic music through his groundbreaking use of the Roland TR-808.

Adding further depth to the record is the distinctive voice of Chicago house legend Paris Brightledge, whose haunting and melodic tone became iconic through classics such as “It’s Alright” and “Paris Dub 1”. Over the years he has collaborated with some of the most important names in house music including Joe Smooth, Frankie Knuckles, Marshall Jefferson, Ron Hardy, Mike Dunn, Farley “Jackmaster” Funk and Byron Stingily, while also appearing on projects with Pet Shop Boys, Paranoid London and Groove Armada.

With its blend of electro heritage, Chicago house soul and contemporary club production, “I Like”connects different generations of dance music in a single record, a collaboration that bridges eras, styles and scenes. Set for an official release on 22nd May, the track marks another chapter in the label’s ongoing story and its commitment to celebrating the roots of club culture while pushing it forward.

Mission of Mercy, the fourth full length album from celebrated guitarist and songwriter Mike Campbell (Tom Petty and The Heartbreakers, Fleetwood Mac) and his band The Dirty Knobs, is due June 12 via Soundly Music/Thirty Tigers. The album features appearances from the B-52s’ Kate Pierson and Morgane Stapleton alongside the Dirty Knobs’ Chris Holt (guitars, keys), Lance Morrison (bass) and Campbell’s fellow Heartbreaker Steve Ferrone (drums, percussion). Mission of Mercy displays Campbell’s full songwriting range, with tracks ranging from the unbridled rock & roll of “I Remember” to the Americana ballad “More Than Gold” and even the Brian Wilson-inspired psychedelia of the title track. Campbell states that “Mission Of Mercy is an action-packed collection of tunes that continue the vibe we established as well as some new directions in the songwriting. It’s full-throttle Knobs from start to finish and we look forward to playing these live this year.” Last year saw the release of Campbell’s New York Times Best Selling memoir Heartbreaker, which Rolling Stone hailed as “essential…a vividly told new autobiography,” while the Los Angeles Times praised its “tale of endurance and patience rewarded” and No Depression proclaimed it “does what the best music memoirs do: encourage readers to listen once again, or for the first time, to Tom Petty and the Heartbreakers and to Campbell’s solo works.” The Dirty Knobs (named after tech slang for a broken amp dial) were founded in 2000 by Campbell as a writing and club-date project outside the Heartbreakers. The group finally got on record with 2020's Wreckless Abandon and 2022's External Combustion. Those LPs, Campbell says, were the Knobs “trying to find our way as a rock & roll band.” “Now it’s down to great songs,” adds Campbell, “the depth in the lyrics and chords.” He recalls something Petty once told him: “Tom said, ‘I love the English language. There’s so much you can do with it.’ I'm discovering that, too. Looking for rhyme schemes, the right word. At first it was a struggle. Now that door has opened,” Campbell says. “I’ve turned a corner.” The Dirty Knobs are “still a rock band but growing into different feels.”

LP aus der ”Luminessence” Serie.
“Eine subtile Tour de Force“ – so lautete 1978 das Urteil des amerikanischen Billboard Magazins in
Bezug auf Bill Connors‘ Of Mist And Melting. Und Jahrzehnte später bestätigt eine wiederholte Auseinandersetzung mit dieser Musik nur, dass hier tatsächlich besondere Geister am Werk waren, als die
von Manfred Eicher produzierte Session mit Jan Garbarek, Gary Peacock, Jack DeJohnette und Connors
im Dezember 1977 im Talent Studio in Oslo stattfand. Nach einer Phase elektrischer Fusion-Eskapaden
in den frühen 70ern, stellte Connors’ Zeit bei ECM eine Rückbesinnung auf den akustischen Kern seines
Spiels dar: Der Gitarrist reduzierte seine Musik auf das Wesentliche im kammermusikalischen Gestus, getragen von nuanciertem Fingerspritzengefühl an Nylon-Saiten. Im reflektiert-fesselnden Zusammenspiel mit
Improvisations-Speerspitzen ihrer Zeit, präsentiert der Gitarrist sechs Eigenkompositionen, die das LyrischKonkrete mit weitläufigen, s pontan u nd o ffenen St rukturen ve rbinden – od er, wi e es da s en glische Jazz
Journal einige Jahre später formulierte: „Selten haben sich Elemente von ‚Hot‘ und ‚Cool‘ Jazz so eindrucksvoll kombiniert.“ Connors selbst wirkte beim Hören des Albums im Jahr 2025 erstaunt darüber, wie
sehr er sich während seiner fünfjährigen Zusammenarbeit mit Manfred Eicher für ECM in die klassische
Gitarre vertieft hatte. „Es machte mich nostalgisch für diese Periode. Ich hatte ganz vergessen, wie viel
Zeit ich dieser Gitarrenspielart gewidmet hatte“, erinnerte sich Bill, fast überrascht von dem, was er auf
seiner eigenen Aufnahme hört. „Obwohl es möglicherweise nicht das war, was sich Manfred erwartet hatte,
ist es genau das Album geworden, das wir beide wollten.“
Neu aufgelegt im Rahmen von ECM’s Luminessence-Reihe, erscheint Of Mist And Melting in einer Tip-onGatefold-Hülle mit neuen Linernotes und Fotos aus dem Archiv.

Few artists arrive as compellingly yet elusively as did Stuart Moxham upon the startling debut of Young Marble Giant's sole studio album, Colossal Youth. Initial excitement was thrust upon the young Alison Statton, who sang songs written by Stuart with a couple of exceptions. The unaffected tone of her voice was in steep contrast to the typical goings-on in that still quite punky time, but it was what she sang that fully sold it. Moxham's lyrics were both intensely personal and woefully oblique. There seemed to be a sort of story in there. Confusingly, that story often felt like it was Alison's rather than the fellow who'd penned it. The unexpected miracle a deal with Rough Trade and the album's subsequent success had the band stymied for a second act and it wasn't long before the group disintegrated, although circumstances often brought members and a few of their peers - among them Debbie Pritchard, Spike Williams, and a third Moxham brother, Drew. - Phil Moxham was the band's bassist - together in odd combinations and pairings. None of the three YMG members have been especially prolific, but it's Stuart's career that has seemed the least straightforward, as if he'd wondered, "What to do when your debut is a nearly perfect artefact?" In the case of his first "solo" full-length in thirty years, Stuart took the unusual step of entering an alien studio with American producer Dave Trumfio (who's also the leader of Pulsars and bassist for Mekons) and allowing him to decide what tracks (of a large number submitted by Stuart) to record, and how they'd be orchestrated. Or not. In this case - save for the writing and composing - it's really Dave's album as much as Stuart's. The tracks went with Dave back to LA, where they were mixed, a few parts added (including subtle backing vocals from the incredible Linda Smith) . . . then later unmixed and reworked by John Henderson and Roni Ayala back in Valencia. Both versions will be made available, and both have a compelling cohesion missing from some of Stuart's work since YMG. Stuart's minimalism is quite intact, the range of emotions quite wide. There are few artists operating today like Stuart Moxham, a composer of the upper echelon of innate talent who combines avant-garde ideas with deceptively forthright personal lyrics, solid hooks, ambience and vaguely off-centre instrumentation which defies the casual marketplace as confoundingly as it ever did to the underground, whatever that is these days. His songs have been admired and / covered by everyone from Lush to Kurt Cobain, adaptations in Japanese and even a French-language hit by Etienne Daho, adaptations by Hole, Galaxie 500, Magnetic Fields, Belle And Sebastian and many others - but a new Stuart Moxham album is a special kind of joy.

Newly remastered and repackaged, Soul Jazz Records’ Gipsy Rhumba was first released to much-critical acclaim around the world in 2012, the album is a stunning mix of Latin, Funk, Flamenco and Rhumba rhythms. The album is being released on deluxe double vinyl, complete with large text and lush photography across two inner sleeves. Also new limited-edition new-card sleeved CD, out of print for more than ten years. The album is like no other and remains the first album ever outside of Spain to seriously focus on the history of Gipsy Rhumba, one of the most interesting musical culture clashes ever that first took place in the early 1960s.

In the Catalan region of Spain, Gypsies primarily known as the creators of Flamenco, came up with a fascinating hybrid style – Gipsy Rhumba – which blended together Latin and Rhumba music of Cuba and the Caribbean together with their own Flamenco as well as the emerging Rock and Roll from America. The album tells this unique story of how this Latin-tinged music came about in the heart of Spain's gypsy community. The album comes with extensive sleevenotes, exclusive and stunning photography from the celebrated French photographer Jacques Leonard. The album is put together by two of Spain's most important Gipsy Rhumba specialists - compiler David El Indio and sleevenotes by Jose Manuel Gómez (Gufi).

A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.

In 2019, La Volte released Les Furtifs, the latest novel by science fiction writer Alain Damasio. At that time, to mark the publication, Damasio invited the band Palo Alto to join him on stage in response to an invitation from the literary festival Oh les beaux jours !, held at La Criée – Théâtre national de Marseille. What was initially intended as a one-off performance led to a multi-date tour across France. The show performed at La Maroquinerie was filmed and recorded in multitrack and will be release on the 12th of June 2026 on Hublotone (HUBLO006CD).

At the same time, to join this release, Palo Alto invited eight artists to remix the pieces composed for the show: Ptôse, Pacific 231, Judith Juillerat, Herb Duncan, Norscq, Thierry Zaboitzeff, Lefdup & Lefdup, and Electronicat.

Bringing together the best of the French underground music scene, these tracks echo avant-garde artists such as Coil and Tuxedomoon, blending electronic music with string instruments, instrumental compositions with acid club influences. They will be available on vinyl in a gatefold sleeve featuring artwork by Kiki Picasso (ex-Bazooka). Inside the gatefold, an exclusive text by Alain Damasio introduces the project.

Palo Alto is a French band formed in Paris in the late 1980s. They have recorded a dozen albums and developed several projects featuring guest musicians such as Scanner, Simon Fisher Turner, Ramuntcho Matta, J. G. Thirlwell / Foetus, Richard Pinhas and the New York trumpeter Rhys Chatham. They contributed to a tribute album to John Balance / Coil and asked a dozen artists to reinterpret "Half-Mute", Tuxedomoon’s debut album, featuring the original members of the American band (Steven Brown, Blaine L. Reininger and Peter Principle). In 2018, they were selected by the Californian band The Residents to take part in a cover album released on Cherry Red Records. Their latest album, dedicated to the philosopher Gilles Deleuze, was released on the Belgian label Sub Rosa in 2020.

a A1 - The Stealthy Ones remix By Ptôse
[c] A2 - Une Grâce [remix By Pacific 231]
[e] A3 - Menace Prophylaxie Niveau 6 [remix By Judith Juillerat]
[g] A4 - La Ville Est À Nous ! [remix By Herb Duncan]
[i] A5 - Lueur Ultramarine [remix By Norscq]
[k] B1 - Une Clameur De Sabbat [remix By Thierry Zaboitzeff]
[m] B2 - Un Cri [remix By Lefdup & Lefdup]
[remix By Electronicat]

[a] A1 - The Stealthy Ones [remix By Ptôse]
[c] A2 - Une Grâce [remix By Pacific 231]
[e] A3 - Menace Prophylaxie Niveau 6 [remix By Judith Juillerat]
[g] A4 - La Ville Est À Nous ! [remix By Herb Duncan]
[i] A5 - Lueur Ultramarine [remix By Norscq]
[k] B1 - Une Clameur De Sabbat [remix By Thierry Zaboitzeff]
[m] B2 - Un Cri [remix By Lefdup & Lefdup]
[remix By Electronicat]

Ricardo Villalobos runs wild on Mohammad Reza Mortazavi’s Persian tombak hand drum actions, expanding a 4 min kernel of inspiration into 24 minutes of mesmerising polyrhythmic traction. From an original ‘Swamp’’ piece that practically recalls Ricardo’s style of slinky minimal techno sorcery to begin with, the Chilean-German maverick derives a more driving tract of rough hewn rhythmic grit bound to hypnotise ‘floors for the duration. Accentuating the undulating bass and dialling up the volume whilst retaining the frictional grind of the original, Villalobos gets right inside the groove with typically obsessive tekkerz, plucking out additional string
motifs and tempering the flow with signature, taut but sinuous, loosey goosey flex that cross-pollinates cultures and gets right under the skin of the thing.

Ricardo Villalobos (b. 1970, Chile) is a pioneering figure in minimal techno, celebrated for his hypnotic and groovy approach to rhythm. Raised in Germany after his family fled Pinochet’s regime, Villalobos was drawn early to percussion - he began playing congas and bongos at eleven, developing a tactile relationship to rhythm that would later inform his distinctive production style. Immersed in both Latin American folk traditions and the emerging house and techno scenes of late-80s Europe, he began DJing and producing in the early 1990s, quickly achieving cult status within global club culture. Mohammad Reza Mortazavi (b. 1979, Iran) is a virtuoso percussionist known for his groundbreaking work with the tombak and daf, traditional Persian drums that he has radically redefined through new playing techniques. Mortazavi began playing the tombak at the age of six. By nine, he had already outpaced his teacher and won Iran’s national tombak competition - a distinction he would earn six more times. By his early twenties, he was widely regarded as one of the foremost players of the instruments. Since then, his music has continued to evolve, embracing new forms beyond tradition.

Jazz-fusion, disco-funk, Latin jazz and batucada rhythms get the Filipino treatment onAfter Midnight, the sublime second album from keyboardist Boy Katindig. Originally released in 1980, After Midnight draws heavy influence from soul and funk contemporaries in the US as well as Latin America, in particular the famed Brazilian percussionist Paulinho da Costa.

It’s a testament to his musical prowess that Katindig weaves effortlessly between styles and tempos. His reverence for Paulinho da Costa extends far, with covers of several songs from the latter’s 1979 Happy People album. This includes slow-burner ‘Déjà Vu’ written by Isaac Hayes originally for Dionne Warwick; on the Filipino instrumental version, local legends Jun Regalado and Roger Herrera (from Regalado’s ‘Pinoy Funk’ single) are reunited on drums and bass respectively.

But Katindig’s original compositions hold just as much weight and unique personality: title track ‘After Midnight’ opens with a sultry funk serenade reminiscent of The Isley Brothers, and quickly transforms into a catchy, blistering, saxophone chorus that brims with swagger. Hidden B-side gem ‘Got The Need’ is an uptempo tribute to batucada that would not be out of place in a jazzy house set, and boasts increasingly elaborate and psychedelic solos from Katindig on keys and Ben Concepcion on soprano sax.

Meanwhile, ‘Love Till the End of Time’ is a masterclass in instrumental disco funk, penned by the prolific Greg Phillanganes who at that same time was writing for many of the greats including Chaka Khan, George Benson, Stevie Wonder, The Jacksons and Cheryl Lynn.

This album is lovingly reissued by Sama Sama Records, a boutique label from DJ and collector Norsicaa, who ran the esteemed Soundway Records for 8 years and released the compilation Ayo Ke Disco in late 2024.

You wait positively yonks for a new Amit record and what do you know, two turn up pretty much at once. Not that we're complaining, especially as this is quite a different beast to its dubby downbeat predecessor on the Slough producer's Amar label. A double sided collaboration with Bedford's Outrage, 'Trigger' showing the pair taking the most well worn of ingredients - crackling Amen breaks and disorientating synths - and turn them on their head, reshaping them into something you've never heard before. On the flip, 'Zulu' is another hardstepping big hitter with precision beats, plenty of drama, truly disgusting bass pressure and beats that evoke ancient memories of Digital at his most individual. There's drum & bass and then there's 'proper' drum & bass, and it doesn't get much more proper than this.

4LP vinyl boxset - pressed on opaque red, green, blue and yellow vinyl housed in printed inner sleeves with disco holes within a hardbound book jacket. The back cover is a Ludo board and the package contains Ludo game pieces, dice and instructions on how to play.

The Best of the Black President is the 13 track guide to Fela Kuti’s massive and manifold creative career. Fela was a musician, arranger, producer, political radical, outlaw and the originator of Afrobeat. This is the first time the complete compilation is available on vinyl. It is a 4 LP set, with updated cover art in a hardbound book jacket and printed inner sleeves. The individual LPs are pressed on red (sides A/B), green (sides C/D), blue (sides E/F) and yellow (sides G/H) vinyl. This edition features a Ludo game board as the back cover and comes with a perforated set of game pieces, dice, and instructions on how to play. Limited edition of 3000 for the world.



The release of this special edition coincides with the 12 episode podcast on the life and legacy of Fela, Fela Kuti: Fear No Man, produced by the Obamas and hosted by Jad Abumrad (Radiolab, Dolly Parton’s America). The series features dozens of interviews including Burna Boy, Paul McCartney, Questlove, Ayo Edebiri, David Byrne, Santigold, and President Obama himself. It was initially released on Audible on 9/15/25 and had a wide release across all podcast platforms on 10/15/25

Passages in Time, the third album from Kasper Bjørke Quartet, traces the contours of a blend of spiritual jazz reverence and the calming grandeur of '80s ambient. Inspired by Christopher Nolan's observation that "time is the most fundamental part of our human experience," the compositions are approached as fragments of time and memory. Meditations on the elusive nature of time form the heart of the work, merging freeform jazz improvisations with cyclical synthesizer patterns that mirror its quiet undulations.
Dreamy synths intertwine with guitar, harp, trumpet, flugelhorn, saxophone, and flute, creating a spacious environment for contemplation. The music invites reflection on the choices that shape our lives and the lives of those closest to us, and on the quiet weight of our priorities within the brief span we call life on this planet. Each passage unfolds as a fleeting moment suspended in time. The subtitles hint at fragments from someone's diary, tender observations of love, parenthood, and connection. Together, the passages form a musical memoir of sorts, where memory and emotion are gently woven into the compositions.
Passages in Time does not impose structure or meaning, it reflects them, offering an open space as the instruments drift in and out of focus, tracing time's subtle rhythms and inviting the listener to infuse their own memories and meaning into these passages.
The album also marks a transformation for the Quartet project itself. Langstrakt (Claus Noreen), part of the original ensemble, continues to operate the synthesizers alongside Bjørke, while the wider constellation of contributing musicians has evolved. Strings and piano give way to flute and saxophone by Oilly Wallace, guitars by Danish ambient composer Anna Roemer, trumpet and flugelhorn by Malthe Kaptain, and cascading orchestral harp by Katie Buckley, principal harpist with the Icelandic Symphony Orchestra.
The cover painting is by American artist Marcus Leslie Singleton, courtesy of V1 Gallery, and reflects the meditative and timeless atmosphere of the music.
Passages in Time is released on Bjørke's own imprint, Sensitive Records, following the two previous Quartet albums released on Kompakt Records: The Fifty Eleven Project (2018), a debut that introduced Bjørke's ambient and neoclassical explorations, and Mother (2022), which expanded the ensemble's sound with emotive choir compositions and guest appearance by Sofie Birch (Unsound / Stroom). Together, these three albums trace a journey of artistic growth, from introspective experimentation to a fully realized, contemplative expression of time, memory, and human connection.

“Passion” is back! The new track from producer/DJ Beltran and The Flirts (including some “Native Love” by Divine) has quickly become a fan favorite in his sets and online, with 500k+ views already. Now available as a special 12″ vinyl release, featuring an exclusive Ben Liebrand 12″ vinyl version made especially for this edition and only available on the 12″.

The release is shaping up to be Beltran’s biggest since his breakout club hit “Smack Yo’”, supported by Michael Bibi, Mochakk, John Summit, Pete Tong, Dom Dolla and more, and now boasting 100M+ streams. It follows a huge year for Beltran, including tours across the US, UK, Europe, Australia and South America, with standout appearances at Coachella, CircoLoco Ibiza and KOKO London. Expected shipping: 2nd week July.

"after releasing an album in 2017 on the late lyon-based label s.k. records, and a tape on lost dogs entertainment, the duo OD Bongo — aka édouard ribouillault and amédée de murcia — have teamed up with carton records, zamzamrec, prix libre record, and basalte to present bongoville, the latest episode in their musical saga.

for nearly ten years, OD Bongo has been performing across europe, often late into the night, carrying drum machines, samplers, and synths. the duo's raw setup is designed for instinctive interaction, allowing them to shape their tones and mutant beats.

bongoville captures this energy in a story tinged with hazy techno, rusty dub and industrial trap, with juke & gqom influences. the rhythms bounce, accelerate, disintegrate, creak and eventually explode in a cloud of laughing gas.

in this frantic stop-motion race, chaos comes alive with heavy reverb: a possessed rollercoaster tracing saturated colours and playful distortions, where the loop prevails, where the delays stretch and where the bass saturates.

since 2015, édouard ribouillault and amédée de murcia blend genres such as techno, dub, noise and industrial in a wild bass music bubble."

First ever vinyl release on vinyl another classic collectors piece following the contemporary fans favorite theme of the classic “mash” of Dilla and Doom.
Beautifully presented on collectible purple vinyl inside a fully artworked shrinkwrapped sleeve

American DJ Homicide aka Craig Anthony Bullock is best known as the former DJ for Sugar Ray but also does a fine line in club-ready hip-hop jams and remixes. 'Likwit Swordz' kicks off his latest on the small but well-formed CA label out of the USA. It's got nimble drums that have a clipped bounce and vamping chords, vocal grit that echoes Cypress Hill and an infectious roll. On the flip, 'Day Coastin'' is more deep and smooth - the bars as silky as BIG and the drums rolling with crisp boom-bap style. Both have been made on an MPC and that sampler's famous textures elevate the final jams no end.

The first release of Sub Culture, Puzzle by Gregory Shiff, is a tech house masterpiece with both delicacy and an innate strength. The original release came out in 2003 on the American label Matter/:Form Records and immediately caught the attention of lovers of the genre. The release features four versions of Puzzle, including an “Unreleased mix” produced in 2003. A highly respectable repress for record bags, not only for those who love tech house.

As ever, the Belfast duo come out swinging !
Tailor-made for raucous dancefloors, a 4-way of extensions and amendments from their private stash !

Originally released on Umor Rex on cassette a year ago, “El Sol de los Muertos” deeply shaped the evolution and vision of Mexican producer Concepción Huerta’s sonic work, becoming a reference point for a kind of experimental sound deeply connected to Latin American critical thought. This is the second album in a series of four special, limited reissues to be released in 2026 to mark the 20th anniversary of Umor Rex.

Crafted entirely through subharmonic structures and tape manipulation, “El Sol de los Muertos” stands as Concepción Huerta’s most abrasive and emotionally charged work to date, rooted in drone, musique concrète, and visceral textures. The album reflects on dispossession, extraction, and colonialism, while connecting deeply with Latin American critical thought and Indigenous resistance across the region. Inspired in part by Eduardo Galeano’s work, it is not a manifesto, but an invitation to reflection, memory, and vigilance against the enduring forms of fascism and colonialism.



Recorded by Concepción Huerta in 2024 between Berlin, The Hague, and Mexico City. Original master and remastered for vinyl by Rafael Anton Irisarri at Black Knoll Studio, New York. Volcano photography by Magaly Ugarte. Design by Daniel Castrejón in Mexico City.

Chet Is back! is the 1962 studio album by the undisputed master of the trumpet, Chet Baker. The album was recorded in Rome, Italy at RCA's studios. Chet is backed by a group of then up-and-coming European jazz musicians, which included Belgian saxophonist Bobby Jaspar, Belgian guitarist Rene Thomas, Italian pianist Amedeo Tommasi, French bassist Benoit Quersin, and Swiss drummer Daniel Humair

Chet Is Back! features compositions by Chet's contemporaries, like Thelonious Monk's "Well, You Needn't", Charlie Parker's "Barbados" and Sonny Rollins' "Pent Up House". The album also includes an original composition by Amedeo Tommasi entitled "Ballata in forma di blues". Although Chet's sweet and tragic vocals are not featured on this album, his soaring and lyrical trumpet playing makes up for it.

Chet Is Back! is available on audiophile black vinyl.

Semi Delicious boss Demi Riquísimo and French underground staple producer Clint join forces once again on four track EP 'Soft Landing', following their standout 2025 collab 'Love State'. Another seamless merging of the two producers analogue sounds, they now dive deep into their complementary styles across this package. With the cuts teased across Demi's recent North and South America tours, and lead track 'Who Wants To Know' a standout from his latest Lot Radio set in NY, this release comes as another exceptional addition to Semi Delicious' catalogue of ever playful and club-ready records.

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

Orange Splatter vinyl. "Sermon of Mockery" by Pyrexia is not an album that tries to be accessible - it is built to be heavy, direct, and unsettling, and it delivers exactly that. Released in 1993, it sits right in the middle of a key moment when American death metal was evolving into something more technical and extreme. The sound is rooted in the New York scene: tight, compact riffing, constant stop-and-go structures, aggressive drumming, and deep guttural vocals with no room for melody. It's not about speed alone, but about control - everything feels deliberate, almost surgical in how the songs are constructed. Lyrically, the album revolves around a strongly blasphemous and anti-Christian theme. It's not just shock value; it's more like an inverted liturgy, where religious symbols are twisted into something dark and violent. This concept is consistent throughout the music, lyrics, and visuals, as you can see in the booklet. It may not be a mainstream landmark, but it played a key role in shaping the brutal death metal sound that followed. It influenced many underground bands and is still regarded today as a cult record. Listening to it now, the production may feel dated, but that's also part of its strength - it's raw, honest, and uncompromising. In short, it's a record that perfectly captures a specific era and mindset within the genre.

Incubus is an American rock band from Calabasas, California. The group was formed in 1991 by vocalist Brandon Boyd, lead guitarist Mike Einziger, and drummer José Pasillas while they were students at Calabasas High School. The lineup later expanded to include bassist Alex “Dirk Lance” Katunich and Gavin “DJ Lyfe” Koppel. Both were eventually replaced, Ben Kenney took over on bass, and DJ Kilmore joined as the band’s turntablist. In 2024, Nicole Row replaced Kenney on bass.

Incubus’ sound has been described as a blend of rap metal, funk, jazz, and post‑grunge, often incorporating elements of hip‑hop. This eclectic style helped them become one of the most popular alternative metal bands of the early 2000s.

The band has achieved significant commercial success, earning multiple multi‑platinum releases and producing several hit singles. In 2017, they released their eighth full‑length studio album, 8, with Skrillex contributing to production and mixing.

Ola Tunji is a young French quintet based in Brussels. Together, they explore the boundaries between spiritual jazz and free jazz, following in the footsteps of their great heroes John Coltrane, Pharoah Sanders, and Albert Ayler. At the forefront is the still only 24-year-old Ornella Noulet, whose saxophone playing can both rasp and soothe with the authority of a seasoned jazz veteran.

The band describes their music as collective meditations, in which they express love, compassion, joy, and serenity through improvisation. By making music together, they search for a deeper sense of humanity.

Their self-titled EP was initially released only digitally on Bandcamp, but it was immediately met with enthusiastic international acclaim, including praise from the American platform All About Jazz. Bandcamp itself also highlighted the release as a jazz standout. While awaiting their first full-length album, W.E.R.F. records is releasing this outstanding EP on vinyl for the first time.

For the first time ever, Roxette release ‘Baladas En Español’ on vinyl. The relationship between Roxette and Spanish-speaking audiences has been a love story since the early ‘90s and this release celebrates that special relationship. The release is timed with Roxette’s 40th anniversary and their return to South America for live shows in April. The album will be available on vinyl and CD, featuring 4 bonus tracks compared to the original release. The vinyl will be released in both a limited coloured edition and standard black.

Roxette have some exciting plans to celebrate their 40th Anniversary this year, including extensive touring, further anniversary re-releases, video upgrades, contemporary remixes and much more!

Soda Stereo is a band that never made the same album twice. After the commercial success of Canción Animal, singer Gustavo Cerati went deeper into the art of sampling, electronic music, the Madchester scene from the UK, shoegaze and neo-psychedelia. This change in sound led to some confusion among fans, but also gathered a lot of praise for embracing modern genres. Up this day Dynamo is seen as an essential classic in the Soda Stereo catalogue and also a must have for 90s shoegaze fans.

Dynamo is available as a limited edition of 2000 individually numbered copies on transparent vinyl and includes an insert.

**CASSETTE

Colombian artist Nicolás Vallejo, performing under the moniker Ezmeralda, has officially joined the roster of the Swedish electronic label blundar.

Known for his deconstruction of traditional cumbias, Ezmeralda has become a defining voice in the Latin American ambient scene. His arrival at blundar marks an exciting cross-continental fusion, bringing his signature "post-impressionistic" soundscapes—a blend of fluid textures, synthesizers, and loops—to the Swedish imprint's curated electronic catalog.

New 10th anniversary fully remastered special silver-vinyl edition of Soul Jazz Records" ground-breaking Venezuela 70 featuring Vytas Brenner, Pablo Schneider, Angel Rada, Miguel Angel Fuster and many more. Venezuela 70 was the first ever compilation of its kind to take a look at the fascinating music scene created in Venezuela in the 1970s, a stunning blend of Funk, Latin Rock, European electronic experimentalism, Jazz and more! Venezuela during the 1970s was both a modern cultural and economic powerhouse in Latin America, rich from vast oil supplies. Situated at the northern part of South America, with neighbouring Colombia to its west, Brazil to its south and a north coast bordering the Caribbean. The country"s position and wealth led to an explosion in cultural activity during this time. Taking musical influences from all these surroundings as well as healthy doses of American musical sounds, the 1970s saw the evolution of a new generation of creative Venezuelan artists such as Vytas Brenner, Angel Rada, Pablo Schneider and Miguel Angel Fuster, who all explored the possibilities of creating a stunning "melting pot" mix of underground rock, synthetic electronics, funk, jazz and Latin American while simultaneously exploring their links with Venezuelan roots music, creating a new sound.

Cut The With The Cake Knife was recorded by Rose McDowall in 1988/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career.

Tibet opens the set and could be one of the best pop songs you've never heard. The innate sadness of the songs' content - the loss of a friendship, impending sorrow - is heightened to heart-melting level by McDowall's pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall's vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade's early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group's hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music.

Rose McDowall's role in the canon has always been one of an outsider. Beginning in Glasgow's East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: 'They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and suddenly everyone was crying. And I thought, "that's power."

Night School's issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7' 'Don't Fear The Reaper.' First vinyl pressing is Clear w/ Black swirl; 500 only / has DL card and booklet, with a poster
CD has extensive booklet and is packaged in anO-Card.

dgoHn (pronounced “John") is the moniker of John Cunnane, who hails from somewhere between London and Essex. ‘Tessares,’ his fourth album but his first for Planet Mu, is playful, unconventional drum & bass that contrasts sparse effects and melodic elements with complex drumfunk and breakcore. He often uses unusual time signatures and head-spinning polyrhythms inspired by jazz and math rock, sometimes within the same track. Somehow he makes it sound effortless, and occasionally pretty as well, keeping a fine balance that never feels punishing; exploratory without getting lost.

He's built a name for himself over the last two decades performing live at festivals and events around the world, while collaborating with fellow artists such as Macc, Nic TVG, Jodey Kendrick and Badun as well as solo releases.


The album opens with ‘Waiting For’ which combines complex breaks with melodic fills, spacey effects and dubbed out vocals that feel like snatches of lost conversations - a combination he uses throughout the album giving it an eerie touch of humanity. Lead single ‘I Couldn't Remember So I Made Something Up’ is in 15/8 time. It feels like a conventional melodic drum & bass track, but the time signature disrupts the listeners’ expectations, while the detuned melody eases its sense of dislocation. ’Whistling On A Tuesday’ opens with a light echoey piano countdown into bass stabs which introduce heavy whirling amen breakbeats that switch between 180 and 120 bpm. ’Holly Can Swim But She Doesn’t Really Like It’ is the most rhythmically challenging track here. It feels hard to hang on to as its knotty breaks play out over bell chimes, like something Autechre might make if jungle was in their DNA. The album ends on the dubbed-out drumfunk of ‘7 Years Or More,’ with an arrangement that builds a filmic, dusty atmosphere of chimes and electric guitar, layering in vocals, vinyl crackle and echoing synth giving way to tough drums, before all that is taken away so that just a voice remains.

Belgian label De:tuned once again dives into the innovative world of Luke Vibert, reviving his legendary Plug moniker with 'Variety Magic', the first new Plug album in nearly 15 years.

For this release, Vibert unearthed and hand-picked a collection of previously unreleased jungle and drum & bass gems, sourced straight from his original mid-90s DAT archive. The result is an 11-track ride through the raw energy and playful experimentation that made his early Plug work so distinctive, all infused with Vibert's unmistakable funk and mischievous flair.

Variety Magic is vibrant, bold, and delightfully off-kilter. A colourful homage to an iconic era, crafted for both deep listeners and the dancefloor. Stay tuned!

Visualised by the Variety Magi. Stencil Art by Pablo Fiasco and rewired by Openmind. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops.

Belgian label De:tuned once again dives into the innovative world of Luke Vibert, reviving his legendary Plug moniker with 'Variety Magic', the first new Plug album in nearly 15 years.

For this release, Vibert unearthed and hand-picked a collection of previously unreleased jungle and drum & bass gems, sourced straight from his original mid-90s DAT archive. The result is an 11-track ride through the raw energy and playful experimentation that made his early Plug work so distinctive, all infused with Vibert's unmistakable funk and mischievous flair.

Variety Magic is vibrant, bold, and delightfully off-kilter. A colourful homage to an iconic era, crafted for both deep listeners and the dancefloor. Stay tuned!

Visualised by the Variety Magi. Stencil Art by Pablo Fiasco and rewired by Openmind. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops.