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Mutant is thrilled to partner with our friends at Neon and Filmtrax to release Edo Van Breemen’s score to Osgood Perkin’s latest horror hit The Monkey.

Based on the Stephen King short story produced by James Wan (The Conjuring, Saw), The Monkey is a new trip by Longlegs writer/director Osgood Perkins. When twin brothers find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart. Twenty-five years later, the monkey begins a new killing spree, forcing the estranged brothers to confront the cursed toy.

The score is as playful as the movie itself, whimsical when it needs to be, but also managing to be terrifying and tense. We have pressed two versions of the score, one is a limited edition Lenticular edition strictly limited to 1000 copies pressed on multicolour Monkey splatter vinyl, and the other is an eco vinyl edition featuring a static sleeve. Both versions are housed in a printed outer O-Card. Composer Edo Van Breemen told us that when they were recording the score, "Mr. King’s Monkey haunted our process for the entire duration of post-production on this film while Mr. Perkins possessed us to mutilate sounds and arrangements in a manner beyond our control. We hope you enjoy this record, and if not... shit, man, that sucks.”

…And You Will Know Us By The Trail Of Dead (also known as Trail Of Dead) is an American alternative rock band best known for their wild, energetic live shows. The chief members of the band are Jason Reece and Conrad Keely, who alternate between drumming, guitar and lead vocals, both on recordings and live shows. Their eighth studio album Lost Songs was originally released in 2012 and its lyrics are themed around war, tyranny and apathy, no unfamiliar grounds for the band. It features 12 tracks and four additional bonus tracks; “Skywhaling”, “Mountain Battle Song”, “Verschollene Songs” and “Idols Of Perversity”. Just like several predecessors, the album was produced by Chris “Frenchie” Smith, who worked with Meat Puppets, Jet and The Dandy Warhols amongst others. Lost Songs is available as a limited edition of 500 numbered copies on crystal clear vinyl and includes a 4-page booklet.

Two decades in the vault - now finally on wax: Ray Kajioka opens the archives and unveils a selection of tracks originally recorded as demos around 20 years ago, now fully produced and released for the first time. Deeply rooted in the tradition of Detroit Techno, the tracks offer warm chords, emotional depth, and the artist's signature groove.

French electronic producer heylucas (formerly Luca) steps into a new era with his highly anticipated debut album, "hey".



Following a series of acclaimed singles throughout 2024 and 2025, "hey" marks a turning point in his artistic journey. After his first live performance in late 2024 met with enthusiasm, it became clear, Luca was no longer just a bedroom producer but a true performer. A shift that inspired the name change from Luca to heylucas, embracing a broader vision for his music. This career change is all the more significant now that he has just announced his very first solo live show at POPUP! in Paris on 24 May.


"hey" is a deeply personal recollection of emotions: the highs and the lows, the joy of loved ones, the grief of loss, and the thrill of firsts. From euphoric moments to introspective instants, the album showcase the diverse experience of the artist during this transformative year. Singles like "do the things that bring joy" "either it goes well, or it passes" and "keep dancing" are the perfect example, shaping his signature sound: heartfelt, uplifting tracks that make you want to move and reflect at the same time.


“Do It All Again” in collaboration with Swedish duo HNE, features spoken vocal snippets collected from real-life encounters in the final months of the album’s creation, blend with an energetic/euphoric production.


The album release will be doubled by the release of an exclusive live session by heylucas in which he will reinterpret classics from his repertoire as well as new tracks from his “hey” album.



More than an album, hey is a statement. It’s heylucas’s way of waving hello to listeners, to concertgoers, and to everyone who connects with the emotions he pours into his music.

PEACOCK DREAMS


After the resounding success of his project Le Cri du Caire, whose eponymous album was awarded a Victoire du Jazz in the “World Music Album” category, Abdullah Miniawy returns with ‘Peacock Dreams’, the first opus of his new trio formation released on the label PPL Songs Aghani Al-Khalq.


Accompanied by trombonists Robinson Khoury (2024 Django Reinhardt Prize from the Academy of Jazz) and Jules Boittin, Abdullah Miniawy presents an unconventional combination of three tenor instruments. The lyrical depth of the voice of the Egyptian poet, singer, and composer merges with the bold expressive capabilities of the two trombones, allowing him to explore unprecedented sound ranges that connect Western and Eastern musical traditions.


The Trio performs Abdullah Miniawy's latest musical compositions, as well as adapts former work stemming from the Egyptian revolution and his previous formation Le Cri du Caire, while highlighting collaborations by inviting trumpeter Erik Truffaz, flamenco singer Niño de Elche, and danish-indian producer Hvad on some tracks.


‘Peacock Dreams’ engages the audience in a unique musical experience that freely combines baroque and operatic influences, Sufi and Coptic themes, and musical motifs from the Arabian Peninsula, infused with the jazzy cacophony of Egyptian traffic jams, once more revealing the transcendental and communional power of Abdullah Miniawy's music.


ALBUM PITCH


A peacock dreams of being a poet. It concentrates, trying to shed its colors, turning its feathers into a gradient of flesh. On the other hand, a poet longs for the peacock’s colors—a galactic blend of earth, forest, sea, and sky, seen from a high vantage point.


A poet can close their eyes and absorb the knowledge of the finite, and absorb the knowledge of the finite, yet miss much, trapped in monotone concentration, eyebrows plucked down to 111.


The peacock, dipping in the ink drops from the poet's pen, sails through a tube into the poet's body. A fluttering storm erupts, reversing the roles: the peacock finds itself under an arrest warrant, while the poet, reducing his expression to a roaring "Wak-wak," struggles to describe the world.

Billie Eilish’s third studio album, "HIT ME HARD AND SOFT", released via Darkroom/Interscope Records is her most daring body of work to date, a diverse yet cohesive collection of songs— ideally listened to in its entirety from beginning to end—does exactly as the album title suggests; hits you hard and soft both lyrically and sonically, while bending genres and defying trends along the way. With the help of her brother and sole collaborator, FINNEAS, the pair wrote, recorded, and produced the album together in their hometown of Los Angeles. This album comes on the heels of her two massively successful albums “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?" and "Happier Than Ever" and works to further develop the world of Billie Eilish. This special anniversary edition is pressed on bio-vinyl dark blue & orange splatter with the original cover printed on silver mirror foil board.

Donald Byrd’s 1974 R&B-Funk fusion masterpiece Stepping Into Tomorrow was the third album the trumpet legend made in collaboration with visionary producer Larry Mizell. Featuring the standout title track and “Think Twice,” the album became a touchstone for future hip-hop generations and featured Gary Bartz, Fonce Mizell, Chuck Rainey, Harvey Mason, and others. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

‘Absurd Matter’ is a labyrinthine sonic conundrum that spirals around the two poles of extreme noise and hiphop. It's Berlin-based Italian producer Shapednoise's first album in four years and confidently advances his narrative into the next chapter, building on the groundwork of his prior abstractions to emerge with a coherent genre-warped fusion of urgent rap, crushing bass weight and idiosyncratic sound design. After spending years scrupulously deconstructing club music, Nino Pedone has rebuilt it brick by brick in his image.

The album is the first release on Pedone's brand new imprint WEIGHT LOOMING, a multidisciplinary label platform that's set to explore the depths of bass music, textured noise and abrasive transcendence. It follows a slew of acclaimed releases for Numbers,
Opal Tapes, Type and his own Cosmo Rhythmatic label, and forward thinking collaborations with Kenyan beat alchemist Slikback and Hyperdub-signed Angolan producer Nazar. Pedone's most ambitious project to date, ‘Absurd Matter’ taps into kinetic energy from a hand-picked selection of collaborators, including New York rap duo Armand
Hammer, French DJ/producer Brodinski, Bruiser Brigade's ZelooperZ and vanguard Philly poet, musician, and activist Moor Mother.


On ‘Family’, Billy Woods and Elucid weave a dismal, apocalyptic landscape with their razor-sharp anecdotes. The duo’s macabre imagery is given artificial life by Pedone's industrial scrapes and rattles that curl around their worlds like thick smoke. It's still rap, just about, but lodges itself in the back room of a factory, machines running themselves to an early death. Pairing with techno-rap trailblazer Brodinski, Pedone edges further towards the sound system, spatializing rhythms in four dimensions around Detroit rapper
ZelooperZ's playful expressions. This is the Italian producer's sci-fi tinged liquefaction of radio echoes, a way to fire familiarity into the void and sublime the human voice into weightless mist. When Moor Mother arrives shouting "me me me" on the aptly-titled 'Poetry', it sounds as if all of Pedone's loose threads are being tightened into a knot. His misshapen neo-grime beats sound like a broken jet engine, but smartly cede power to Moor Mother's resonant rhymes. "You can't cancel me" she assures. ‘Absurd Matter’ is a defining personal development for Pedone that not only appraises his career so far, but diverts its logic into frighteningly new sonic territory. From great loss, the producer has determined his work's cardinal themes, and sounds more strident and far heavier than ever before.

Born from a virtual encounter in lockdown between two Parisian neighbors, the DJ/producer Prosper and saxophonist Le Marabout, this new playful and joyous project is pulling freely from the Afro, Funk, Disco, Hip-Hop, Oriental and Electro influences of the two artists.
The iconoclastic DJ Romain “Prosper” Coolen, fervent purveyor of no holds barred euphoria on the dance floor, and the versatile saxophonist, composer and jack-of-all-trades Johann “Le Marabout” Guihard offer us a lavish, eclectic, uninhibited, coherent and furiously groovy listening experience.

First single “C’est Vrai“, from their forthcoming album ‘Le Moustache Conspiracy’ (released October 2022) is a banging Electro Afro Funk joint featuring Fou Malade and Niagass, two luminaries of the Senegalese Hip-Hop scene.

Over the bouncing beat and snarling horns, these two juggle lyrics back and forth in Wolof (Senegal’s most widely spoken language), calling out those fake friends who smile in your face before stabbing you in the back.

Founded in 1966, The Beachers is a group whose music is inspired by Caribbean rhythms and Panama’s musical tradition. Calypso, salsa and bolero are part of the unique Beachers sound, whose popularity peaked in the 70s during what is known as “The Golden Era of National Combos”. The Beachers have released 13 albums and more than 30 singles to their name, on prestigious Panamanian record labels like Tamayo, Loyola, or Sally Ruth Records, teaming up with other Calypso legends such as Lord Cobra.

The Beachers are still current and relevant, with five of the original members performing constantly through Panama and the world. Their energy and spirit is felt in the joy, rhythm and flavor of their songs.
Lloyd Gallimore, the band’s musical director since its foundation, and renowned producer Billy Herron have been working together on this new album, commemorating the group’s 50-year career.

This recording relives The Beachers’s magical trajectory and features collaborations with popular Panamanian musicians, a work that displays a sonic landscape filled with the history and legacy of Panama’s Calypso. It’s a tropical musical fantasy whose Caribbean influence has transcended time.

London-based producer Alistair Gibbs grew up in a family of record collectors so picked up a love of everything from jazz to dub to hip-hop. He has made some fine moves as Nebraska but now debuts as Dubl Drat on his Friends & Relations label after outings on Rush Hour, Heist and Delusions of Grandeur. And a fine debut it is too as 'Jump-Rope' is a funky stouter that unfurls at 116bpm with neat guitar trills and a meandering lead all getting you in the groove. 'What You Did' is even more slow, heavy and hypnotic with a P-funk twist and more great guitar work. Sublime.

The third volume of the AfroColombia Remix series merges African and Colombian sounds with contemporary electronica. It's a collaboration between Colombian labels Galletas Calientes and Palenque Records that celebrates Palenque's 20+ years of activism and Galletas Calientes' two-decade legacy while honouring the late Abelardo Carbono with a remix of his track 'La PiNa Madura' by Voilaaa - it's a standout here with hints of funk, soul and disco all bringing the sunshine. The compilation also reinterprets Nigerian Igbo Highlife and Ekobe music thanks to producers Captain Planet, Uproot Andy and Caribombo. They bring new, funky energy to timeless classics while preserving the original cultural essence.

French producer Saint Paul was raised in Lyon with Ivorian and French heritage and is now based in Reunion Island. He was a founding member of Moonrise Hill Material and continues to refine his style, which is infused with jazz, funk, hip hop and African rhythms. Though built for the dancefloor, it comes rich in introspection that marries energy and soul. This six-track EP on GLBDOM takes in the horn-laced New York house vibes of 'I'm Ur DJ', swinging MAW-esque kicks of 'We Can All Groove With It' and jazz-laced depths of 'Extreme Vibration'. It's an EP full of class and character with the late-night lounge sophistication of 'Elixir De Bons Souvenirs', another highlight.

In the previous episode, the Vibracid technique was discovered as a way to deactivate memories imposed by technocratic elites.

Now, with VIBRACID 2, its real deployment begins: a series of sonic attacks targeting control systems through rave vibrations.

Each track is a weapon. Each producer, a node of resistance. “Vibracid Advent,” the single that launched the assault, opens the mini album with acidic force — delivering the first sonic strike that breaks through imposed control. From the acidic and powerful aggression of Calagad 13 (Spain), through the modular precision and acid techno of C.C.O (Contra Communem Opinionem, Switzerland), to the dark, industrial electro of Mokotron (New Zealand). Atix brings the French 90s rave energy; Wicked Wes, from Florida (USA), builds grooves with bifasic rhythms and glitch textures; and Romphea (Greece) closes with distorted breaks exploring chaos and sonic escape.

Careful sound and mastering, and exceptional design for a limited edition of 150 copies on solid red vinyl.

2025 Repress

kuniyuki takahashi—one of japan’s leading, if not the world’s most remarkable producers—originally released his debut album we are together on cd in 2006. nearly two decades later, the album is finally seeing a vinyl release to commemorate the 300th title from mule musiq.

“kuni is a true artist an artist that i love and respect.
his music displays true emotion and life and when i listen to his music
i can feel his soul but most importantly it’s his own music.
kuni thank you for giving our planet your music,spirit and heart peace,
love and respect”

joaquin joe claussell

Repress!

4 To The Floor continues to champion heritage tracks with Volume 7 of the Classics 12” series, ‘The MK EP’. As one of the most in demand producers of the halcyon period of house in the early 90s, this special delivery features three gems from MK’s early career.

Opening the A-Side with vocal house masterpiece ‘Burning’, on the flip are two of MK’s most loved collaborations with Alana, first the deep and piano-lined ‘Always’ (Club Mix), before the soulful club anthem ‘Love Changes’. This release highlights the timeless quality of MK’s catalogue, with three cuts that truly stand the test of time.

Available on 7" for the first time, Webby Jay's 1979 version of The Dramatics soul hit, 'In The Rain'. Produced and sung by the late Webster Johnson aka Webby Jay, renowned session player and keyboardist for reggae band Matumbi. Sought after for the vocal and dub versions in equal measure, both tracks have been cut from the Arawak master tapes for this long overdue 45 issue.

Reissue of the celebrated Black Panther soundtrack, in which internationally-celebrated Grammy Award–winning global superstar Kendrick Lamar and Billboard Magazine’s Executive of the Year, Anthony “Top Dawg” Tiffith, curates and produces Black Panther: The Album. The album features music from and inspired by Marvel Studios’ Black Panther film including the lead single, "All The Stars", featuring Kendrick Lamar and label mate SZA. Black Panther is directed by critically acclaimed filmmaker Ryan Coogler and stars Chadwick Boseman, Michael B. Jordan, Oscar® winner Lupita Nyong’o and Danai Gurira, among others. Now in limited edition Red vinyl.

For five decades, Harold Budd stood on the forefront of the West Coast avant-garde. Born in Los Angeles, he studied with Schoenberg-pupil Gerald Strang and began teaching at CalArts in 1970. While searching for his own voice, he was influenced as much by abstract expressionist painters as by John Cage and Morton Feldman. In his work, Budd brought delicate, slowing-moving melodies to the foreground – creating a new musical language based on “eternally pretty music” and smooth surfaces.

In the early ’70s, Budd started an extended cycle of compositions that would comprise The Pavilion Of Dreams. For Budd, the album was a signpost for a new direction in thinking about music: “The Pavilion Of Dreams erased my past. I consider that to be the birth of myself as a serious artist. It was like my Magna Carta.”

Produced by Brian Eno in 1978, The Pavilion Of Dreams stands toe-to-toe with another minimalist masterpiece also released that year, Steve Reich’s Music For 18 Musicians. Budd’s gorgeous pieces reveal a lightness of touch that draws the listener in, while sublime voices float in and out as if in a recurring dream. Featuring saxophonist Marion Brown and multi-instrumentalists Gavin Bryars and Michael Nyman, The Pavilion Of Dreams remains a master class in exquisite timbre and shimmering texture.

The Pavilion Of Dreams was both the final release on Eno’s Obscure imprint and a transition point towards his seminal ambient series. This first-time reissue is recommended for fans of Ryuichi Sakamoto, Jon Hassell and Mark Hollis.

Scowl is a band that sounds exactly like their name implies. Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), Scowl is aiming to funnel all that aggression through a more expansive version of themselves.Much of Are We All Angels grapples with Scowl's newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single "Not Hell, Not Heaven" outright rejects the narratives cast onto them by outsiders. "It's about feeling victimized and being a victim, but not wanting to identify with being a victim," explains vocalist Kat Moss. "It's trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain't working for me." The band breaks from a sense of disassociation to seek deeper connections on "Fantasy." "It's incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated," Moss says. "`Fantasy' is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard." The album ends in a philosophical place on the closing, titular track, "Are We All Angels," asking questions like, "Is this all there is?" and ultimately putting it on the listener to decide. "It's about the personal struggle between good and evil. It doesn't matter how `good' or `bad' you are, there are systems that will try to rewrite your narrative no matter what you actually do," explains Moss, noting that punctuation on "Are We All Angels" has been deliberately omitted in an attempt to leave the statement open-ended. Are We All Angels is the highly anticipated follow-up to Scowl's debut, 2021's How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record's sonic outlier, a cleaner interlude called "Seeds to Sow," that, true to its name, planted the seed for what was to come for the band. "It kind of laid out this destiny for us, and I feel like now we're fulfilling that," says drummer Cole Gilbert. The band continued to expand their sound on 2023's widely acclaimed Psychic Dance Routine EP, incorporating more pop hooks and favoring gentler singing over heavy screaming, paving the way for what would come next.Scowl's growth got a huge boost from producer Will Yip (Turnstile, Title Fight, Code Orange, Balance and Composure), who broadened the band's scope. "Will would say, `Everything you have here is correct, but it's in the wrong place,'" says Gilbert. Moss adds: "Will really helped restructure a lot of the material. Some songs he tore apart to make more space for the really good hooks and choruses." But even through this more eclectic approach, Scowl loses none of their edge, and still manages to convey the anger and frustration that lies underneath. They are deeply committed to carrying the ethos of punk and its sense of community. "Hardcore and punk have sculpted how we operate, what we want to do as a band, and how we participate," says guitarist Malachi Greene. "At our core, we are a punk and a hardcore band, regardless of how the song shifts and changes."

Last summer, after living across the country from each other for several years, the four members of Anamanaguchi decided to try something new. Their label Polyvinyl had rescued the famed American Football house from potential destruction, so the band took the opportunity to move in and write together. Over the course of a month, Anamanaguchi – pioneers of hyper-melodic 8-bit rock, whose extraordinary ascent has led them to topping charts with virtual pop star Hatsune Miku and scoring Scott Pilgrim vs. the World: The Game and Netflix’s Scott Pilgrim Takes Off – flipped their typically meticulous digital process on its head. Anyway, the result, is the most personal record of their career. And it's a rock record for the ages.

Recorded straight to tape by Grammy-winning rock producer Dave Fridmann (The Flaming Lips, MGMT, Sleater-Kinney), Anyway united the members around live instruments and lyrics sung by everybody in the band. As Anamanaguchi has always been an instrumental band, the decision to sing suddenly confronted them with the question of what the band’s voice would ultimately be. They explore this newfound power in every song, making it their most emotionally resonant work yet.

Anyway captures a band creatively and personally energized by the experience of four best friends reviving their connection in a disconnected world. On “Rage (Kitchen Sink),” the band confront loneliness and boredom, two epidemics of the digital age that seem to be humanity’s only common bond. The power-pop ballad “Darcie” finds inspiration in small gestures from a local unsung hero, who brightens their lives and allows unforeseen amounts of fun to happen. Taut and dynamic, “Buckwild” is a rock sing-along that serves as the album’s genesis story: a band making an effort to do something new, while accepting the risks that may bring.

USA, Anamanaguchi’s critically-acclaimed second album and debut for Polyvinyl, anticipated a crucial cultural shift in moving from escapist, nostalgic fantasy to a more introspective exploration of digital identity. Described by Pitchfork as the band’s “most emotionally grounded record,” USA laid the foundation for the openness and honesty that defines Anyway. Where USA made sense of life online, their third album Anywayventures into the world outside the front door.

This work was released in 1988 by guitarist Yuji Toriyama, who continues to work as an arranger, producer, and studio musician.

This is his fifth album overall. This work is a culmination of his specialty, the programmed sounds, and it explodes with solid digital sounds.

Participating musicians: Hiroshi Sato (key), Hideo Yamamoto (drums), Kenji Takamizu (bass), and others.

Sydney artist Natalie Slade's debut album Control, co-written with Hiatus Kaiyote's Simon Mavin, is now followed-up with a second instalment of Australian future soul in Molasses, an album featuring a range of UK and Antipodean artists. Joined by The Dieyoungs on keys and Laneous on guitar, Natalie's songwriting and vocals are brought to the fore with excellent production by key Melbourne scene driver, Brisbane's Sampology and additional production from guest Dan Kye. Staying true to the debut album's style of Australian future soul Molasses has an emphasis on poetic storytelling, Natalie's lyrics and melodies that are heard against a lush bed of string arrangements and the influence of Sampology’s soulful but gritty sensibility. As well as her amazing eponymous releases Natalie has also featured on tracks from artists as important and diverse as Posy, Plutonic Lab, Parker and Rhodes and Dojo Cuts among others. Sampology is an innovative producer who, for the past 15 years or so, has been a driving force behind Australia's Hip-Hop, Neo-Soul and Broken Beat/Jazz explosion and has worked with the likes of Ron Trent, Tiana Khasi and Charlie Hill as well as releasing his own tracks. This collaboration between Natalie and Sampology on Molasses is a real high-water mark of music, song-writing and production. Releasing on digital and double vinyl LP, Molasses further chronicles the rising stars of Australia's burgeoning and increasingly important neo-soul and future soul scenes.

Smalltowndubz are back on the BCSM label.

After their big ''My Garden'' EP and the great ''Way Of Dub'' tape, the austrian producer duo returns with a extra heavy 12“ vinyl release.

The A Side comes with a deep and meditative cut featuring the unmistakable voice of Fikir Amlak. ''Never Get Burned'' is a roots-infused anthem built for sound systems, followed by a thundering dub version.

Flip the record and things get mystical. ''Sitar Dub'' brings in Lance Hume on sitar, weaving hypnotic eastern melodies into a deep bass meditation – again paired with a powerful dubwise version.

This one’s for the selectors and the steppers. Dub with pressure. Don’t sleep!

Horace Silver’s 1962 tour of Japan had a deep impact on the pianist who dedicated his album The Tokyo Blues to his Japanese fans. With his quintet of Blue Mitchell, Junior Cook, Gene Taylor, and John Harris Jr., Silver combined a “Japanese feeling in the melodies with the Latin feeling in the rhythms.” This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Southern Thailand, Songkhla-based Baa Records takes you on a guided tour of the grooviest tracks to come out of the
Golden Sound studios! From their headquarters on Bangkok's Sukhumvit Road, GS were pioneers of Thai studiocraft and
electronization, bridging the gap between the nightclub disco showbands of the '70s and major-label pop idols of the '90s.
Collected here are 10 rare and glorious cuts introducing you to this highly influential yet little-remembered scene.
All of the music that emerged from the studio, though, shared an unmistakable signature production sheen: like the
producers of Japan's city pop scene, Golden Sound was influenced by Southern California's "West Coast sound", an
amalgam of smooth soul, jazzy R&B and tight disco sounds, with an emphasis on both high-calibre musicianship and
adventurous incorporation of electronic gadgetry.
This excellent selection of tunes from the folks at Baa Records highlights some of the most vibrant and danceable of the
label's output, with an intriguingly synthesized sonic palate.

Seattle punk rock 'n rollers The Drowns are proud to present their brand new live album Live At Rebellion, on Pirates Press Records. This is the band's first foray into recording a live performance, but it has been an idea on the table from very early on. While the band are rightfully acclaimed for their studio albums, the first thing anyone in the know talks about is their electrifying live shows. "Within the first year of starting the band, we saw the reactions we were getting from people live, and we had the idea to record a live album," says guitarist and singer Rev. "Almost a decade later now, we felt like the time was right." While a live album recorded during the first year may have captured the raw power of a hungry band kicking off their momentum, Live at Rebellion is the sound of a seasoned band playing in front of a veritable army of international fans on their largest festival stage at Rebellion Festival in Blackpool, UK - fans that they have earned one by one, sweating it out with relentless transcontinental touring. "Rebellion has always been a highlight of our year, and we love the performances there because the energy from the crowd is raw and visceral," explains Rev. "That's why we made the choice to do it there in Blackpool." While far from a "Greatest Hits Live" preserved in amber, the setlist features selections from every era of the band's career and was determined by the band's knowledge of what songs get their audiences fired up - all killer, no filler, as the saying goes! The gritty attack of "Them Rats" exemplifies the band's streetpunk influences and lyrical calls to unite against abusive authoritarian power. Meanwhile, the vital ass-shaking boogie of "Live Like Yer Dyin'" was a direct result of the band fully embracing their collective appreciation of the energetic joys of both 70s glam and original 50s rock 'n roll! Their choice of cover song - "Ballroom Blitz," - truly hits the Sweet spot, if you'll pardon the pun, as one of the foremost glam-proto-punk-bovver rock masterpieces. It is executed here in masterful hands by The Drowns. The band acknowledges Daz Russell & Daryl Smith, the organizers at Rebellion, for backing the making of the record. David Casey (Success, One Step Beyond) helmed the boards to capture the recording, mixing and engineering was done by Evan Douglas Foster (The Sonics, Boss Martians), and the final master was produced by Seattle legend Jack Endino (Nirvana, Mudhoney, Soundgarden), who also recently oversaw the re-master of The Drowns' debut album View From the Bottom. "This album was a cumulative effort between people who still believe in rock 'n' roll," sums up Rev. "We couldn't be more proud."

“The hand knows best,” the painter Margaux Williamson says. “A shape produces itself, where I go toward what is intuitive, rather than logical.” The shapely, intuitive songs that comprise Ada Lea's third album, when i paint my masterpiece, are surprising, imagistic, tactile. They stand before us and we feel their brushstrokes. Alexandra Levy holds her guitar against the backdrop of a sea of her paintings on the album cover and it’s tempting to ask: is painting a metaphor here, for music or life? No! As ever, she resists tidy metaphors. She’s a master of this kind of thorny lowercase title that germinates and grows with time. In a real, profound way, music and painting go hand-in-hand as she unveils a new style of subversion and surrealism inspired by her transdisciplinarity.

Levy is a Renaissance woman, and Ada Lea’s albums have been swelling in scope alongside the evolution of her artistic life. Her recent turn toward pedagogy—teaching a songwriting course at Concordia University and co-facilitating a community-based group called The Songwriting Method—weaves another vivid thread into her multifaceted practice. Her debut LP, what we say in private, blurred the lines between interior and performative worlds. Her sophomore record, one hand on the steering wheel the other sewing a garden, featured vignettes centered on Montreal. On this sprawling and ambitious album, written over three years and whittled down from over 200 songs, she asks: what happens when you… pause? How can a life be held suspended in song? The album is a kaleidoscopic exploration of the transformations art can bring: the vision of an uncompromising artist dancing bravely and freely between registers and across mediums.

The album marks a reset—a quiet revolution. After years of relentless international touring, Levy felt an urgent need for community and renewal. Gruelling road schedules with very little support left her wondering: who am I really doing all this for? The system was uncaring and broken, and so it was that she came to envision a new healthy and healing mode of musical genesis. “For me, that looked like resting, extending my creative reach, going back to school, studying painting and poetry,” she explains. “Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.” This need for a more deliberate creative renewal was rejected by her existing systems of support, so she began the search for an alternative.

London’s melodic punk outfit Burnt Tapes have released their most powerful and emotionally chargedrecord to date: New Lungs. Out now via Lockjaw Records, the album is a cathartic journey throughmental health struggles, lost connections, and the desperate hope for renewal.

Produced by Daly George (Creeper, Milk Teeth), New Lungs was recorded in two parts — split between the rustic isolation of an old stable-turned-studio in Aldershot and the famed Ranch Studios in Southampton. The band took a more collaborative, experimental approach to writing this time, building tracks piece by piece and capturing the visceral energy of their live shows.

Sonically, New Lungs builds on the grit and heart of 2019’s Never Better, but cranks up the intensity. Think big, anthemic sing-alongs, driving guitars, and a heavier edge, without losing the melodic honesty fans have come to love. Thematically, the record deals with the toll of depression, anxiety, broken relationships, and the disorienting struggle of trying to move forward while feeling stuck in the past.“

This album nearly killed us to make,” the band admits, “but it feels like the closure we needed. It’s us working through everything—the burnout, the self-doubt, the weight of the last few years.”

With standout tracks like MOTHERSGUILT, New Lungs, You Only YOLO Once, and Graveyards, the album delivers both punch and poignancy—perfect for fans of Hot Mulligan,The Menzingers, and Heart Attack Man.

Burnt Tapesare set to support the release with appearances at Manchester Punk Festival and a run of live dates through the summer.

In 2019, SWEET embarked on the biggest tour of their long career to date with the ‘Still Got The Rock’ tour in Europe and the UK. In between, they even found time to fly to Australia to play as co-headliners on the ‘Rock The Boat Cruise 2019’. The band was fired up and looking forward to the future. But suddenly in 2020, the whole world was in turmoil, triggered by a global pandemic and all wheels came to a standstill overnight. But for Sweet, there had to be a way out, otherwise musical creativity in all its forms would be lost forever. So, in what was a new isolation for everyone, they began to produce a Sweet album with the ‘new’ guys Paul Manzi and Lee Small and the ‘old guard’ Andy Scott and Bruce Bislan. The album was given the title ‘Isolation Boulevard’ to suit the situation. The songs are re-recordings of 12 classics from Sweet's extensive collection. There was little time between the lockdowns in the UK to achieve the desired goal. On top of this, there were numerous technical obstacles that had to be overcome. With this in mind, the overall performance of everyone involved is all the more impressive, from the driving drums and bass to the ‘in your face’ guitars and stratospheric vocals. In the end, it was a pleasure for everyone to record ‘Isolation Boulevard’, despite being under very strict distancing rules. The result speaks for itself. The album will now be released as a Ltd. Edition Neon Yellow Vinyl.

‘Best tunes for your answering machine’ is the debut album of oblique, introspective electronic music by the mysterious solo artist Tekamolo.

Fusing melancholic synth pop and absurdist trip hop, ‘best tunes for your answering machine’ is a special assemblage of pitch-modified vocals, retrofuturist samples and freeform electronics that coalesces into music both outlandish and bittersweet, playful and profound.

Produced by a renowned artist, opting to conceal their identity under the guise of a new pseudonym, Tekamolo presents a series of curious, incognito confessionals with ‘best tunes for your answering machine’. An album led by a voice like a sentient, heavy-hearted android, the nine tracks collected here contend with themes of inertia, solitude and longing, revealing an inspired, affecting stream of messages from an unknown caller.

Without preconceptions tied to provenance, this is music liberated from the burdens of biographical detail. Music that eschews ego and the cult of the self. An album that can be heard purely for the strange, poignant sounds unfurled throughout.

For Tekamolo, the album signifies an attempt to navigate aesthetic reductionism, as well as an absolute sense of seclusion:

“An audio diary of a lonely soul. Broken, wounded mantra-songs. Memories of things that never happened. Dreams that never had the chance to be dreamed. Disassembled songs. As if testing the limits of emptiness — how much void can a song endure while still remaining a song? How much can be stripped away, how bare can it be, and still, the groove lingers, the melody pierces the memory, sinking into the listener's mind.

These are the skeletons of songs, an attempt to assemble music from the bare minimum — words, sounds, fragments of memory.

The songs are filled with desperate calm. They are not sung to the world, nor to anyone tangible, but solely to oneself and to the unseen. In a way, they could be considered songs of the end of the world: you wake up, and there is not a single person left in the world. At least, no one you can see. You wander through empty streets and deserted shopping malls, humming softly to yourself, hoping that someone — anyone — might hear you.”

‘best tunes for your answering machine’ is a sui generis conception of warped 21st century blues from an enigmatic figure, a work filled with surreal, indelible songs of modern isolation. Lost contemporary hymns, now recovered. Voicemails worth hearing.

Classic black 2LP in gatefold! "Her darkest, heaviest and most personal album yet . . . a haunting, doomy exercise in loud-quiet dynamics." Rolling Stone Sleep paralysis plagues singer/songwriter Chelsea Wolfe, and that strange intersection of the conscious and the unconscious has inadvertently manifested itself within her work. Across the span of her first four albums, there is an underlying tension, a distorted and nebulous territory where dark shadows hover along the edges of the sublime and the graceful. But until now, Wolfe's trials and tribulations with the boundaries between dreams and reality have only been a subconscious influence on her work. With her fifth album, Abyss, she deliberately confronts those boundaries and crafts a score to that realm she describes as the "hazy afterlife. an inverted thunderstorm. the dark backward. the abyss of time." Chelsea Wolfe's material has always felt intensely private, from the almost voyeuristic bedroom-production aesthetic of her debut album The Grime and the Glow to the stark themes and atmospheres of 2013's Pain Is Beauty. "Abyss is meant to have the feeling of when you're dreaming, and you briefly wake up, but then fall back asleep into the same dream, diving quickly into your own subconscious," says Wolfe. To conjure this in-between world, Wolfe continued her ongoing collaboration with multi-instrumentalist and co-writer Ben Chisholm and drummer Dylan Fujioka, with Ezra Buchla brought on board to play viola and Mike Sullivan (Russian Circles) enlisted to contribute guitar. The ensemble traveled to Dallas, TX to record with producer John Congleton (Swans, St. Vincent). In the back of her mind burned the words of designer Yohji Yamamoto: "Perfection is ugly. Somewhere in the things humans make, I want to see scars, failure, disorder, distortion." The resulting eleven songs reflect that philosophy as they smoulder with human frailty, intimacy, quiet passion, anxiety, and deep longing. "Sleep and dream issues have followed me my whole life," remarks Wolfe as she revisits notes from the writing and recording sessions. In a way, these issues have become a part of Chelsea Wolfe's identity, for whom the notion of sleep as an escape has been subverted. Abyss captures this dichotomy, this battle between the soothing and the upsetting, and demonstrates why Chelsea Wolfe has become one of the most intriguing songwriters of the decade.

Released in 1970, Earwax marked the debut album of Dutch Free Jazz ensemble Association P.C., recorded in Wageningen, The Netherlands, and produced by Dtuch Jazz pioneer Wim Wigt. The album fuses Free Jazz with Jazz-rock, showcasing an adventurous sound led by drummer Pierre Courbois. The line-up includes guitarist Toto Blanke, bassists Siggi Busch and Peter Krijnen, and Jasper van ‘t Hof on electric piano. Members Courbois, Blanke and van ‘t Hof are considered as the early inspirators of the Jazz-rock and German Krautrock sound. Now, 55 years later, Earwax by Association P.C., finally sees its first-ever reissue since its original release. This long-awaited edition consists of six tracks and is presented
in a gatefold sleeve, featuring details about the musicians involved.

Released in 1997, Uptown Saturday Night is the acclaimed debut album by Bronx hip-hop duo Camp Lo. Known for its smooth blend of jazz- influenced production and 1970s-inspired flair, the album stands as a standout in East Coast hip- hop. Produced primarily by Ski Beatz, the album features lush, nostalgic beats that complement Camp Lo’s unique slang, stylish delivery, and cinematic storytelling.

The lead single, “Luchini AKA This Is It”, became a cult classic, praised for its infectious groove
and sophisticated wordplay. Other highlights like “Coolie High” and “Black Nostaljack AKA Come On” showcase the duo’s charismatic chemistry and retro vibe.

Uptown Saturday Night received critical acclaim for its originality and timeless aesthetic,
cementing Camp Lo’s place in hip-hop history. Its fusion of golden-era rap and soulful funk makes it a must-listen for fans of classic 90s hip-hop and genre-defying creativity.

Uptown Saturday Night is available as a limited edition of 2000 individually numbered copies on translucent blue coloured vinyl.

New Surrender is the fourth studio album by American alternative rock band Anberlin, released in 2008. It marked their first album under a major label, Universal Republic Records, after signing with them in 2007. The album blends alternative rock and emo influences, featuring a mix of energetic and introspective tracks. Songs from the album are “Breaking”, “Miserable Visu (Ex
Malo Bonum)” and “Feel Good Drag” which was originally released on their earlier album Never Take Friendship Personal, but in this re-recorded version became the most successful single.The album peaked at number 13 on the Billboard 200 and number 5 on the Billboard Modern Rock/ Alternative Albums chart. It was produced by Neal Avron, known for his work with bands like Yellowcard and Fall Out Boy.

New Surrender is available on black vinyl and includes an insert with lyrics.

Let There Be Cello finds 2CELLOS exploring a diverse catalogue with their signature boundary- breaking playing style. Co-produced by Šulić and Hauser themselves as well as Filip Vidovic, Let There Be Cello is a showcase of their exceptional talent for reinventing the music of any genre. The collection includes their take on Ed Sheeran’s “Perfect” and “Despacito” by Luis Fonsi, a fan-favorite rendition that has garnered over 39 million views on 2CELLOS’ YouTube alone. Known for bringing their explosive playing style to some of rock’s biggest anthems, they make
no exception on this album, which features favorites “Eye of the Tiger” by Survivor and The White Stripes’ iconic “Seven Nation Army,”. Taking their classical instrumentation to new heights, 2CELLOS rounded the album with everything from celebrated classics (“Imagine” by John Lennon, “Hallelujah” by Leonard Cohen) to never- before-heard original compositions (“Concept2,” “Cadenza”) for a listening experience unlike any other.

Released in 1993, The Love of Hopeless Causes is the sixth studio album by British post-punk and alternative rock band New Model Army. The album delivers powerful, politically charged lyrics and intense instrumentation. Key tracks like "Here Comes the War," "Living in the Rose," and "Fate" showcase the band's signature blend of raw energy, thought-provoking storytelling, and anthemic melodies. The album’s themes explore social unrest, personal struggles, and resistance, reflecting New Model Army’s unwavering commitment to their message. Produced by Niko Bolas, The Love of Hopeless Causes was the band's only release under Epic Records. With its mix of fiery rock anthems and atmospheric ballads, the album remains a standout in New Model Army’s discography, appealing to both longtime fans and newcomers to their music. The Love of Hopeless Causes is available on black vinyl.

Five sisters Jacqueline, Lyn, Pat, Rae and Gennie Jackson were from Compton, California. “I Believe In Miracles” was written and originally recorded by Mark Capanni. The musical tracks were the work of the late Gene Page (string arranger for Barry White). The vocals were produced by Pete Moore of the famous Smokey Robinson & The Miracles along with Bobby Taylor, who also had a group called Bobby Taylor & The Vancouvers. “When I Believe In Miracles was first released in 1973 the sisters were nominated for best new vocal group for the Black Image Awards and best new female artist by Record World Magazine in 1974-1975 which was announced on Soul Train an aired Feb. 22, 1975. However the song did not take off until the UK ‘rare groove’ scene of the 80s, after which an extended version was created which appears for the first here time on 7”

With creative verses rooted in technical brilliance, Detroit emcee Elzhi has attained the highest level of lyrical mastery. Now 15 years into an inspired solo career, the former Slum Village member has ramped up his output lately, joining forces with producers Georgia Anne Muldrow, Oh No, and JR Swiftz for three acclaimed albums in the 2020s. Now, Elzhi is reuniting with famed North Carolina producer Khrysis as the duo Jericho Jackson, revisiting the chemistry that resulted in a celebrated 2018 joint album. After emerging in the Justus League collective during the rise iconic group Little Brother, Khrysis has gone on to work with hip-hop royalty like Sean Price, Black Thought, Mac Miller, JID, Conway, Rapsody, Talib Kweli, Redman, and many more. With a highly anticipated album on the way, Elzhi and Khrysis are launching the new era of Jericho Jackson with the flawless EP I Am Him, channelling the spirit of vintage maxi-singles. “For me, the maxi-single represents a time when

hip-hop was unapologetically raw and underground,” Elzhi explains. “Some of my favourite artists used the format to showcase remixes, freestyles, and loose tracks that might not have fit the sound of an album. This is our way of restoring that feeling.” An exciting burst of new music from two undeniable talents, the project features appearances by Domo Genesis and Oh No.