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MISSILES fire off their debut album "Weaponize Tomorrow" on Svart Records Malmö’s MISSILES are set to release their inaugural album, "Weaponize Tomorrow", on May 10, 2024, under the banner of Svart Records. The members of MISSILES are no new kids on the block. Coming from punk, rock, and metal, as well as surf and rather diverse backgrounds, they all answered to the call of their good friend Gabriel Forslund - sincerely interested in doing something new and exciting together. The band's trajectory began with a 7" single released by the Swedish label Fetish in 2016. Initially viewed as a project, MISSILES have organically evolved into a fully dedicated band with a laser-guided focus, causing shock waves in the underground with their jet-fuel genre-clash. Combining abandoned sounds with new inventions on “Weaponize Tomorrow”, MISSILES promises to both pat you on the head and stab you in the back, delivering a unique blend of post-punk with a touch of goth rock. The band’s lineup consists of: Gabriel Forslund (vocals and guitar) Jens Rasmussen (drums) Tobias Augustsson (synthesizers) Sebastian Gadd (guitar) Linus Larsson (bass) MISSILES claim their debut is a one-of-a-kind album, truly a loved bastard. ”Weaponize Tomorrow” will appeal to those who enjoyed the certain “je ne sais quoi” found in the New Wave movement, a line of thought that is liberating to hear today when artists go to the bank with a genre description. MISSILES couldn’t be bothered; it’s rock, it’s pop, its punk, it’s je ne sais quoi. Hard to pin down, but undeniable to freak out to, "Weaponize Tomorrow" is a high yield blast wave that will leave MISSILES hot on the tongues of those looking for a sudden and dramatic, incendiary kick. A gut smashing future shock that will resonate across diverse musical landscapes, “Weaponize Tomorrow” will be the perfect atomic cocktail for fans of Wipers, Dead Moon, The Birthday Party, The Gun Club and even modern iconoclasts Molchat Doma and Beastmilk. Keep your finger on the button for MISSILES‘ explosive debut out on May 10, 2024.

Repress! PRESSED ON BLUE & WHITE SWIRL VINYL! Housed In A High Gloss Jacket With Each LP Tucked Into A Printed Inner Sleeve

Nasir "Nas" Jones' 2001 record Stillmatic was considered a major comeback for the 90s rap icon. It signalled a return to the gritty, urban chaos of his acclaimed debut album, after releasing record after record of gradually more mainstream material, and Nas' return to prominence in the highest echelons of hip-hop. In spite of this newfound critical clout, Stillmatic's release did nothing to squash his then ongoing feud with fellow New Yorker Jay-Z, who had gone so far as to challenge Nas to a pay-per-view rap battle. A challenge Nas rejected, stating "If Jay-Z wants to battle, he should drop his album the same day I do and let the people decide." Nas fans never would get the no-holds barred lyrical battle with Jay-Z many had speculated. What they got instead was one of Nas' most personal and introspective releases to date in 2002. Not long after Stillmatic's release, Nas spent much of his time away from the limelight to tend to his ill mother, who would pass on from breast cancer in 2002. His experiences with his mother's mortality as well as the fallout of his feud with Jay-Z, who continued to produce diss tracks as Nas tended to his mother, would inspire much of the lyrical material on his next record. God's Son was released in December of 2002, and like Stillmatic before it, was subject to major critical acclaim. On God's Son, Nas effectively took the battle-hardened demeanor he had cultivated and tore it down across 14 tracks that were emotionally insular, though still dusted in urban grit, and still finding time to shoot back at Jay-Z's potshots on tracks like "Last Real Nigga Alive" and "Mastermind." Assisting Nas was a slew of top-tier producers like The Alchemist, Eminem, Ron Browz, and Salaam Remi, over samples of James Brown, the Incredible Bongo Band, Fela Kuti, and Beethoven, and guest vocals from Alicia Keys, Kelis, Claudette Ortiz of City High, and even a posthumous 2Pac.

Acid Mothers Temple brand new mind-bending psychedelic LP "Holy Black Mountain Side". This limited-edition record features three, brand new, mind-bending psychedelic tracks, including a traditional piece woven into their signature sound, this release is a captivating journey through the realms of the Acid Mothers Temple landscape. Mastered by and featuring Taigen Kawabe of Bo Ningen, these tracks were recorded across 2021 and 2023 at the Acid Mothers Temple, Japan and expertly produced, engineered & mixed by Kawabata Makoto. The sleeve compliments brilliantly the musical voyage with a one-of-a-kind artwork created by the acclaimed artist Kashiwagi Ten, adding a visual dimension to the release. This pressing is on a 180g heavyweight ECO MIX vinyl, which allows for great quality of sound. With no one knowing what their vinyl will look like until it's opened, each one will be as individual as the next.

Introducing the next release in Names You Can Trust's long-running collaboration with the prolific and symbiotic musical universe of Bogotá, Colombia. Mau Gatiyo y Los Años Maravillosos formed in 2021, arising from the very same fertile ground of the Teusaquillo neighborhood that has spawned many records and musical mischievousness. At the heart of this experimental movement is what can only be described asTropicanibalismo, where a deep hunger for the roots of Colombian tropical music are only satiated by dissecting it, consuming it and ultimately creating something new again as some kind of untraditional, unholy, and yet referential form of musical sustenance.

Within this concept, there's a clear lineage of inspired and visionary artists that have been featured throughout NYCT's record catalog for the last 15 years that includes luminaries Frente Cumbiero, Meridian Brothers, and Romperayo. Each of these artists' tentacles have touched several parallel projects from their talented neighbors and friends, and whether through production, playing, engineering, or mixing, these collaborations have heavily contributed to a very fruitful and colorful scene that could only exist within Colombia's capital, while also gaining notoriety in the nooks and crannies of northern latitudes like New York, Chicago, and Los Angeles.

Mau Gatiyo, a talented accordian player and vocalist, together with his group (translated as The Wonder Years), is precisely one of these projects, a collective that has found their calling in the echoes of thevallenatosandcumbiasthat once populated the nation's airwaves throughout the 20th century. It's a traditional format that has always lent itself to storytelling, whether it be anecdotes about daily life, or using one's voice to raise uncomfortable questions in protest against the system. This is where Mau Gatiyo's poetic, almostnew wavetimbre finds a lane of its own, straddling a 2020s societal landscape under the guise of ostensibly old-time accordion music.

The debut 7-inch from the group, an excerpt from their recently released album Baño Unisex, was recorded at Mambo Negro studios by Ivan Medellin (La Sonora Mazurén) and mixed by Eblis Alvarez of Meridian Brothers, both familiar names and contributors to the NYCT catalog. Alvarez himself, who has emerged in recent years as an international beacon of this new tropical avant-garde, is no stranger to flipping traditional styles on their head, or at least respectfully off-kilter. Mau Gatiyo y sus Años Maravillosos proves to be another great vessel for this veryBogotano expression, draping the classical playing of its group members in a modern day cosmopolitan expression of righteousness, both outwardly in their dashing, performative fashion sense, and lyrically with their cheeky "420, Reloj"ganja-tune promotion – or even their outward dissenter objections to paramilitary and firearm power in "Poder Militar."

Ultimately, these songs lie at the crossroads where two cultural eras connect and become something unique, a protestation one with performance, dance, and artistic expression. This cathartic ritual of protest has a storied history in music, and these two new entries into the NYCT catalog will hopefully find their place amongst a modern day canon, or at the very least, have your feet moving and your head nodding in just approval.

It is a monster album which unites the who's who of the modern blues and rock scene and took Krissy one year to produce! Friends on the album include rap metal giants Clawfinger, the god of hellfire Arthur Brown, the voice Chris Farlowe, Germany's soul queen Inga Rumpf, legendary singer songwriter Stoppok, the iconic Hamburg Blues Band, elite drummers Dennis Chambers & Curt Cress, Blues singing dynamite Big Daddy Wilson and many more. The album includes 24 songs and is almost 3 hours long with a mix of Krissy's original material and his favourite cover songs. "It was a long time in the making and I managed to get it done. I started the pre-production in November 2022 and went in the studio to begin the meat and potatoes process in January 2023. I wanted to get all my favourite musicians together that I have met on the road in my career. They are not all here by any means, but a good handful are! I did not want this album to have a box, so there are many different genres from metal to blues and jazz to rock'n'roll. But in the end, it is a Krissy Matthews record."

Dj Nitro, nos sorprende una vez más con un nuevo lanzamiento bajo el sello discográfico Blue Roots Label. Este artista incansable nos presenta su última creación mussical, un álbum cargado de energía y ritmos que te transportarán a otra dimensión.

Desde sus inicios, ha demostrado ser un talento excepcional. Su pasión por la música electrónica nació desde muy joven y se ha convertido en su vida. Ha logrado conquistar a miles de seguidores en todo el mundo, y ahora, con este nuevo lanzamiento, está listo para llegar a aún más personas.

Este artista eleva la escena Old School con su último lanzamiento.
El vinilo presenta tres pistas emblemáticas que encapsulan la esencia única del sonido de DJ Nitro. La primera, “A – Luminosity “, es un viaje hipnótico a través de capas de ritmos vibrantes, melodías y vocales que tejen una atmósfera de euforia sonora. Esta pista se erige como un faro de creatividad y energía pura, donde los beats trascienden el tiempo y el espacio.

Por otro lado, “B1 – All I Want You” encarna la pasión y el deseo con una fusión cautivadora de ritmos y progresiones melódicas que atrapan los sentidos. Esta pieza es un tributo a su amigo F.EE D.EE y nos demuestra la maestría para combinar la intensidad emocional con la profundidad musical.

El cierre de este excepcional vinilo lo lleva “B2 – Mixed Feelings”, una pista que refleja la versatilidad del DJ al explorar diversos matices sonoros. Esta composición lleva a los oyentes a un viaje emocional donde se entrelazan distintas sensaciones.

Con este nuevo lanzamiento, reafirma su posición como un pionero en el universo de la música electrónica Old School. Su habilidad para fusionar lo clásico con lo contemporáneo y su talento para crear paisajes sonoros únicos han consolidado su lugar en la vanguardia de la escena musical.

El vinilo estará disponible en edición limitada, lo que lo convierte en una joya codiciada para los coleccionistas y amantes de la música por igual. Prepárate para sumergirte en la magia de DJ Nitro con este cautivador lanzamiento en Blue Roots Label.

BRL0001 NITRO – BLUE ROOTS es un verdadero tesoro musical. Cada pista del álbum está cuidadosamente diseñada para llevar al oyente a un viaje sonoro inolvidable. Los pianos acompañados de bonitas vocales y los beats irresistibles te atrapan desde el primer segundo.

Este album sin duda es una combinación perfecta de elementos clásicos y vanguardistas

Vokabularium boss, Denis Horvat, returns to the label to serve us something fresh for their second release of the year. This 4-track EP includes three originals along with a remix from Horvat himself. Two of the tracks feature the expressive vocals of the young but powerful Lilli Ellen. Ellen, who is only 14 years old, has a commanding energy that will lead you onto the dance floor. The EP's inspiration and title come from the French perfume brand, MARLOU.

Social Engineering brings together thirteen text fragments from so-called phishing emails.
Using speech synthesis, they are spoken, sung, and/or transformed into abstract textures.
The result is a 36-minute language and sound collage devoted to the dark forces of phishing

Garth Erasmus is an artist and musician based in Cape Town, South Africa. 'Threnody for the KhoiSan' is his first album under his own name. Since 1985 his artistic interests have broadened to include music-making, designing and making his own instruments based on indigenous KhoiSan knowledge. From 1999 to 2012 he was a member of the South African First Nation activist group Khoi Khonnexion. In the past couple of years Garth Erasmus has also been a pivotal part of various international performance pieces and exhibition projects which brought him regularly to Europe. Most of these activities were developed and performed in collaboration with the Hamburg based band Kante and his band Khoi Khonnexion. In April 2024 Garth Erasmus will be part of the group exhibtion 'Oscillations' at Akademie der Künste, Berlin.

His works in music are predominantly characterized by a restless quest for alternative forms of expression and materials including self build instruments, field recordings or various electronic music devices.

In this context the music on 'Threnody for the KhoiSan' takes on a primal and metaphorical meaning. Rather than a formal, physical initiation, this process is more spiritually inclined, yet it is a spirituality which is consistently put into action.. “Ever since I was an art student I have experimented with alternative materials to release me from the Western education values I received. When I started to make these instruments in the 1980s, my intention was to create art objects but when I discovered the sound they made, it unlocked a door that transported me deeper in my quest in the realization that I was on the right path.

In fact all instruments which appear on 'Threnody for the KhoiSan' are products of a process of discovery starting from square one. All this is based and founded on the beauty of simplicity and minimalism as symbolized by the single string Khoisan musical bow and arrow as trance musical instrument. In this sense it soon became manisfest for Garth Erasmus to combine the bow instruments with various electronic instruments. Besides developing his own unique language in music he also shared an expressed interested in experimental sound aesthecis, Avantgarde composition and Free Jazz. However, his non - academic approach towards sound and music was always fueled by the desire for a reconnection to the land and to the idegenious knowledge of the KhoiSan, whose struggle for First Nation status continues.

Song for Morenga
This song is dedicated to a guerilla leader, named Jacob Morenga, who was the leader of the nama/herero anti-german uprisings that occured between 1904 and 1907.

Amaseh Amen
This is a classic mouthbow piece that conjures the spiritual nature of Khoisan cultural praxis.

Gwaing Reverie
It was composed as a personal gift to the other members of newly formed electro-acoustic trio „Gwaing". „Gwaing" is an ancient Khoisan place name, meaning the mouth of the river.

Mcinci Song
A typical meditation on the traditional Mcinci flute. This flute was originally played by shepherds and was made of reed.

The Ascension of Milford Graves
This piece attends to capture the risen spirit of the legendary African American drummer Milford Graves. It was composed soon after his death in 2021.

Song for The Sisters of the Soil
A live improvisation dedicated to Lucelle and Melissa (The Sisters of the Soil) on the occasion of visiting them at their residence, known as „Oppieyaart" on the Cape Flats. On 10 September 2022 there is an online event with them at Kunsthaus Hamburg.

Mexican sensation Pahua comes to Razor-N-Tape via a huge remix project featuring some of the hottest producer names in current outer-national dance music. This special 7 inch version features two newcomers to the RNT remix roster.

On the A side, global groove merchant Poirer delivers a stripped down and hypnotic mix in his signature style Pahua’s uptempo anthem ‘Espantapájaros”.

On the B side, Detroit Latin production legend John Beltran adorns the melancholic ‘Flor de Jazmin’ with a samba-inflected rhythmic foundation and a lush horn arrangement that transports you straight to Cafe del Mar, Ibiza.

This package honors the essence of the original music, while flipping it in quintessential RNT club-ready fashion.

Finally, after so many solid reissues, Audika is putting Arthur Russell's Instrumentals' on vinyl for the First time since its original release in 1984. Also included are two of Arthur's most elusive compositions, Reach One', and Sketch For Face Of Helen'.


!!!Just fantastic!!!

Force of Nature is the debut studio album by legendary R&B singer, Tank. Originally released in 2001 by Blackground Records, Force of Nature debuted at number seven on the Billboard 200. With hits such as "Maybe I Deserve," and "Slowly," the album features production from several notable Blackground regulars, including Bud'da, J. Dub, and Eric Seats. At just over an hour long, Tank makes his mark as one of the heavyweight R&B singers of the next decade to come.

The third studio album by acclaimed R&B singer Tank, Sex, Love & Pain offers fans even more smooth, deep, seductive grooves. Originally released in 2007 by Blackground Records, the album debuted at number two on the Billboard 200, and was nominated for a GRAMMY for Best R&B Album. At just under one hour, the album features production from TImbaland, The Underdogs, St. Nick, and Tank himself. Hit singles include "Please Don't Go," and "Heartbreaker."

2024 Repress

CRAVO returns to Hayes with an assortment that exposes his highly addictive swing signature.

Hits EP evokes the renaissance of tribalistic Techno music from the early and mid90s. A classy, pacey, and sophisticated sound work that blends rich minimalistic chord sculptures, well-crafted wood drums, and snazzy hi-hats to provide cheerful and fast groove paraphernalia for boundless dancefloors!

The first solo 12 inches released on his venture Hayes sees the reissue of an already made classic EVO.03 from his previous EP EVO.

Handpicked by Paul himself, Will of The People is a carefully curated collection of 31 tracks from Weller’s extensive cornucopia of tunes that never quite made it to one of his 9 studio albums since 2002. Here is a collection which reminds us that there has always been a parallel narrative to the main recorded output of Paul’s albums and singles. The B-Side, and the remix, is a space in which to explore, experiment, or to flex a different set of artistic muscles.
The story begins back in the autumn of 2003, when the Fly On The Wall 3LP & 3CD collection brought together a wealth of Paul Weller solo recordings that stretched back to 1991. The B-sides, 12” EP tracks, single remixes and ‘live’ recordings featured all had one thing in common, namely that they hadn’t been included on any of his hugely successful solo albums. Furthermore, in many instances, they’d become highly sought after in their original formats and were fetching significant sums from fans and collectors. Will Of The People follows up Fly On The Wall and takes the listener through a similar mix of rarities, this time spanning the period 2002 to 2021.
From covers to eclectic remixes, Will Of The People delivers a scintillating array of songs which skirt across many genres. Here you will find such gems as Paul’s cover of The Beatle’s “Birthday”, released to celebrate Macca’s 70th, and the sparkling disco-ball banger remix of Cosmic Fringes by none other than the Pet Shop Boys. It also includes Paul’s first foray into film soundtracks with the sublime “Ballad Of Jimmy McCabe” from the film Jawbone. Scattered across the tracks are appearances from the likes of Primal Scream, Simon Tong & Graham Coxon.
Will Of The People is released on triple vinyl and 3CD. The album features sleeve notes written by writer and broadcaster John Wilson.

Born in 1977, in Malang, East Java, Wukir Suryadi began playing music for theatre at the age of 12 with the Idiot The-ater Studio, and later with the Rendra Theater Workshop. In his solo work, and as a member of Senyawa, Error Scream, Bendera Hitam Setengah, Potro Joyo and other groups, Wukir breaks the boundaries of traditional music, death metal and avant-garde performance. On this new release, “Cycle and Prayer,” recorded in 2023, he expands the edges of his unique artistic world further, by digging in to meditative improvisation, art, and community building in his home workshop in the mountains of central Java. These recordings vibrate inwards, toward the microcosmic ecologies of forests and rivers; they distort outwards, resonating with global waves of apocalyptic change that are forcing all living beings to the edges of existence on earth. The result is a meditative poem that moves, as its titles an-nounce, from phenomena to phenomena, praying that humans find a way out from the depths of the depths to the light that illuminates the soul.
An essential mode of creative work for Wukir is the creation of unique instruments, using these sound sources as “bullets of expression.” In addition to the spear-like tube zither Bambu Wukir, he has created the Solet, Enthong, Garu, Luku, Arrows, and Industrial Mutant instruments, which in addition to being used in live performance, have been exhibited in the Instrument Builders Project and the 2017 Jakarta Biennale. In the past few years, Wukir has begun to collaborate with local guitar makers, carpenters, and suppliers of native endemic wood in the mountain region of Salatiga. Using earthen bricks along with local woods (suren, coconut, mindi, and waru lengis) as building materials, he constructed a new studio and workshop space in Tingkir, where this album was made. The trees, water and air of the local environment have exerted a powerful influence in Wukir’s documentations of instrumental sound. On this recording, he uses the simple Cetta guitar, an instrument designed in Bali and made for Indonesian children and local communities of folk and popular musicians, in order to explore the different sonic characteristics of a more “normal” instrument built from local wood.
The themes of the album -- cycle and prayer -- arise from a foreboding series of meta-events that shook Indonesia and the world over the past years, following one after the other: the COVID-19 pandemic, the Ukrainian-Russian war, the Kanjuruhan Stadium tragedy in which football supporters were gassed and killed by police, revelations of govern-ment failures and corruption, the rise of personal vehicles, the increasing disturbance of natural patterns of the rainy season and other ecological cycles. “In these waves of technology and narratives of truth made for certain interests, playing a sound at a certain frequency and repeating can try to bring images and feelings to a certain point of con-sciousness,” Wukir told me. “Sound is a prayer that creates a change, whether gradual or rapid, in the behaviour of living things, to face the demands of the time, as humans struggle to live according to what they believe.” The draw-ings and sketches used for the cover spontaneously emerged alongside the recordings, as an instinctive depiction of “time and sound, nature that is outside of oneself, and nature that is within.”

In 1959, a family friend went to the home of Paco de Lucía and Pepe de Lucía where he made several recordings with a Grundig TK46 tape recorder. This tape disappeared in 1967 and, after a long search process, was rediscovered in 2022, when a restoration process started using AI tools.

The historical value of this recording is incalculable and it gathers in 21 pieces an anthology of flamenco where most of its variants are represented (tangos, soleá, seguiriyas, bulerías...).

It is, in short, the definitive recording to illustrate the transition from classical flamenco to modern flamenco as we know it today.

Ibelisse Guardia Ferragutti is an Amsterdam-based mutli-medium artist who has worked as a performer, theatre maker, vocalist, visual artist, musician and teacher. Raised in Bolivia within Bolivian and Brazilian families. Her notable musical collaborators include: Alabaster DePlume, jaimie branch, Ab Baars, Wilbert de Joode, Eric Boeren, Mary Oliver, Paul Koek, and The Paper Ensemble. Frank Rosaly is a Puerto Rican drummer, composer, and sound designer with several decades of touring, performing, recording, and creating to his name. Born and raised in Arizona, Rosaly was known for his fifteen years of creative work on the Chicago jazz and improvised music scene, before moving to his current residence in Amsterdam, The Netherlands, in 2016.

Sol Power Sound is back in a big way with a reissue and remix EP from the legendary Nigerian Ju-Ju king, Chief Commander Ebenezer Obey. The double A-side EP features 'Eyi Yato' a tune from 1981 that captures Chief Commander and his band at their absolute funkiest, with a driving drum and bass groove, wah-wah guitar, and signature call-and-response vocals. Remixers include the legendary dub producer Mad Professor, the disco don Eddie C, and the Sol Power All-Stars themselves.

The Sol Power All-Stars keep things organic with chugging drums, heavy analog synth bass and sequences, as well as Daniel Meinecke’s additional keys and solos. The Canadian disco don Eddie C goes a little electro and a little acid with his analog bass-heavy flip.
Like a good dub should, Mad Professor’s version accentuates the drum and bass groove and drenches everything in vintage sounding Mad Professor delay, reverb, and filtered dub-sauce, live and direct from his classic mixing desk. Alongside an extended edit of the original, the Eyi Yato EP is sure to find a permanent spot in DJ record bags around the world.

2024 Repress

Imagine a held-up-in-traffic Wayne Shorter arriving late to a Weather Report studio session and Joe Zawinul, Victor Bailey, and Omar Hakim filling in the time by jamming on a grooving house cut. Had that happened, it might have sounded a little bit like “It Never Stops,” one of two ultra-fresh tracks on Kaidi Tatham's Yore debut. Jazz and house are obviously distinct genres, yet as this irresistible cut makes clear swing is common to both. The other track, the cerebrally titled “One for the Brain,” locates itself closer to house music proper but is no less appealing for doing so.
Given the jazzy vibe of “It Never Stops,” it's fitting that Benji B once deemed Tatham the "Herbie Hancock of the United Kingdom.” Regarded as one of the originators of the Broken Beat sound, the UK-based multi-instrumentalist has worked with many an artist, from Bugz In The Attic and The Herbaliser to DJ Jazzy Jeff, and his session work credits list Slum Village, Amy Winehouse, Soul II Soul, and others. His own discography includes EPs and releases for labels such as 2000 Black, First World Records, Theo Parrish's Sound Signature, Eglo Records, and now, of course, Yore.


“It Never Stops” rolls in on a wave of silky synthesizer textures and percolating precision with a tight, funky groove that instantly pulls you into its velvety world. Triangles, electric bass, and clavinet add collective radiance to the material as the tune struts its way into your psyche. As if to make the jazz connection even more explicit, Tatham works an acoustic piano solo into the cut's second half before shifting focus back to the groove for the coda. “One for the Brain,” by comparison, digs into its chugging house pulse with fervour whilst also sweetening the arrangement with painterly synth flourishes. This one charges with breathless determination and like “It Never Stops” nods in jazz's direction with the inclusion of a freewheeling piano solo. Every minute and second on this strictly limited 12“ release seem's meaningful. No Represses / Limited 200 Copies.