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Marking 50 years of David Bowie’s groundbreaking tenth studio album, the limited-edition picture disc LP is pressed from the same master and includes an exact reproduction of the original promotional poster used at release.

For this anniversary edition, the Half Speed Master album has been recut on a customised late-model Neumann VMS80 lathe with fully recapped electronics, sourced from 192kHz restored masters of the original Record Plant master tapes. No additional processing was applied, delivering the closest possible representation of the album’s original sound.

NEW VERSION ON WHITE VINYL! After turning heads with the relentless 2024 EP Råtner på rot, Jordsjuk are back with their full-length debut: Naglet til livet (translates to 'Nailed to life'). Across twelve tracks and 36 minutes, the band delivers a visceral strike of raw, uncompromising metal - free of gloss, gimmicks and nonsense. Naglet til livet is a kaleidoscope of destruction, decay, and ugliness, the band states. From the thrash-fueled chaos of "Grovt skadeverk" and the suffocating aggression of "Parasitt", to the punk-driven decay of "Rennestein" and the gloomy introspectiveness of "Svikter den neste", this is the sound of filth, concrete, ruin, and rage. Twelve tracks of in-your-face, riff-driven and organic metal. Jordsjuk consists of Renton (drums), Mannevond (vocals), Sagstad (guitars), and Larsen (bass) - seasoned musicians from the Norwegian underground. Their sound sits somewhere between black, death, thrash, punk, and rock, forging a sonic identity as raw as it is deliberate. The lyrics, written in Norwegian, dive into personal collapse, trauma, and apocalyptic despair, delivered with uncompromising honesty. Drums were recorded at PhatCat Studios (Rygge, Norway), with the rest captured at various locations in Oslo. Mixing was handled by Kurt Ballou (Converge) at God City Studios (Salem, MA), while Brad Boatright took care of mastering at Audiosiege Studio (Portland, OR). The result is exactly what it needs to be: dirty, sharp, and heavy. Jordsjuk is necro music for necro times, says the band, and after hearing Naglet til livet, it's hard to disagree. The band were booked to by:Larm festival and Midgardsblot in 2025, and it's on stage that their sonic violence truly takes over. For those who've seen them live, expectations are high. For everyone else - prepare to be run over.

MOON haewon and Tsuyoshi Yamamoto present a collection of love songs on 10-inch LP.
Following their jazz ballad-focused album ‘Fascination’ by Korean jazz singer MOON haewon and pianist Tsuyoshi Yamamoto, their new work ‘Love Songs
from Moon’ is set for release on 10-inch vinyl!
In addition to the analog release of two tracks exclusive to the previous CD edition, it newly includes the previously unreleased recordings “I'll Be Seeing You”
and “A House Is Not a Home.” The duo, who continue to captivate jazz and audiophile fans worldwide, deliver exquisite love songs.

Celebrating their 40th anniversary in 2025, Japan's ska scene pioneers The SKA FLAMES － still going strong and continuing to exert a huge influence
both domestically and internationally － will release five 7-inch singles over three consecutive months!!
The second installment also features two titles released simultaneously!
This collection includes two original tracks frequently performed live － the long-awaited “HELLOLONG GOODBYE” and “LET'S HOT ONE” － much to
the delight of fans and selectors alike.

Erweiterte Deluxe-Jubiläumsausgabe von "The Fallen By Watch Bird", das neben dem Originalalbum auch das Kompendium "The Watchbird Alluminate" enthält, alternative Versionen und Neuinterpretationen von u.a. Demdike Stare, The Focus Group, Anworth Kirk und Emma Tricca. Seit der ursprünglichen Veröffentlichung vor 15 Jahren hat sich Jane Weaver zu einer der markantesten und experimentierfreudigsten Stimmen aus UK entwickelt und eine Reihe von gefeierten Alben veröffentlicht, darunter "The Silver Globe", "Modern Kosmology", "Flock" und "Love In Constant Spectacle". Es ist ein psychedelischer Femme-Folk-Rock-Teppich, der Einflüsse aus dem osteuropäischen Kinderkino, deutschen Kunstmärchen, der TV-Musik der 70er Jahre und elektronischen Soundtracks der 80er Jahre aufgreift. Dieses konzeptionelle Album, das von Synths und Mystik durchdrungen ist, verwebt Bilder von abwesenden Seeleuten, Telekinese, Tierbotschaften und weißer Magie mit heidnischen Themen wie Tod und Wiedergeburt. Ein prägendes Meisterwerk aus ihrer ständig wachsenden Diskografie, das ihre Reise von ihren folkloristischen und poporientierten Anfängen bis hin zu den psychedelischen Synth-Pop-Experimenten von heute dokumentiert. Das Album umfasst sieben Kapitel und enthält Beiträge von Septième Soeur Wendy Flower vom Folk-Pop-Duo Wendy & Bonnie, das 1969 das Album Genesis veröffentlichte, Lisa Jen, der walisischen Sängerin auf Gruff Rhys' Candylion, der verstorbenen amerikanischen Folk-Pop-Sängerin Susan Christie und dem bosnischen Folk-Musiker und Violinisten Behar. Als Extra setzt "The Watchbird Alluminate" die Reise fort, indem es in Drone, Psychedelia, Folk und weitere Klanglandschaften eintaucht. Einzel-CD oder limitierte 2LP-Edition in Marineblau und Cremefarbenem Vinyl, Gatefold-Sleeve + Obi-Streifen & DL-Karte.

Ray Charles (1930–2004) was a groundbreaking musician who fused gospel, blues, jazz, and country to create the sound of soul music.
A master pianist, singer, and songwriter, he delivered timeless hits like “What’d I Say,” “Georgia on My Mind,” “I Got A Woman,”
“I Can’t Stop Loving You,” and “Hit the Road Jack.” Known as ‘The Genius,’ Charles transformed American music and influenced countless artists across every genre.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

Zombie Club presents a re-edition (new sleeve art) of "Mambo Calypso" another volume of sonic Caribbean Cruise. Following the approach of the first volume and understanding the Caribbean as a region is not limited to a strictly geographical demarcation but rather a demographic and cultural space where countries, islands and coastal areas may fall into a common Mare Nostrum even arrives in New Orleans. The influence of African drum and the "Cuban clave" makes different music beyond its specific components be they Latinos, Anglos or Frenchie's - look at themselves and recognize a certain family. This is not a coincidence, since the slave trade brought African music from the port of Havana to Cartagena de Indias, Nassau, Port-au-Prince, Salvador de Bahía and the southern United States. The same Blackness, the same rhythm, the same festive mood, spirit of resistance and struggle. And so, Arsenio Rodriguez can be heard without jumps next to a Calypso of Blind Blake, or a tasty Pacho Galán's coastal Cumbia crossover with Dave Bartholomew's Mambo or a Latin Swing of Lalo Guerrero, where the Dominican Merengue sounds Joseíto Mateo in line with that of its Haitian neighbor Nemour Jean Baptiste. A very spicy musical "melting pot," a gumbo of percussion and languages, to enjoy and dance. Re-board the Zombie Club Cruise, mixing different genres of Caribbean music with a high dance and rhythmic component. This selection designed for collectors, Dj's & calypsofied zombie dancers.

NEW MISERABLE EXPERIENCE are a Philadelphia-rooted collective that reshapes heavy-music rigour into expansive, melody-forward songs through alternative synth-rock. What started as a file-trading collaboration between vocalist/bassist David Grossman (ex- ROSETTA) and multi-instrumentalist Joshua Mahesh Kost expanded into a full band that now includes ROSETTA drummer Bruce "B.J." McMurtrie Jr., technical-metal bassist Brett Bamberger (REVOCATION), and guitarist Brody Uttley (RIVERS OF NIHIL). The group forgoes technical exhibitionism in favour of mood and melody, composing introspective songs designed to reward close listening. Across the twelve tightly arranged tracks of 3rd album "Gild The Lily", the band pares its palette to essential elements: clear melodies, precise dynamics, and richly textured production. The album trades overt bombast for craft, building emotional weight through small gestures and patient arrangements rather than moments of spectacle. "We started saying `infinite sadness' as a bit of a catch phrase with the last album. I think that sums up the vibe of the album and project overall. We are very much in the `sadboi' world with Jeff Buckley, Puma Blue, Radiohead, Deftones, The Black Queen", says Grossman. Sonically, `Gild the Lily' combines alternative synth rock with chorus-tinted guitars, and a rhythm section that alternates between taut propulsion and roomy, reverb-soaked space. The arrangements both electronic and instrumental negotiates smooth and slick danceability alongside sinister edges. The band's aesthetic is one of deliberate economy: textures are chosen to serve mood and narrative rather than technical exhibitionism, and arrangements reveal their depth across repeated listens. Slick, sorrowful and cinematic in atmosphere, `Gild the Lily' is an eclectic collection that can not only groove in vibe and inspire movement, but also pierce to the nerve in ethereal lamentation. RIYL Crosses * Black Queen * Ulver * Vowws * Rosetta * Revocation * Rivers of Nihil

The follow-up to 2024’s "Perpetual Eden" sees Bloody Head stretch out and capture the cosmic sprawl of their live gigs on record. Available on limited-edition LP with spot-varnished sleeve.
After finding their Perpetual Eden and then seeing it violently retrograde, Bloody Head return with a new transmission devoted to the pendulum’s swing and the big wheel’s turn.
The big wheel turns and the seasons turn and we turn and it all just keeps on spinning away… elliptic, off kilter, centres not holding, the whole merry-go-round whirling and dissolving and coagulating, perpetually.
The CHILDREN OF THE DUSK and the sundry weirdoes and creeps depicted on the cover painting, channelled by Danny Roberts 777, all spinning and singing and sinning as they rattle along… in some sort of strange, discordant VIBRATORY AFFINITY with themselves/each other/it all.
Stay a while and take the time to BEND DOWN AND KISS THE GROUND/smell the roses/find your Eden, in and amongst the nooks and cracks and crannies and in the thin, strange places.
TIME AS VEILED ETERNITY is a microcosm of the whole merry Shambala, pushing and pulling and coming together and falling apar
Recorded, mixed and mastered by James Atkinson at the Stationhouse, Leeds. The session almost kiboshed by Storm Éowyn. A sprawling mass/mess which oozes and lurches from bloody minded heaviness to meditative reflection to unsettling delirium and back again, ending in total sonic breakdown. More focused and restrained, more reckless and chaotic. There is No time, to every season some sort of purpose.

"Huntress" by She Spread Sorrow (Alice Kundalini) is the story of a huntress and her morbid and psychotic relationship with her prey. The protagonist is Blue, a girl whose existence is marked by obsession with another woman of the same age and by nightmares that leave her without peace. Between love and psychosis, a tragic story is consumed, which vibrates in the stomach, like the music that accompanies it - dark and hypnotic death industrial, with moments of dark ambient, power electronics and noise.Inspired by Kundalini’s nightmares and her fervent world of dreams, "Huntress" was born after 3 years of intense recordings. It pursues the need to whisper secret, forbidden tales and to stimulate the deepest shadows of the human being, exploring the boundaries between the delicate and the violent; between love and obsession; between fantasy and madness."Huntress" is the soundtrack of a tragic game between opposites in a reality of total solitude.

Das legendäre Debütalbum der norwegischen Funkateers Xploding Plastix, "Amateur Girlfriends Go Proskirt Agents" (2001), erscheint als Deluxe-Doppelvinyl mit 6 zusätzlichen Bonustracks. Mit ihrer Mischung aus obskuren Jazz-Samples, coolen Beats, melodischem Feeling, einer unkonventionellen Herangehensweise und einer gehörigen Portion Humor schufen Xploding Plastix ihren ganz eigenen Stil. Eine Art älterer Amon Tobin trifft auf Scott Walker in einem verraucht-schmuddeligen Jazzclub. Dazu noch ein Faible für Film Noir, Balearic Beats, Lo-Fi, absolut abgefahrene Sounds – einfach genial! Der NME schrieb damals: "Währenddessen bieten die Norweger Xploding Plastix – zwei Verrückte mit vielen kleinen Boxen und einem schrecklichen Namen – auf dem Jam Festival eine ganz andere Art von Umbruch. Ihr Sound ist ein lauter, desorientierender Future-Jazz-Krach, eine Mischung aus DJ Foods verrückten Drums, Aphex Twins Taktarten und den stimmungsvollsten, cineastischen Passagen von The Herbaliser. Fantastisch!"

"An Eternity Still" delves into the theme of closure, capturing the emotional journey of closing one chapter and beginning another. It evokes a stirring blend of nostalgia and the need to move forward, balancing bright memories with the desire for growth and new challenges.

For this project, Vanity Productions' Christian Stadsgaard teamed up with close collaborators Emma Acs and Malthe Fischer, who joined in the compositional process. While the album maintains Stadsgaard's signature melancholia, it also introduces a fresh sonic palette, incorporating vocals and guitar alongside the project's hallmark broken electronics and dark, evocative melodies.

The Album also features remixes by acclaimed artists Farzané and Ireen Amnes, further enriching the album's collaborative spirit and adding new dimensions to its haunting soundscapes.

With their bold blend of doom metal roots, atmospheric rock, and ethereal vocals, THE GATHERING were already reshaping heavy music in the mid-90s. But few recordings capture that electric live energy better than their iconic set at Dynamo Open Air , and now, for the very first time, this legendary moment finally arrives and it's everything fans could hope for. Expertly released by 7 Mater / Sevan Mater, this deluxe edition is limited to 500 copies each on Black and Purple vinyl, with a custom cover artwork designed by Sevan Mater that honors the spirit of the era while bringing new visual depth. It's not just a reissue - it's a resurrection. Recorded during a time when the band was ascending into cult status, the Dynamo performance showcases the perfect fusion of Anneke van Giersbergen's soaring vocals with the band's dynamic instrumental interplay. Songs like "Eleanor", and "Leaves" ring out with clarity and emotion, capturing both the power and subtlety that defined their live presence

Following on from the first KMS Sampler, PDD in conjunction with Armada Music & BEAT Music Fund return for Volume 2 in the series. Once again mining the delights in the expansive catalogue, Volume 2 showcases four more essential cuts. Up first is the classic MK Mix of R-Tyme’s – Use Me. Next up on the A side we have the legendary pairing of Chez Damier and Ron Trent with their remix of Inner City – Share My Life. On the flip, the D’Pac Dub of Dionne opens the B side and then rounding off the EP is the second Inner City track, this time remixed by another Detroit hero, Carl Craig.

Just like Volume 1, the audio has been lovingly remastered by AIR Studios and their team of celebrated engineers, fully utilising their mastering knowledge. Another brilliant volume from KMS!

Second LP of duets by these longtime VHF family staples, here delivering 2 side-long epics of “minimalist” bliss. Both sides feature Daniel on piano and Richard on zither, with rippling waves of sound recalling classics like Charlemagne Palestine’s “Strumming Music” (Dan is a frequent collaborator with C.P.) and Richard’s “Advent.” “Persian Carpets I” is a real-humans performance full of tiny variants in rhythm and attack, rising and falling in intensity – sometimes a rush of sound, sometimes a cloud of soft overtones and phantom notes. “Persian Carpets II” is more spare, with quiet and careful piano alongside Richard’s subdued accompaniment – a gorgeous bath of pointillist sound that rewards close listening.

Fides Records pushes further into its 10-year anniversary journey with X3, the third chapter of the series. Staying true to the label’s decade-long commitment to forward-minded underground techno, this new instalment sharpens the focus with five cuts that move between peak-time impact, melancholic tension, and dubwise pressure—each one a different angle on the Fides aesthetic.

Side A opens with Dustin Zahn’s “Madness”, a no-nonsense peak-time weapon built on stomping momentum, immersive pressure, and relentless drive—proof of why the US veteran remains a constant reference point. Marco Bruno follows with “Aura”, where melancholic leads and detuned synths shape an introspective yet heavy-hitting groove, capturing the Italian producer’s emotional weight and versatility. Closing the side, JANEIN (co-founder of Seelen Records) delivers “Polaris”, a spatial, bleepy roller that leans into darkness while keeping the propulsion locked forward.

Flipping to Side B, Yant’s “Fractured” shifts the palette: playful yet precise, kinetic in motion, with textures that keep mutating as the rhythm snaps into place. DHÆÜR “Sealand” captures the mood of a young Italian artist carving a new lane in minimal, elegant, unapologetic techno—energized and raw, yet defined by clean design, confident restraint, and a sharp personal signature. The record concludes with Hadone’s “No Longer Observed”, a dub-tinged stomper rich in detail and low-end depth; club-weight with an emotional undercurrent, balancing elegance and power in a way that feels unmistakably Fides.

At the end of the Sixties, the production of soundtracks for small and big classics of Italian cinema is now joined by another business which has proved to be less profitable but more creative and, in best case, free from the constraints imposed by clients on duty: the composition of music libraries. Almost all of the artists for the eighth art have finalized at least one or more music libraries. Names famous and not, old and young composers, real outsiders and meteors, usually hidden behind pseudonyms: this is the case, for example, of Braen and Peymont. The first needs no introduction, it was the one adopted by the former arranger, multi- instrumentalist, singer and composer Alessandro Alessandroni. The second is closely linked to the mysterious American composer, but resident in Italy, David Hoyt Kimball. The two are authors in different measure of an interesting album with an experimental background, “Paese Sotto Inchiesta” (1971), originally published by Flirt Records.

The titles of the tracks appear in connection with the socio-cultural climate of Italy after 1968 and can be relocated as a background for journalistic-like images. The latter is a hypothesis not supported by facts, but some titles seem to be referred to the perception of a subsisting economic backwardness of the southern regions compared to the other ones; to a situation of collective tension, thanks to the global revolutions; in addition to the new concerns with an ecological background. Overall, the seventeen tracks on the album are mostly 'dirty', characterized by an even atonal setting, with long repetitions in a noisy key, more fundamental reverbs and echoes for the different keyboard instruments. In a few words, abstract sounds, some guitar notes, echoes of Gruppo Di Improvvisazione Nuova Consonanza, flute melodies and proto- ambient intuitions. Composers like Alessandro Alessandroni and David Hoyt Kimball deserve to be rediscovered.

*Following the essence of the work, for this press, MPI release a 100% recycled vinyl that reduce waste, minimize environmental impact and support the planet*

2025 repress.

Rhythm Section International proudly presents it's 8th offering from local boys Chaos in the CBD. Born in New Zealand, but based in Peckham for the last few years (literally just around the corner from Henry Wu and Bradley Zero), these brothers have made a real mark on the scene here in London town and with their latest set of productions are set to take this message further afield.

Having already released internationally on labels such as ClekClekBoom (Paris), Hot Haus (London) and Amadeus (Montreal), the duo's approach to production has matured immeasurably in the last year, as is evident in the restrained potency and poetic subtlety on the 4 tracks across this accomplished EP, Midnight in Peckham.

Taking it's title from the locale the boys have come to know as home, the record channels a delicate late night energy - equally indebted to the hypnotic incantations of Ron Trent as it is to the hazy suburban atmospheres of Burial. These 4 classic cuts pay homage to deep house in it's truest sense - at once sublime, melancholy and meditative . Chaos in the CBD have clearly taken their cue from the mid-west masters of the genre but have not been afraid to let their own influences and environ creep in, and in doing so have created something that is unmistakablely London and infact, timeless.