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The very first Grammy winning artist in Reggae history, MYKAL ROSE is the voice of the greatest days of Black Uhuru. He’s responsible for hit songs such as ’Guess Who’s Coming To Dinner’, ‘Sinsemilla’ or ‘Sponji Reggae’. Thanks to Sly & Robbie, Mykal Rose and Black Uhuru have been a turning point into Reggae history, giving to the four corners of world the raw and brutal sound of Jamaica early 80’s violent political crisis, far from Bob Marley refined and sophisticated music.

40 years after he left the group, Mykal Rose returns with ‘Rain And Blood’, a new single that could have been taken from another Sly & Robbie-produced Black Uhuru album. In a 1986 proto- digital reggae style, Swiss reggae powerhouse THE 18TH PARALLEL recorded an early dancehall-roots-reggae riddim with none other than the legendary Robbie Shakespeare himself on bass. Mixed by today’s finest sound engineer from Jamaica, Gregory Morris (Protoje, Lila Ike, Mortimer,...), ‘Rain And Blood’ combines the best of modern reggae sound with an impeccable groovy riddim inspired from back in the days. On top of this, the finest horns section of the new Jamaican music scene, TOPP BRASS, graces us with a timeless instrumental cut called ‘Red Sky’. This is heavyweight reggae at its best!

Orange vinyl, limited to 350 copies. REPRESS of the legendary NIGHTSTALKER sophomore album. Recorded at Action Studios, 1995 Produced by Alex K. Engineered by Aris Christou. Assistant producer Jim Spliff Remastered at SweetSpot Productions Studio

Orange vinyl, limited to 350 copies. REPRESS of the legendary NIGHTSTALKER sophomore album. Recorded at Action Studios, 1995 Produced by Alex K. Engineered by Aris Christou. Assistant producer Jim Spliff Remastered at SweetSpot Productions Studio

Damian Lazarus and JOJO ABOT unleash mesmerising new single ‘Warrior Dance’ on Crosstown Rebels. The single builds on the release of the Crosstown founder’s fifth album ‘Magickal’, with remixes provided by Major League Djz and Raxon.

Following the initial shock-drop release of his latest album ‘Magikal’ and the 2025 edition of his revered Day Zero Festival in Tulum, Crosstown Rebels founder Damian Lazarus unveils his next sonic offering, ‘Warrior Dance’, featuring Ghanaian interdisciplinary artist and healer JOJO ABOT.

A dynamic and powerful composition, ‘Warrior Dance’ sees Lazarus and JOJO ABOT craft an entrancing fusion of pulsating beats, immersive textures, and commanding vocals, adding to the album’s diverse soundscapes and blending hypnotic rhythms with amapiano influences. Their synergy extends beyond this track, with the duo having already collaborated on ‘Force’, another standout moment from ‘Magikal’ that showcases JOJO ABOT’s evocative vocal prowess and the influence of her Ghanaian roots.

The release also features two expertly curated remixes as Lazarus once again showcases his renowned A&R talents. South African trailblazers Major League Djz serve up signature driving and captivating grooves, following their remix of Lazarus’ ‘Into The Sun’ feat. Jem Cooke as part of ‘Crosstown Rebels pres. CR20 The Album: Unreleased Gems and Remixes’. Meanwhile, Egyptian-born, Barcelona-based DJ/producer Raxon makes his Crosstown Rebels debut, delivering a tunnelling, driving and off-kilter rework that stays true to his trademark sound, as heard on labels like Kompakt, Ellum, and Diynamic.

Adrian Younge Presents Something About April is quintessential sweet-soul from The Delfonics lead vocalist William Hart produced by Adrian Younge. From the very beginning, it was Younge’s intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA

Take A Look At God's Face is the soundtrack to the 2022 acclaimed film of the same name by award
winning writer/director Jack Laurance: a short and true story about revenge, lost love and exotic animals.
Sulk Rooms is the musical project of prolific composer/producer & live performer Thomas Ragsdale.
Thomas' brand of 'luminescent electronica' soars majestically through a wide range of much-loved
electronic albums, including equally excellent work under the moniker Ffion

Metaphon is thrilled to present this collection of 14 phenomenal electronic and electro-acoustic works by French composer Fernand Vandenbogaerde, realized between 1967 and 1984.

After his science studies Fernand Vandenbogaerde (1946) studied at the Conservatoire de Roubaix and did various classes and courses with a.o. Jean-Etienne Marie, Olivier Messiaen, Pierre Schaeffer, György Ligeti, Karlheinz Stockhausen and Bruno Maderna. He wrote analytical essays on mathematic music, in particular the work of Iannis Xenakis. Vandenbogaerde taught electro-acoustic music at various institutions and was director at the National School of Music and Dance in Blanc-Mesnil, near Paris. As a composer he wrote works for orchestra, instrumental and chamber ensembles, sometimes in hybrid form including tape and electro-acoustic configurations. He also recorded numerous tape compositions in Bourges, Paris, Ghent and at his home studio. His works have been presented worldwide on various leading festivals and events.

The compositions included in this edition are primarily tape works, meticulously recorded and produced, radical and most of all timbre oriented which makes his compositions focus mainly on sound while other parameters hardly change. In Vandenbogaerde’s own words: “What determines my pieces, at least all the ones in this collection, is that it’s the material that dictates me, that will predetermine the form”. This particular approach distinguishes him quite a bit from many of his contemporaries within the field of electro-acoustic music.

Another interesting aspect in Vandenbogaerde’s work is the integration of micro tonal scales (conceived by Mexican composer Julian Carrillo), on the compositions 'Modifications III' and the intriguing trilogy 'Drei Nachdenken über Hymnen an die Nacht'. All tracks are previously unreleased except the proto power electronics piece 'Anschlag' which was self-released in 1971 on his own Point Radiant label, as a compilation LP which also included a track by Tristan Murail.

The 299 Game is the debut lp from 299, a collection of ten songs with an overarching sense of Lynchian weirdness is offset by songs that ring with crisp melodies and compositional nous. 299 is the solo recording project of Welsh multi-instrumentalist and producer Gavin Fitzjohn (who has worked with the likes of Manic Street Preachers, Gruff Rhys, James Dean Bradfield, Paolo Nutini and more), with 299 coming to life a few years ago while Fitzjohn was making his way across the US. Intoxicating, dangerous in its allure, there are flecks of '60s vocal groups and Tom Waits-style melancholia tied up in Fitzjohn's deliberate American drawl.

HOLY first appeared in late 2014 with the Silver of Your Heart EP and soon followed it with the debut album Stabs to praise from Stereogum, Wondering Sound, The Line of Best Fit, Anton Newcombe and more. After touring the album throughout 2015, including a run in the UK around Liverpool Psych Fest, Hannes Ferm retreated to Studio Cobra in Stockholm to record the follow-up. Over 15 months between April 2016 and May 2017 he recorded All These Worlds Are Yours together with co-producer Martin Ehrencrona (Les Big Byrd, Viagra Boys), and it's a huge step forward. Leaving behind the garage pop leanings of Stabs in favour of a sound infused by the early '70s, melding Ziggy Stardust era David Bowie with Brian Eno-esque art pop and more modern psych pop in the vein Ariel Pink, it's a truly standout record. A first taste arrived with the "premonition" 7" in September, alongside a short run of UK dates. HOLY will be touring the UK in February again alongside European showcase festivals and headlines shows throughout the spring.

Baby Rose makes healing music for the aimless and heartbroken. The Grammy-nominated singer/songwriter and producer's uniquely rich voice naturally lends itself to her powerful, smoke-filled ballads lamenting lost loves and broken futures. "I make music to help myself get through things," she says. The piercing honesty and vulnerability she brings to her lyrics in turn helps others process their feelings and find a place of healing. For Rose, it's a journey that's still ongoing. "If I'm going to leave anything behind, it's going to be getting people back to themselves," she says. "As I get back to myself, it's a constant reset: Remember who you are, remember who you want to be." You can hear the impact of this approach in Baby Rose's upcoming second album, Through and Through. Take the hypnotic "Fight Club." Over the track's simmering baseline and crashing cymbals, she declares, "I don't need no one else to show me the way." She describes the song as a "breaking of the shell. It encourages me to just go for it and not care about what anyone else thinks." Therein lies Baby Rose's strength: a determination to live, love, and create on her own terms. "I'm not just a singer with a unique voice," she says. "I'm somebody that has something to say." In the years since releasing her last album, To Myself, Rose has been painstakingly piecing together its sequel. Started almost immediately after its release, her new body of work finds her in a state of musical and personal transition. It's a subtle merging of new sounds_stirring rock, upbeat r&b, psychedelic funk, pop, and soulful ballads_, all mastered through analog tape to make the music feel warmer and all-encompassing. It's also a journey inward as she battles past fear and self-doubt to finally discover_and love_who she is, where she is. Finishing an album with such peace and firm resolution is a first for Rose, but she makes it clear: She's nowhere near done writing her story. "I think as long as I'm being raw and trying to push past my comfort zone, it will feel rewarding," she says. "I don't want to be the type that doesn't take risks because I'm afraid. I have to trust that as long as the music is honest and innovative, it'll be timeless."

180G vinyl pressing

After releasing their well-received 7” and 12” singles ‘Night Time’ and ‘Feel It / So Hot’, Isle of Jura is pleased to present Exotic Illusions, the debut album from D.D. Mirage, the Sydney-based duo of Josh Dives and Disky Dee.

Having first played music together during the mid-2010s in the indie-psyche and punky-shoegaze bands King Colour and SCK CHX, the two Australian musicians/DJs came up in the warehouse party scene that fermented in the wake of the Sydney lockout laws. While organising mixed media events under the Yeah Nah Yeah brand, they discovered the joys of disco, dance-punk and the Balearic beat through Pender St Steppers’ DJ mixes and reissue releases and found themselves changing direction in response.

Written and recorded with a range of vintage keyboards and preamps, instruments and digital studio software, Exotic Illusions is a cosmopolitan love letter to the immaculate blend of Italo disco, Neopolitan funk, Nigerian boogie, cosmic house, synth-pop, UK street soul and lovers rock sounds that have inspired D.D. Mirage since they began this iteration of their ever-evolving musical relationship.

“The name Exotic Illusions refers to our fascination with all of this music made in other parts of the world,” they explain. “During lockdown and thereafter, we indulged in these exotic sounds as an antidote to our lack of travel. This fascination continued as the world opened up again, and we started working on tunes together. It’s also a way of acknowledging that we feel like tourists partaking in these styles and established sounds. They aren’t ours and weren’t born out of the place we’re from, but we hope we’ve been able to add something unique to them.”

In recognition of this, rather than just reinterpreting genre motifs through an antipodean lens, D.D. Mirage opened up lines of communication with some of their favourite musicians from the Neapolitan scene, bassist Daniel Monaco (Rush Hour, Periodica Records) and drummer Andrea De Fazio (Parbleu/ Nu Genea), who recorded the rhythm section for ‘So Hot’. They also wrote to the Manchester-based singer/producer Private Joy, who graced ‘Night Time’ with a smoother-than-silk street soul vocal that helped the single secure crucial plays on NTS and BBC Radio 6.

Opening with the tropical melodies, post-disco machine beats and jilted art-punk singalong chants of the title track, Exotic Illusions unfolds as a series of sturdy, internationally-minded dancefloor excursions. ‘Piranesi’ is boogie with a South American shuffle. ‘So Hot’ is Neapolitan funk with a Leichhardt strut, and ‘Antenna’ (featuring Jofi) is D.D. Mirage’s love letter to ‘80s drum machine bossa nova from Brussels.

On ‘Feel It’, the duo hit a sparking groove that reaches into an eternal sunset of the mind before throwing out a bubbly disco-not disco spoken word bounce on ‘Cat’s Cradle’, featuring psychedelic-pop singer Jermango Dreaming. From there, D.D. Mirage bring it home with a cheeky Aussie drawl on ‘Living Upside Down’ and the nocturnal excellence of ‘Night Time’, making a case for themselves as a significant new force from Australian music to the world.
full sleeve artwork from Bradley Pinkerton.

In 2016, Cliche Morph offered the aquatic textures of "Liquid Materia". "Hidden Madness" is the return and a new beginning. Four tracks of intense introspection mark a collaboration and a founding, Deep Sound Channel and Postdynamic. Atmospheric and immersive, from the needle drop the listener is immediately drawn into the subterranean chambers of this cerebral piece. A stark beat is the guide rope, a snare that echoes and ricochets into the cavernous expanse of cold currents and all too real phantoms. Feeding off that palpable paranoia, Psyk pours a thick resonating syrup over the original before pulling the switch. Darkness descends, distortion and reverb dominate with a steady kick delivering some form of solid ground. Respite? No hope. Pound and thud tell the arrival of "Exorcist". Industrial groans and a clanking larynx are cut through by haunting strings, a meagre echo of humanity in this absorbing and unsettling track. Blazej Malinowski closes. Drum patterns are amplified and concentrated in the producer's purge of "Exorcist", hi-hats hissing as the spectral refrains of the original shift in shape and form. A 12" that plumbs the physical and the psychological depths of sound.

Guy J continues to redefine the boundaries with his Early Morning label, a space dedicated to showcasing forward-thinking artists whose creativity defies conventions. Among these is French producer Sébastien Léger, whose latest two-track release exemplifies his penchant for innovation and mastery of sound design.

The opening track, Koi Fish, delves into Leger's inner world, displaying his exceptional sound design skills. Symbolically rooted in qualities like resilience, prosperity, love, and transformation, the track is a collage of tribal didgeridoo textures intertwined with futuristic, dub-inspired effects. These elements converge on a spiritual plane, creating a soundscape that is both immersive and thought-provoking. The second piece, Gaufrette, is a melodic odyssey blending trance-inducing motifs with a touch of nostalgic dream house, reimagined with modern ingenuity. Synthesizer themes weave seamlessly with delicate piano lines, evoking a nineties-inspired euphoria that brims with creativity. The arrangement is meticulously crafted, with intricate percussion and a dynamic structure that continuously unveils fresh layers, technical ingenuity, and inventive ideas. This release highlights Leger's innovative spirit and reinforces Early Morning's status as a vanguard for transformative music that challenges and inspires.

Synthesizer Evolution: From Analogue to Digital (and Back) author Oli Freke returns with a new volume in his Synthesizer Evolution A6 zine series. The first two volumes (Vintage Synths and Drum Machines & Samplers) focused on vintage electronic instruments from the 1970s and 1980s. Volume three moves into the 21st century, showcasing a selection of the most interesting, impactful, and—arguably—best synthesizers of the past two decades.

The synths in this book celebrate the vast range of sonic possibilities now available to musicians and producers. From analogue wonders to extraordinary digital creations, from tightly designed monosynths to open-ended polyphonic beasts, each one is more marvellous than the last!

DeepMatter Records is thrilled to reintroduce ‘Daughter of the Sun’, the groundbreaking album from Canadian bassist and producer vbnd. Originally released in July 2018, this neo-soul masterpiece has captivated listeners worldwide, racking up over 68 million streams and selling out two previous limited vinyl pressings in the process.

Blending jazz influences with soulful grooves, this album is a true gem for any lover of neo-soul. Featuring collaborations with fellow Saskatoon artists — including the ethereal vocals of Katie Tupper, the masterful guitar work of Justice Der, the sultry sax of Connor Newton, and the artistry of Simon Jasieniuk — the project is a lush and unforgettable listening experience. Standout tracks like “Smoke” and the titular “Daughter of the Sun” highlight Tupper’s smoky, enchanting voice, perfectly paired with vbnd’s lush, soul-infused production.

Since its release, ‘Daughter of the Sun’ has become a cornerstone of Saskatoon’s blossoming jazz and soul scene, with vbnd drawing inspiration from icons like D’Angelo, Jaco Pastorius, and Snarky Puppy.

2025 Repress
Singing black-lit liturgies of bog bodies caked in mud, entranced by nocturnal landscapes flickering in the moonglow and powered by queer enchantment, Tristwch y Fenywod are a Welsh-language gothic avant-rock powercoven. Exhumed from the depths of Leeds’
experimental underground, the trio consist of Gwretsien Ferch Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The Courtneys).
Stark, striking and bewitching, Tristwch y Fenywod’s self-titled album is their debut studio recording, following just 10 gigs and a live demo. Formed in 2022, Tristwch y Fenywod ("The Sadness of Women”) record exclusively in the Welsh language, conjuring an eldritch, subterranean, alien folk music played on dual zither, electronic drums and bass guitar. With towering, siren-like vocals curling around the Welsh consonants, accompanied by stark, martial rhythms and swirling claw-plucked strings, Tristwch y Fenywod feels like an early 4AD recording dredged from the waters of an Anglesey swamp. The effect is simultaneously chilling and stirring.
The eight tracks on the record constitute what feels like a recently rediscovered, unholy grail of edgy, atmospheric, occult feminist goth emissions. Gwretsien’s dual-zither playing scatters melodic fragments and spirals of harmony around the decimated space opened up by the lugubrious bass playing and pounding, brooding drum pads.
Coupled with the Welsh vocal, Tristwch y Fenywod embody a new, unique Celtic darkwave sound, equal part Pornography-era The Cure, Svitlana Nianio’s haunted hammered string-work and the dark beauty of Dead Can Dance or This Mortal Coil. Opener Blodyn Gwyrdd feels like the last ride of Princess Ukok, with lumbering bass and 6/8 rhythms in procession to the event horizon with an entreating, impassioned vocal and surprising lyrical theme. The doomed dancing of the zither provides the mysterious melodic bedrock throughout the album, particularly on Ferch Gyda’r Llygaid Du’s heavy funereal swa and the slowly building, paroxysmal banshee breakdown of Awen: an astonishing swell of thrilling chaos.
The album was recorded and produced by Ross Halden and the band at Hohm Studio, Bradford, Summer 2023.

Mid 80's Rub-A-Dub, London style - wicked conscious toasting action from Ranking Anne on her 1984 follow up LP on the great Ariwa.
Produced by Mad Professor, featuring host of guest musicians and singers ( Johnny Clarke , Jah Shaka to name a few) joining the sessions. Class

The first in a two part series on Canopy documenting the work of the Beninoise supergroup, T.P. Orchestre Poly-Rythmo, who were responsible for an astonishing multitude of records, numbering well over 250 releases. While the group underwent numerous personnel changes over the course of their 40+ year legacy; the founder, composer, vocalist & multi-instrumentalist Clément Melome remained a constant and uniting force.

The title track, "Zo Tche Kpo Do Te", sung in Fon by bandleader Clément Melome translates as, "My Fire Will Not Go Out" and was taken from the self-titled LP "Melome Clement & L'International Orchestre Poly-Rythmo". It is here remastered and reissued by Canopy for the first time. This evocative song is a hybrid of soukous-like elements with a driving, almost disco beat and a relentless bassline shot through with funky guitars and triumphant horn arrangements. The atmosphere is given a cosmic sensibility with synth lines and psychedelic FX, culminating in a sonic cocktail that has often been described as "Voodoo-disco".

Accompanying the original version are two remixes by producers whose work Canopy has long admired.

Jose Marquez adds live bass and percussion to his "Mezcla", turning it into an uplifting opus that deftly dances the line between the original work and the modern elements, tastefully updating the sound to segue between the past and present.

Sol Power All-Stars up the ante with their powerful reinterpretation. Throbbing bass underpins a club focused yet dubbed out and psychedelic afrobeat over which Clement Melome's composition shines. The Ibibio Horns add complimentary horn arrangements and galactic synth solos. The end result is a master work in 21st century future-vintage afro funk creation.