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The “5” Royales were the most enduring and influential of all the 1950s proto-soul groups. In a very crowded market, their success was remarkable. The Royales were the first African American group to introduce gospel based vocal styles into the rhythm and blues format. This gave an intensity to their recordings and live performances that no other combo could get near, thanks to the passion and power that lead singer Johnny Tanner generated. Furthermore, the group possessed in Lowman Pauling a songwriter of genius and a guitarist, who invented an exciting style of playing that linked stinging solos with rhythmic accompaniment. The Harbingers Of Soul is a mouth-watering overview featuring the best of the King era and the most soulful sides from their stay at Home Of The Blues. 180gsm vinyl. Sleeve notes by John Ridley.

Dead By Sunrise is a band fronted by Linkin Park's Chester Bennington, and included Ryan Shuck and Amir Derakh from Orgy. Their only album, ""Out of Ashes"" was released in 2009 on CD and digital, and a very limited vinyl pressing in Europe.
The first release on vinyl in North America, was released in a limited edition for RSD on Black Ice Vinyl.
The original album has been expanded to include the track ""Morning After"", previously a bonus track on the Japanese CD. Also included are 5 unreleased acoustic songs performed in Las Vegas.

Als Gitarrist Herb Ellis 1958 aus dem Oscar Peterson Trio ausstieg, ersetzte der Pianist ihn nicht durch einen
anderen Gitarristen, sondern holte stattdessen den Schlagzeuger Ed Thigpen an Bord. Diese Entscheidung
erwies sich als wahrer Glücksgriff, denn die Chemie zwischen den drei Musikern stimmte auf Anhieb . Dies
zeigt sich vor allem auf Alben wie ”Affnity”, auf dem das Trio die gängigen Standards links liegen ließ
und eine raffniertere Songauswahl präsentierte. Das Album ist ein für Musterbeispiel für den Swing, die
Subtilität und die Ensemble-Balance des brillanten Trios.

"deathcrash’s third album, Somersaults, glimmers with an everyday euphoria. The London-based slowcore/ post-rock quartet has always had an affinity for building worlds only to crush them. From their breakout EP, People thought my windows were stars (2021), through two critically acclaimed studio albums, Return (2022) and Less (2023), they have been both the architects and the destroyers, the creationists and the ones manning the flood barrier. But, recorded between Black Box Studio in the Loire Valley and Haggerston’s Holy Mountain, Somersaults is almost joyful.

Its ten tracks are more vocal heavy than any of the band’s catalogue – think Mark Linkous via The Kinks – but lyrically, Somersaults resists revelation. For all its abrasion, phrases appear half-swallowed, broken off at the edge of meaning, consumed by the smaller textures of living. “Thirty, no career, it fucking worries me / And doing the band doesn’t help,” Banks sings in ‘NYC’. But, “This life is the best life,” he finishes in ‘CMC’ on top of the ambient white noise of an office printer, thankful that the band is still there, “still making noise in the doorway.”

Their role as caretakers of Duster, Low and Codeine’s slowcore lineage is all across Somersaults – songs scud to a narcotic crawl, sound monolithic and inwards before spotlighting a crystalline nothing. Cathartic builds are muddied with tenderness, the bass a heavy grounding, the drums an exhausted heartbeat grasping for air. But more so than ever, even the silence feels collaborative – a gesture of communal trust – friends celebrating the room they’ve made for each other’s ghosts, and some of the biggest, brightest songs they’ve made to date."

"Rough and ready blues played with unmitigated intensity…scorching and soulful, joyous and stomping.
—Living Blues

Electrifying and raucous…one of the few authentic links to pure Chicago blues.
—Chicago Tribune

Lil’ Ed & The Blues Imperials are the reigning champions of raucous, slide-stoked Chicago blues. They’ve achieved legendary status with over 40 years of critically acclaimed recordings and raucous foot-stomping gigs on club, theatre and festival stages all over the world. Slideways is a tour-de-force of old-school Chicago blues played with contemporary urgency.

Shows in support begin on street date in Chicago, followed by Milwaukee, Minneapolis, Columbus, Cleveland, Dayton, New York and Syracuse amongst others. Touring will continue throughout Spring and Summer.

Press, radio and social media focus on album and tour dates, pitching stories and reviews to over 1000 print and internet media contacts around the world. Over 1400 radio programmers worldwide will be serviced and solicited for blues specialty show and selected Triple A and Americana rotation airplay. The album is certain to be welcomed with open arms by the blues media.

Slideways is bursting with Lil’ Ed’s rollicking slide-work and rough-hewn vocals on a joyous blend of smoking slide guitar boogies, raw-boned shuffles, and heart-stopping slow blues. As always, The Blues Imperials supply rock-solid, road-tested and gloriously riotous backing."

Dictaphone are back with their 6th full length called "Unstable". In the 25th year of the project Brussels born composer and mastermind Oliver Doerell is surrounded again by a lot of musicians & friends. Roger Döring is there, his clarinet and saxophone play has always been a trademark sound of the band - also Alexander Stolze's ghostly violins. The dark atmosphere and experimental sound of the new album is a reference to the 80s belgian art music scene, which Doerell had the luck to experience in his formative years. Minimal jazz meets musique concrete meets a postpunk mind. On this new album “Unstable“ more voices and vocals than usual can be heard - especially Helga Raimondi (who already sang on the last album “Goats and Distortions 5") . As a collage artist she is also responsible for the visual side of Dictaphone - she designed the cover artwork and the visuals for the live shows.

The Brussels-Berlin-Teheran connection: Other guests on "Unstable" are the voices of Kaveh Ghaemi and Ashkan Afsharian, who Doerell met during a modern ballet production by Modjgan Hashemian (2008). The trumpet of Shahab Anousha can be heard in the track “La fin“ - Oliver Doerell and Shahab Anousha also share the spoken words Project “Noufān”. For nearly 20 years Oliver Doerell is linked to the Iranian Diaspora in Berlin and the Dictaphone track “Rattle” from the classic album “ Poems from a rooftop “ (2012) has been a hit in Teherans underground scene since the beginning. Furthermore the title track “Unstable“ is a homage to Ian Curtis of Joy Division. The words of this piece are based on the setlist of Joy Divisions last show.

Dictaphone played more than two hundred shows all over the world (including festivals Mutek, Transmediale, Unsound , Benicassim and many others). Their music can be heard in countless films, tv series and theatre pieces - (“the responder“ (BBC) , “the love he knows” (Ali Mohammad) , “Don´t move“ (Modjgan Hashemian) , Ring (Felix Ruckert) among others.

Tauceti (Lilou Chelal) is a DJ / producer / composer from Lyon. As a DJ Chelal distills a dark, tropical and sensual techno with percussive and vaporous rhythms in her mix. She stands for a very particular elegance and a certain, clearly audible maturity, which makes her stand out. "Guanyin" is her very first full length - where she transfers the elegance of her sound into a very personal and unique journey.

Tauceti about "Guanyin":

I am pleased to announce the release of my very first ambient album on the Denovali label. This is probably the most personal record I produced so far, because it is in a way a tribute to my Middle Eastern and Asian origins. It is a hybrid and intimate object, at the border between futurism and cultural heritage, with a desire to approach a more contemporary environment at the limit of classical. I used traditional instrument patterns, sounds intimately linked to oriental instruments, all the while using my electronic touch composed of drone/ ambient and sound distortions. This is the result of a year of reflection and increased exploration of new frontiers in the studio, which has gradually evolved into a desire to make an album concrete. Composed of eight tracks, some of you may have heard some of them during my ambient set during the last edition of Nuits Sonores, just before Vail and Rodhad’s magnificent live performance. It’s a kind of homecoming for me, the very first tracks I produced years ago already being part of the ambient register. This is an opportunity for me to reaffirm the multi-faceted aspect of my artistic project, drawing on various aesthetic registers, between ambient and techno. I would like to warmly thank the Denovali label for their trust here, and with whom I will have the chance and the opportunity to maintain a privileged relationship for the next years.

The continued relevance of the work of Akae Beka is forceful on the movingly topical Rastafari statement Imandment To Heart. Taken from 2021’s album Polarities and produced by Zion I Kings with Tippy I at the helm, the track presents a striking contrast: an uplifting major-key Rub A Dub rhythm, powered by renowned Jamaican drummer Kirk Bennett, sets the stage for scathing lyrics linking “chaos theory,” refugee crossings, and prophetic judgment. Vaughn Benjamin calls for a moral law “written upon the inward part” amidst global turmoil. Released on 7” vinyl for the first time by Before Zero Records, the single is backed by a B-side dub sculpted sonically by Laurent “Tippy I” Alfred at his Holy Mountain Studio in St Croix.

We are proud to present this brand new 12inch release produced by veteran legend Mike Brooks.

He links up with regular collaborator Shalom out in Jamaica on two different riddims recorded in the UK by Mafia And Fluxy alongside Tony Ruffcutt. A side is a new song called Don't Worry, Mike also has a piece on it titled Hold Fast followed by a killer dub with mixdown from Dougie Conscious.

On the B side we put out again the incredible song Value Yourself from Shalom, which we sold in huge quantities on 7inch over the last few years. This is a slightly different mix from the same session. We of course release Mike's cut called River Nile and a new dub also from the same session by Dougie Conscious.




d b1. Shalom - Value Yourself [Alt mix]

Re-issued! 1993 nahmen PROPAGANDHI ihr erstes Album "How to Clean Everything" auf und veröffentlichten es über das damals noch junge Label Fat Wreck Chords. Es versteht sich von selbst, dass das Album nicht nur das Label bekannt machte, sondern vor allem PROPAGANDHI als eine der großen Kräfte in der Punkszene etablierte. "How To Clean Everything" war ein Start nach Maß und lehnte sich noch eher an die Skate-Punk-Tradition an als die folgenden Werke der Band. Trotzdem voller aggressiver Metal/HC-Riffs und jungenhafter, bissiger Texte über Menschenrechte, Gleichberechtigung und radikale linke Politik. Sänger/Gitarrist Chris Hannah erklärt seine Gründefür die Neuauflage (mit einem Hauch seines geliebten sarkastischen Humors): ,Vielleicht liegt es an den Badesalzen, aber ich bin zu der Überzeugung gelangt, dass es wertvoll ist, etwas zu haben, das einen bis zum Tod verfolgt. Ich präsentiere euch "How To Clean Everything". Die 2026 Neuauflage enthält wie die 20th Anniversary Edition das komplette Originalalbum plus die drei Outtakes, die Fat Mike für Fat Wreck seinerzeit für die Vinylveröffentlichung rausgenommen hatte. Natürlich wurde das Album auch von den originalen Analogbändern remastert. Schwarzes und farbiges Vinyl wieder erhältlich.
















p SEEMED FUNNY THE FIRST TIME BONUS TRACK
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]
















[p] SEEMED FUNNY THE FIRST TIME [BONUS TRACK]
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]
















[p] SEEMED FUNNY THE FIRST TIME [BONUS TRACK]
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]

Rough Signal Records steps into 2026 with a fresh release, featuring Bristol’s young lion KaiDub, following their link-up on last year’s “Osaka to Bristol” release.

Built together in Kai Dub’s Bristol studio, this record is a straight-up expression of their shared love forUK Dub. Militant UK stepper drums and powered by Dub Kazman’s signature synth lines, forming a heavy, sound system–minded steppers tune.

Every track comes, Dub Mixed by Dub Kazman, including the ruf and tuf cut he dropped as the final tune at NO LOGO FESTIVAL last year. No frills, just heavyweight, pressure, and sound system vibes

Story Of The Year haben seit ihrem Debütalbum »Page Avenue« – einem der ersten Alben dieser Art, das sich 2003 eine Million Mal verkaufte – die Post-Hardcore-Szene maßgeblich geprägt, und das Quartett aus St. Louis ist im Laufe der Jahre nur noch beeindruckender geworden. Fans haben die Band auf Tour mit Linkin Park, My Chemical Romance und Deftones gesehen, sowie bei ihren Auftritten auf der Warped Tour und beim Festival When We Were Young und vielen anderen.

In time for Doctor Who Day on 23rd November 2025, the complete full-cast soundtrack of this classic ‘lost’ BBC TV adventure is presented for the first time on 3LP vinyl by Demon Records, with linking narration by Wendy Padbury.

With a striking cover illustration, the three ‘Bernalium Blue’ coloured 12” discs are housed in inner sleeves with vintage TV guide-style listings for each episode.
Written by David Whitaker from a story by Kit Pedler, and directed by Tristan de Vere Cole, only two episodes are known to exist on film. Thankfully all six survive as sound recordings, complete with incidental music and the BBC Radiophonic Workshop’s familiar Doctor Who theme music.

David Zé - Mutudi Ua Ufolo / Viúva da Liberdade is a major milestone in Angolan music, intensely blendingsemba, rumba, and bolero, recordedat the height of the country"s liberation struggle. Both soulful and political, the album resonates far beyond Luanda, carrying a universal spirit akin to that of Bob Marley. Originally released on CDA with Conjunto Merengue, it captures David Zé at his creative peak. Sung in Portuguese and local dialects, it combines rhythmic elegance with deep commitment, weaving links between Afro-Brazilian and Latin American traditions. After his assassination in 1977, the album was banned for several years, before being reborn as an essential work of resistance and beauty. In 2008, his legacy found a new echo when Damian Marley and Nas sampled "Undenge Uami" on Distant Relatives.

STORY OF THE YEAR have been influential in shaping the post-hardcore scene since their debut album “Page Avenue” – one of the first of its kind to sell a million copies back in 2003, and the St. Louis quartet have only grown even more impressive throughout the years.

Fans have seen the band hit the road with LINKIN PARK, MY CHEMICAL ROMANCE, and DEFTONES, as well as tear up Warped Tour Stages and festival performances at When We Were Young, and more. The band’s 2023 album “Tear Me To Pieces” was their first with SharpTone, and we couldn’t be more thrilled to reveal “A.R.S.O.N.” to the world!

Subconscio left the smallest town in Gargano to begin a new life in uncharted Bologna.
Leaving mother earth, he still retains a strong sense of that distant world, expressed through the senses of his inner child. The Subconscio
project finds its expression in music, where it blends Neo Soul, Hip Hop, and Electronica into a sound deeply influenced by individual experiences. Soft vibrations and relaxed lyrics are the means through which he expresses his devotion to creative freedom, moving with the urgency of someone who has finally found his voice. The word dáimōn originates from Ancient Greek and means divine messenger, a guiding
spirit that hovers in a middle ground, called metaxu, the same place where the soul resides, and acts as a link between God and humanity.*
"Daimon" is Subconscio's debut album, produced by Luzee. It's the intimate vision of a person suspended in his imagination, questioning
the identity of his own memory and how the places that led him to his NOW are actually his future. The present doesn't exist in the narrative.
It exists only in the connection between childhood memories and the adult perspective.
Giulio is his son and also his parent: the Subconscious; the "daimon" is the musical journey that connects these two ways of observing the
same memory. Nostalgic turmoil meets the desire to recognize oneself and fuel the obsession with music, because only this—albeit the least
apparent art—is the only one that can be the voice and bearer of the dimensions of consciousness.
Featuring on the album: Madbuddy and Claver Gold

Kanyon (John) is a NYC based producer/dj who has cut his teeth in the underground US techno scene through raw live sets, and dynamic djing. Keeping the quality high with his signature no-bs style of production and performing, he has played live supporting legends like Steve Poindexter, DJ Hyperactive, and Francois K. His productions have garnered support from Ben Sims, Akua, Ron Like Hell, Kush Jones and many others.

The Duplex EP is a split record featuring John's house alias DJ John Brooklyn on the A side (A1, A2, locked groove) & techno alias Kanyon on the B side (B1, B2). Exploring NY house and trippy, dubby minimal techno respectively, Duplex EP is a heady start to 2026.

2026 Repress

The announcement of the single was covered by the BBC, NME, The Guardian, Resident Advisor, Beatportal, DJ Mag and many others!

Here's the link to view the video

LIMITED EDITION PLEASE MAKE SURE YOU PRE-SALE AS THIS WILL SELL OUT
After 25 years as a fan-favourite in his DJ sets, Fatboy Slim’s ‘Satisfaction Skank’ arrives with full approval from The Rolling Stones and access to the original stems.

Finnish dub-techno craftsman TM Shuffle, head of Vuo Records, resurfaces with a deep and distilled EP that goes straight for the late-night heart of the dancefloor. Rooted in Tampere’s raw, analog dub sound, his productions have long balanced weight and warmth, smoked-out chords, rolling low-end and subtle shuffle that keeps the groove in constant motion.
The lead track “Kellari” dives into basement mode: pressure-cooker drums, slow-burning stabs and a humid, lived-in atmosphere that feels equally at home on a huge system or in headphones at 4 a.m. On the second original cut, TM Shuffle links up once again with long-time collaborator Monoder, the alias of Jussi-Pekka Parikka, known for his dubbed-out explorations on labels like Statik Entertainment and Pakkas-Levyt since the early 2000s. Their joint track stretches time, letting echo, tape hiss and distant melodic fragments float around a rock-solid groove, channelling years of shared studio language into one focused, hypnotic flow.
On the flip, Anton Kubikov (SCSI-9) steps in with a lush reinterpretation of Kellari. A true Russian techno veteran with a catalog that spans Kompakt, Force Tracks, Mayak and beyond, Kubikov melts the original into a widescreen, dream-state trip, soft-focus pads, gentle yet insistent percussion and that unmistakable rolling pulse that made his work so enduring. The remix doesn’t just extend the track; it opens a new dimension, turning the basement pressure into a slow-rising, celestial drift.
Pressed on limited coloured vinyl, this EP is built for selectors who like their dub techno deep, human and timeless, a record that will quietly live in bags for years and keep resurfacing whenever the room calls for true late-night elevation.

US sax player Stanley J. Zappa and Finnish drummer Simo Laihonen come together on the new album "Muster Point" on We Jazz Records, August 7. The two students of Milford Graves add bassist Ville Rauhala on a couple of tracks to make a bold and adventurous album captured both live and in the studio while Zappa was touring in Finland with the Black Motor musicians. This is a set full of fire and thunder, but also features some more meditative spiritual jazz. RIYL: Milford Graves, ESP-Disk', spiritual jazz

"Muster Point" consists of short trio bursts ("Muster Point I-IV"), deep duo cuts such as "Pleasant Avenue" and the inspired material linking the stylistic bookends. The music herein comes from the long standing tradition of independent improvised jazz music, and moves forward in the now, relying in the natural communication and the chemistry between the musicians. At its core, the album is a testament to the importance personal connections between like-minded creative musicians in creating something new.

Stanley J. Zappa, originally from New Jersey, now based in Oliver, BC (Canada) is a highly expressive musician whose career has so far progressed largely under the radar. Part of the lineage of a musical family (his uncle Frank should need no introduction), Zappa's story is that of a true craftsman, now coming into fruition with a like-minded collaborator, Simo Laihonen. Laihonen is best known from his long-standing trio formation Black Motor, also featuring bassist Ville Rauhala featured on the trio tracks on this recording.

Loaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on.

Having spent a life time in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained. In Lunng, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision.

Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.

His last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations.

Working to explore the tension between the divergent practices of his collaborators—Lunng was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.

Slater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases.

But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.

The weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience—shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present.

In this record Slater focuses on pure energy, color, and mood. Lunng distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.

John Twells, 2025

Hot Creations Summer Vinyl Sampler featuring four of the Hottest recent release on Hot Creations.

Straight from the heart of Amsterdam’s vibrant club scene, PIV founder Prunk and RED 87 offer up a first-time collaboration with ‘Express’, bringing together lush synth pads, simmering hi-hats, and echoed vocal snippets, crafting a warm, hypnotic energy that reflects the pair’s signature sound. Next up and hotly tipped DJ/producer Rafael linking up with fellow countryman Mishell, whose psychedelic take on House and Indie Dance, together, they make their label debut on Jones’ Hot Creations with ‘Naughty’, bringing a fresh burst of House energy as they blend their distinctive styles.

On the flip and a name ascending from the Netherlands’ thriving house scene, Easttown makes his debut on ‘Rocking To The Rhythm’ which sets the pace with tight drums, grooving bass, and a clear-cut sense of movement. Hooky as hell. Finally rising Dutch talent Jamback has been turning heads with his energetic style, earning support from house music heavyweights like Toman, Chris Stussy and East End Dubs. ‘Is That OK?’ is a cheeky infectious slice of hot house pie!

Orange Vinyl

The 10-track release, Collection Agency, is Curren$y’s first project of 2021. The album marks his 11th solo studio album, and 90th overall project. Even more impressively, the quality has remained consistent throughout his prolific career. The Louisiana rapper links up with several notable producers on the project including DJ.Fresh, Harry Fraud, Rsonist of The Heatmakerz, Trauma Tone, Purps, & Black Metaphor. We also see an appearance by longtime friend and collaborator, Larry June. At just under 24 minutes, Curren$y delivers another unforgettable round of smooth joints and cruising music.

“My auntie asked me what’s my path?” spits Lord Jah-Monte Ogbon on his debut from the celebrated Lex Records. The lyric relatably references the cross roads he’s at in his current life, especially as someone right on the cusp of rap stardom. “Recently I’ve been thinking more and more about what comes next in my life,” the artist reveals.


It’s fair to say Ogbon’s Lex LP features less of the sh*t-talking court jester of old. Instead, there’s more of an imperfect man re-examining past mistakes so he can avoid any future forks in the road. There’s a particular focus on overcoming heartbreak, inspiring Ogbon to admit he’s haunted by an ex so badly he now needs to call up the Ghostbusters for assistance.

Since emerging in the late 2010s, Lord Jah-Monte Ogbon has consistently lit up America’s underground rap scene and this is thanks to a refreshingly honest writing style. Amid the exquisitely wavy strings of 2021’s The Missing Link / The Sneaky Link, for example, he rapped: “Everyone thinks they’re player, until their bitch doesn’t come home.” Biting and snappy, the nasally vocals carry the playful verve of comedian Richard Pryor bravely excavating personal Demons to solicit giggles.

All this brash, wry Redman-inspired storytelling continues on the new project. Its first single is titled I’m Signed to Lex, Now I’m Up – a name that mirrors what a big moment releasing a project on the label that once housed MF DOOM represents for Lord Jah-Monte Ogbon’s legacy. “I’m really driven by being able to level up and give my family more financial freedom,” he hopes.
And, if auntie asked what his path was right now, what exactly would the rapper say? Lord Jah-Monte Ogbon concludes: “Auntie: this rapping thing feels like it’s finally about to pay off!”

Audio taken from a live performance by Anar Band (Jorge Lima Barreto and Rui Reininho) with E.M. de Melo e Castro in November of 1978 at Cooperativa Árvore, Porto. The performance was filmed. A segment was included in »Obrigatório Não Ver«, a weekly programme presented by Ana Hatherly on Public Television’s Second Channel. It was not possible to determine the exact date of the event, and no documentation seems to be available in the relevant archives.

»Encontro que Tenho« and »Profissões«: these titles are specific to this release. Having failed to locate the respective poems after a thorough search in E.M. de Melo e Castro’s body of work, it was deduced both texts were created for the occasion.

Even without a full contextualisation, the sound transmits the spirit of cultural agitation proper to these sessions. When this show happened, Anar Band were Jorge Lima Barreto (ARP Odyssey synthesizer) and Rui Reininho (Ibanez double-neck guitar), with the addition of E.M. de Melo e Castro, whom we shall call a poet but whose creative intervention was far reaching. Besides poetry, also continued his efforts in linking up diverse artistic areas (painting, drawing, collage, performance, video) and his official training in textile engineering. He was one of the artists featured in Henri Chopin's »OU Revue« in 1966, establishing his natural connection to the European concrete/visual/sound-poetry avant-garde. Melo e Castro was also proficient in the agitation of minds and political awareness. A good example in »Profissões«, where initially separate professionals (an intellectual, a fisherman, a soldier, a factory worker) are gradually mixed in a show of interdependency. Symbolically, through his words one listens to a transformation of society, although the same conclusion arises twice: surplus always finds its way to the hands of the capitalists.

That was the state of affairs many were looking to change, an economic and social malaise that the 1974 Revolution in Portugal fully uncovered, when dissident voices could finally be heard in public. Each in his own way, all three participants in this recording were non-believers in the structure of society such as it was presented. Through his books and press writings, mainly concerned with Jazz, Jorge Lima Barreto pushed his way into Portuguese artistic and critical circles since the late 1960s. Consciously and unwittingly, he collected enemies and pointed them by name, people he labelled as reactionary, people who delayed progress, social and cultural mixes, the avant-garde; they even delayed the chaos from which new forms and attitudes arise.

Rui Reininho, a non-conformist by heart, experienced incomprehension from an early age. His anarchic ways, a tendency to baffle others, were revealed through the choice of clothes and accessories, public behaviour, and »real life« performances. Just as Lima Barreto, and even together with him, he enjoyed provoking the extremes: Maoists on one side, right-wing conservatives on the other. He translated leftist books and joined Anar Band precisely on the day a duck or swan or goose (one of them) was thrown on stage in Porto, 1976.

This record documents a concrete action, a snapshot of the agitation, something we have no problem calling punk activism, something which allowed two people with little to no musical training to play and record music. By then, Anar Band had managed to release their only LP in 1977. It’s this performance, however, that reveals the naked rawness of the music: improvisation, mutual listening, and choice of intervention between both musicians and Melo e Castro, clearly sensing when the synth has to change tone, the voice has to make pauses, the guitar punctuates both and finds the space to… scream. The sound was captured by the film crew, adding to the rawness: the instruments are palpable, the voice often too close to the mic. Everything was preserved. First time on disc.

Ace’s small but ever-evolving “Black America Sings…” series has been quiet of late, but it springs back into action this month with the 2-LP and CD releases of “Highway Of Diamonds” – a second dip onto the catalogue of Bob Dylan, as reimagined by some of the foremost African-American artists of the 20th century.

From almost the start of his songwriting career, Dylan’s words and music have impacted on black American music, with ‘Blowin’ In The Wind’, speaking to an America that was still mostly segregated and becoming an anthem for all colours and creeds. As Dylan’s own career progressed, so did the number of covers he received, with a significant amount coming from what might be termed ‘non-traditional’ sources such as those heard here.

The 20 songs on “Highway Of Diamonds” continue the story that was told in part on the earlier “How Many Roads” compilation, with an almost entirely different selection of artists lending their voices to some of the best songwriting of the 20th century, and an almost entirely different selection of songs (with the exception of ‘Blowin’ In The Wind’ itself, which provides a common thread linking the story told across the two sets).
Big names from the worlds of soul, gospel and jazz, timeless songs and, for many, new ways of appreciating ever-durable material make “Highway Of Diamonds” as essential a purchase as its predecessor.

As ever, the great audio is complemented by a handsomely illustrated package on both CD and double vinyl, with a plethora of illustrations and in depth song-by-song-and-track-by-track annotation by Ace legend Tony Rounce.

This release resurrects a long-lost cornerstone of Seattle's early grunge history, showcasing Bundle of Hiss, featuring future Mudhoney and TAD guys and singer Jamie lane, one of the genre's missing links. Between 1986 and 1988, when Seattle was still a circuit of small clubs, four-track tapes and bands sharing drummers and singers, Jack Endino went in to record one of the most solid - and most unfairly invisible - outfits of that scene: BUNDLE OF HISS. Two sessions (1986 at Reciprocal and 1987/88 at Audio Design) fell into limbo, stored in the basement of Mudhoney-Drummer Dan Peters and for years they were a kind of pre-grunge legend, everyone knew they existed, but there was no record, until Loveless Records from NYC released both on CD. The second one, Audio Design Sessions, now sees the light of vinyl for the first time, just as it should have come out in the late '80s: a basement document turned into a collectible artifact. For those who want real grunge, not the domesticated version. It gathers the core of those 1987-1988 recordings done by Endino: the moment when the band is tighter, darker and closer to what the press would later call the "Seattle sound": minor-key melodies, thick fuzz, vocals on the edge, and that mix of hard rock, punk and Sabbath-like heaviness we'd later hear in Mudhoney, TAD or early Soundgarden. And Jack Endino himself summed up these sessions: "Vintage Seattle grunge from one of the original practitioners_ I always felt sad that this hard-working band never managed to get a record out and was almost lost to history. It was a pleasure -and a technical pain!- to resurrect all this." Kinda key release of the early grunge days, first-generation material, recorded by the scene's producer, at the exact moment Seattle was shifting from noisy punk to that heavy, shadowy rock that later blew up. It sounds raw, young and dangerous: this is not a polished compilation, it's a snapshot of the scene.

Gelbes Vinyl, limitiert auf 200 Exemplare. Exklusiv für den Indie-Handel. Kommt mit Texblatt und Downloadcode. Great Resignation! So wird das massenhafte Kündigen von Bullshitjobs während der Corona-Pandemie bezeichnet. Die Verweigerung die eigene Arbeitskraft zu den widrigsten Bedingungen zu verkaufen, wenn es nicht mal zum Leben reicht. Auch wenn man sowieso bald wieder ran muss - nur für einen Moment spüren, die Macht zu haben alles lahm zu legen, hörten einfach alle auf: Wertschöpfung, Broligarchie, Kaufland, Deutschland. pogendroblem haben sich also nochmal zusammengerauft und ein neues Album gemacht. Drei Jahre für ein neues Album? In der Tat: Great Resignation. Oder zu wenig die Brotjobs gekündigt? Und wenn sie die Arbeit so hassen, warum haben sich pogendroblem dann noch weiter in die Musikindustrie reinbegeben? Widersprüche schärfen und aushalten. Ambiguitätstoleranz. Nachdem AWINHSMK Ende 2022 bei Audiolith erschien, ging es für die Band wild hin- und her zwischen Pop-Festivals, Punkbühnen, Preisverleihungen und Solishows für selbstverwaltete Kulturzentren oder gegen die extreme Rechte. Nun der Nachfolger Great Resignation bei Kidnap. Das Schulterklopfen der Kulturförderung darf natürlich auch nicht fehlen. Zwölf Tracks auf 1:22 bis 2:30. Ästhetisch nochmal diversifiziert und dennoch aus einem Guss, entstanden unter Regie von Gregor Hennig im Studio Nord Bremen, gemischt von Daniel Roesberg und gemastert von Christian Bethge. Musikalisch klarer und pointierter als zuvor. Obviously (Post-)Punk, poppige Niedlichkeit, Garage Vibes, bisschen Hamburger Schule, bisschen Kraut, etwas düsterere Gitarren und natürlich Brotschneidemaschine durch FX geballert. Große Resignation! Die große Traurigkeit zieht sich durch die Platte hindurch, auch in den auf den ersten Blick lustigen Liedern. Denn hier sind sich pogendroblem treu geblieben, es geht um absurde Alltagsgeschichten, um Subjektivierung, die nicht mehr zu funktionieren scheint. Um Fragmentierung von Gesellschaft, Arbeitsbeziehungen, der Linken. Wie durch die Zeit der Monster (Antonio Gramsci) navigieren, fragen pogendroblem. Wie weiter machen gegen Faschisierung und Klimakrise? Klar ist: Es kann nicht immer so weitergehen.

Du glaubst, du brauchst keine neue Sniffing Glue Platte mehr? _doch, diese Platte brauchst du!!! HORSEHEAD. Fünf Songs, fünf Hits. Abrisskante und Kälte. Mehr gibt es nicht zu sagen_ SNIFFING GLUE started in 2006 to waste you and your friends with early 80ies styled hardcorepunk. Aufgenommen am 28. & 29. Juni 2024 bei Denny / Werner-Wiese-Studios HORSEHEAD kommt als 12" EP mit Download Link, Textblatt und ist auf 300 Stück limitiert.

A chopped-and-screwed love letter to the sounds of rebajada – half-speed cumbia, pioneered by Sonido Dueñez in the 1990s, and born from an overheated turntable motor that didn’t make the crowd stop dancing. With Debit’s treatment, rebajada becomes an ethereal, at times intense ambient tapestry that’s also a history lesson.

Spend any amount of time pacing the streets of Monterrey, the bustling city in the north of Mexico where Delia Beatriz, aka Debit, grew up, and you’ll be sure to catch traces of cumbia echoing from Bluetooth speakers, DIY soundsystems, or car stereos. An Afro-Latin dance form and »practica cultural« originating in Colombia in the early 19th century, cumbia evolved rapidly in the early 1900s, as a localised sound played on drums and flutes quickly modernised to integrate European instrumentation like the accordion. When it reached Mexico in the 1940s, the sound shifted again, fusing with mariachi styles and integrating further vallenato folk elements. Eventually, cumbia spread across the entirety of Latin America, splintering into a spectrum of different musical styles such as chicha in Peru, and cumbia villera in Argentina. And over in Monterrey, cumbia inadvertently found its own idiosyncratic groove.

From the 1950s to the 1970s, waves of immigrants from across Mexico and Latin America headed to Monterrey to find work, making a home in Colonia Independencia. Colombian cumbia records, shipped in from Mexico City, Houston, and Miami, became the soundtrack of the neighbourhood, relaying familiar stories to a rural working class adjusting to their new industrial reality. The sound struck a chord with locals, and huge street parties hosted by ramshackle soundsystems known as sonideros unified the diverse community. So when cumbia rebajada materialised serendipitously in the 1990s, it emphasised and highlighted the memory distortions at the heart of the immigrant experience. Local record collector, selector, and sonidero Gabriel Dueñez had been playing cumbia for hours one night when disaster struck: his turntable’s motor overheated and slowed down, turning the music into a warped groan, with half-speed voices echoing over wobbly accordion drones and splashy drums. But the crowd kept dancing, and Sonido Dueñez realised he’d struck gold – cumbia rebajada was born.

Over the next few years, he dubbed a popular series of mixtapes, hawking them at the flea market on the dried-up Santa Catarina riverbed beneath El Puente del Papa, the bridge that links downtown Monterrey with Independencia. These woozy archives became the stuff of legend, poetically but subconsciously shadowing DJ Screw’s series of epochal cassettes that appeared over the border in Houston. Beatriz uses Sonido Dueñez’s first two tapes as the starting point for »Desaceleradas«, entering into a dialogue with time, culture, and geography as she recalls the sonic ecosystem that surrounded her decades ago, long before she emigrated to the USA. If 2022’s acclaimed »The Long Count« was an attempt to recover concealed pre-Columbian history in the face of colonisation, »Desaceleradas« jumps forward, figuring out how memory and shared celebration can resist a more contemporary form of cultural erasure. As AI systems scrape, blend, and decontextualise culture around us, leaving vapid slop, »Desaceleradas« proposes a slower, more careful, and ultimately more human kind of engagement. It’s an archive with a pulse.

DIN SYNC DUB is an exploration of communication through sound. Six tightly packed experimental dub tracks use bass-heavy vibrations to rattle both body and mind, pushing the limits of self-expression in the hope of fostering deeper human connection.

The drive for more efficient and precise communication tools—whether between man and machine or machine and machine—has been a foundational force in the evolution of technology. This duality, the way we interface with computers and the way we speak to one another, is at the heart of DIN SYNC DUB. For this album, N1_SOUND looks back to 1980, drawing inspiration from Roland’s Din Sync—a 40-year-old synchronization technology once used to link musical machines in perfect harmony. While connecting machines to produce precisely sequenced music is nothing new, it’s the tension between perfection and imperfection—the mistakes of both man and machine—that gives DIN SYNC DUB its voice, its emotional rawness.

The journey begins with “Horizontal Hang”, which crashes through the door with a relentless bassline and crystalline synths. “Such Love” introduces a throbbing, guitar-driven groove, while “Intuition Dub” channels the spirit of Jah Shaka, offering a rhythmic pulse that echoes dub’s deep roots. “Us All” provides a moment of introspection with its sparse, three-dimensional melodies, before “Joy” reintroduces chaos, creating a post-dubstep soundscape that dismantles everything in its path. The album closes with “Mauzy” , a hopeful yet fragmented conclusion, reflecting the ever-evolving nature of technology and connection.

By the mid-to-late 1980s, Din Sync was superseded by the more widely adopted MIDI, yet obsolescence is built into the nature of all technology. Just as our relationship with machines shifts and fades, so too does our understanding of how those changes shape us. Before we can grasp the impact, the world has already moved on.

DIN SYNC DUB, the first full-length LP from Spiritual World, pulses with energy, on the edge of malfunction—a manifestation of the tension between the digital and the organic, the past and the present.

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*

Two legends. One record. Light-Years sees Nas link with DJ Premier for the legendary Hip Hop release that fans have been anticipating for years. A must have addition for any serious collection

The combination of Todd Terry and Hard Times is synonymous in the world of House Music. The legendary DJ/Producer, a true pioneer of the genre, was among the first US artists to play at the intimate, vibrant gatherings in the North of the UK in the early ‘90s. Forever linked by "A Night In The Life," the live mix released in 1995 that set a new benchmark for mix-tapes, it is a collaboration that has continually blossomed, forging a bond that remains strong over 30 years later.

1995 also saw Todd Terry make his first impact on the label with the seminal club smash "Bounce To The Beat." Following his chart breakthrough with 'Can You Party’ in ‘88, the legendary 'The Unreleased Project’ series, which spawned club hits such as “Jumpin’”, and just a few months ahead of topping the charts with his remix of Everything But The Girl’s ‘Missing’, label boss Steve Raine seized the perfect moment to bring his friend on
board at Hard Times Records with the signing of Bounce To The Beat. "I can still remember pressing play, hearing those beats for the very first time and thinking we had big track on our hands" says Raine. "It was our second release on the label, but it would be the track that firmly placed us at the forefront of the scene, both here in the UK and globally."

Hard Times & Todd Terry now revive 'Bounce To The Beat' with a 2024 reimagining, featuring two of house music’s most exciting young stars, delivering two powerful remixes that promise to dominate dancefloors this summer and beyond.

Dutch producer and Up The Stuss label head, Chris Stussy, takes the track on a '90s- inspired journey, blending progressive strings, high-energy bassline and original vocal, for an exhilarating ride. "I remember discovering Todd’s productions back in the days when I started to dig for that 90’s sound. He’s one of the artists that inspired me massively. He has proven that he owns the art of making timeless music as his productions are still being played till this day all across the globe. To be remixing ‘Bounce To The Beat’ is something special for me personally and I tried to give it a 90’s touch with a modern twist." says Chris.

London’s own Dan Shake offers a fresh twist with a 2Step-inspired remix, featuring an Armand-esque bassline that pulsates and evolves, building to an epic crescendo that is set to ignite mass hysteria on the dancefloor.

"Bounce To The Beat was actually one of the first records I bought when I started collecting house music. So to come back 15 years later and remix this iconic track for the legendary label Hard Times was both surreal and very, very fun," shares Dan.

Two exemplary reworks of Todd Terry presents Sound Design’s 'Bounce To The Beat'. For Vinyl and Digital release on Hard Times alongside the Original and ‘Tee’s Freeze Mix.’

In 2023 Ace Records released the album “28 Little Bangers From Richard Hawley’s Jukebox” where the acclaimed Sheffield musician, singer and songwriter compiled together some of his favourite records. These were instrumentals and vocals records that he had collected over the years and found musically addictive. The album received fantastic reviews and allowed his
extensive fanbase to discover and enjoy tracks like Ronny Kae’s ‘Swinging Drums’ and King Curtis’ ‘Hot-Rod’ that were on the juke box in his home.

Now, three years later, Richard has lifted the lid, taken those 7” out and replaced them with another favoured selection. One again, this second version of “Little Bangers” is full of cracking records such as Chet Atkins ‘Boo Boo Stick Beat’, Frank Minion’s ‘Watermelon’, Johnny Todd’s ‘Pink Cadillac’, Sunshine Theatre’s ‘Mountain’, Jet Harris’ ‘Man From Nowhere’, Tracy Rogers ‘Baby’ and the Ventures ‘Fuzzy And Wild’.

A with the first album there are 28 tracks spread across two albums or shoehorned onto one CD. The extensive liner notes see Richard discussing each and every track and what the record or artist meant to him. As he states himself in the introduction, “the record you hold in your hand is the result of a lifetime obsession.”
Listen for yourself and you will discover that this was time well spent.

Re-issued! 1993 nahmen PROPAGANDHI ihr erstes Album "How to Clean Everything" auf und veröffentlichten es über das damals noch junge Label Fat Wreck Chords. Es versteht sich von selbst, dass das Album nicht nur das Label bekannt machte, sondern vor allem PROPAGANDHI als eine der großen Kräfte in der Punkszene etablierte. "How To Clean Everything" war ein Start nach Maß und lehnte sich noch eher an die Skate-Punk-Tradition an als die folgenden Werke der Band. Trotzdem voller aggressiver Metal/HC-Riffs und jungenhafter, bissiger Texte über Menschenrechte, Gleichberechtigung und radikale linke Politik. Sänger/Gitarrist Chris Hannah erklärt seine Gründefür die Neuauflage (mit einem Hauch seines geliebten sarkastischen Humors): ,Vielleicht liegt es an den Badesalzen, aber ich bin zu der Überzeugung gelangt, dass es wertvoll ist, etwas zu haben, das einen bis zum Tod verfolgt. Ich präsentiere euch "How To Clean Everything". Die 2026 Neuauflage enthält wie die 20th Anniversary Edition das komplette Originalalbum plus die drei Outtakes, die Fat Mike für Fat Wreck seinerzeit für die Vinylveröffentlichung rausgenommen hatte. Natürlich wurde das Album auch von den originalen Analogbändern remastert. Schwarzes und farbiges Vinyl wieder erhältlich.
















[p] SEEMED FUNNY THE FIRST TIME [BONUS TRACK]
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]

"Ensomheden Vi Deler" ("The Loneliness We Share") is the result of a dialogue between the collages and the music of øjeRum, initiated by IIKKI, between December 2024 and July 2025.

øjeRum is Copenhagen based musician and collage artist Paw Grabowski.

With his collages, the distinctive feature of øjeRum's works is their ability to combine different historical and artistic periods, such as ancient sculpture, medieval frescoes, classical painting and photography, and to make them interact with one another. øjeRum is also renowned for his work as a musician, where he stands out for his surreal, mysterious and poetic universe. His music and art are closely linked. These two sides of the artist's work are constantly intertwined.

In his øjeRum guise, he plucks and strums his treated acoustic instruments, sounding at times like church bells, at times like angelic harp, at time like drones, and suspends the listener in the magic of his melodies. With a deep back-catalogue of releases since 2014 - spanning labels such as eilean rec., Room40, Line, Opal Tapes and many more - he continues exploring his minimal, textural and deeply personal style of ambient music.

The collage and music project "Ensomheden Vi Deler" ("The Loneliness We Share") is an exploration of loneliness, closeness and distance. A meditation on the fragile architectures and hidden shapes of human connection. This is his second release on IIKKI.

Fine Art Book, Ltd. to 500 copies:
Hand numbered & hand stamped / first edition and only edition (no re-print) / hardcover book (15 cm x 21 cm) on Wibalin Natural Cotton White / 80 pages, 35 collages printed on Freelife Vellum 120g/m2 / Swiss Binding / Coloured edges with neon green pantone / Neon Green pantone on front and back cover (logo, slot and circle) / Sticker on front cover.