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Horace Andy has always commanded a place high on the list of Reggae singers from Jamaica. His distinctive haunting vocal style stands strong on any rhythm,song or style he chooses to cover. Of the singers on that long list, he has managed more so than any other, to crossover to a new generation of listeners due to his individual style, helped also by his collaborations with the likes of Massive Attack. Horace Andy (b. Horace Hinds,1951,Kingston Jamaica) like many otherJamaican singers began his musical career at Coxsonne Dodd's Studio One. So impressed with the youth, Coxsonne decided on a name change for theyoung artist and called him after his top songwriter of the time Bob Andy. So Horace Hinds became Horace Andy. His first tune for Coxsonne 'Something On My Mind' was a slow burner in Jamaica, but his belief in his young protégé paid off when followed later by 'Skylarking' a tune that burst the singer all overthe radio and sound systems of Jamaica. After numerous singles and two albums worth of material, Horace moved on to work with many of the topflight Jamaican producers, among them Keith Hudson, Augustus Pablo and Niney the Observer, but it was his work with producer Bunny Lee in the 70's that he cut most of his hits for and from this stable of work, that we have compiled this set. Some of his late 60's classics were recut in the popular1970's style, working with the rhythm kings themselves, Sly Dunbar andRobbie Shakespeare. They have added some shine to the tracks, 'SomethingOn My Mind' and 'Skylarking' and made them hits all over again. Such wasHorace's delivery to the covers he sang like Delroy Wilson's version of theTams 'Riding For A Fall', the Heptones 'My Guiding Star', John Holts'Man Next Door' and Bill Wither's 'Ain't No Sunshine', that these finetunes were made his own. The roots end of his musical style was covered by
Andy originals such as 'You Are My Angel', 'Zion Gate','Money Money'and the cut which we have taken our edited title, the timeless 'Just SayWho'.A bass heavy cut to Bob Marley's 'Natural Mystic' works so well inthis style also. Another nickname Horace acquired was the affectionate title of Sleepy, as he was always hanging around the yards and studios of Jamaica waiting his turn, sometimes so long he would fall asleep. His enthusiasm to get back in the studio to work some more of his magic, to a catalogue of material that has developed into one of the finest in Jamaica. I hope you will agree, this fine set of 1970's classics will sit alongside.














O B8 | AIN'T NO SUNSHINE

Back to the future and northern velkommens to bro Morken. EPs for Prins 'Blud' Thomas' Full Pupp show early production chops, but it's his residency as part of Oslo's Jaeger crew where the range of styles is truly showcased.

Appearances on Trushmix series and his recent Road Trippin' cassette for L.I.E.S last year show depth(charge) DJ on a roll, but it's setting up the Moonlighting label where vibes came alive via some electro bass tribal sub bass wonder. Jungle dialects!

All and more over these 5 cuts >>> afro-bump-shuffle-rat-tat-hats-acid-stab-meets-storyville-dark-tom-toms-pads-relentless-hypnotic-down-down-electro-italo-endings-and-bass! Strange Thank f***.

From the moment she began writing her new album, Japanese
Breakfast’s Michelle Zauner knew that she wanted to call it
‘Jubilee’. After all, a jubilee is a celebration of the passage of time
- a festival to usher in the hope of a new era in brilliant technicolor.
Zauner’s first two albums garnered acclaim for the way they
grappled with anguish; ‘Psychopomp’ was written as her mother
underwent cancer treatment, while ‘Soft Sounds From Another
Planet’ took the grief she held from her mother’s death and used it
as a conduit to explore the cosmos.
Now, at the start of a new decade, Japanese Breakfast is ready to
fight for happiness, an all-too-scarce resource in our seemingly
crumbling world.
‘Jubilee’ finds Michelle Zauner embracing ambition and, with it, her
boldest ideas and songs yet. Inspired by records like Bjork’s
‘Homogenic’, Zauner delivers bigness throughout - big ideas, big
textures, colours, sounds and feelings. At a time when virtually
everything feels extreme, ‘Jubilee’ sets its sights on maximal joy,
imagination and exhilaration. It is, in Michelle Zauner’s words, “a
record about fighting to feel. I wanted to re-experience the pure,
unadulterated joy of creation… The songs are about recalling the
optimism of youth and applying it to adulthood. They’re about
making difficult choices, fighting ignominious impulses and
honoring commitments, confronting the constant struggle we have
with ourselves to be better people.”
Throughout ‘Jubilee’, Zauner pours her own life into the universe
of each song to tell real stories and allowing those universes, in
turn, to fill in the details. Joy, change, evolution - these things take
real time and real effort. And Japanese Breakfast is here for it.
Available on clear with yellow swirl coloured vinyl.

The Wandering Hearts are a British Americana-Folk band known for their enchanting harmonies and heartfelt songwriting influenced by the likes of Simon & Garfunkel, Fleetwood Mac, Crosby, Stills, Nash & Young and have a similar sound to The Lumineers and First Aid Kit. Their new album, Déjà Vu (We've All Been Here Before), is a beautiful re-work of Crosby, Stills, Nash and Young's 1970 hit album of the same name. Recorded in one week in Joshua Tree, Taurus Rising Studios. This isn't an album out to besmirch the original, but to become a loving companion without being an overly reverential copy. With a band as distinctive and exciting as The Wandering Hearts, a note-for-note facsimile was never an option. One listen to how The Wandering Hearts have taken Déjà Vu's ten songs to new places and reimagined it over 50 years later, and it's clear this is a very bold, very new work by one of Britain's most accomplished Americana artists.

For All The World, the black watch's twenty-fifth (and first double) album is a darkly poppy, brightly moody, many-splendored take on a number of the great themes: Death and Sex, Memory and Lament and Hope and Love. And it is, arguably, this heralded Los Angeles band's most sonically ambitious and moving record yet, since front man/novelist/ex-English professor John Andrew Fredrick formed the group in 1988 in Santa Barbara after he'd seen a London-by-way-of-Canada band called The Lucy Show play to twelve-or-so people in his hometown.

Having recorded 2024's Weird Rooms with producer Misha Bullock and Fredrick's son Chandler at Bullock's studio in Austin, TX, the TBW founder was keen to repeat the experience with, he says, more straightforward, classic psych/jangle/shoegaze songs. The result, though artistically satisfying, spurred a yen in John to write more songs as a sort of reaction against the batch he'd carried with him from LA to Texas. "We had such a productive time recording ‘Weird Rooms’ that I wanted to repeat the experience... without repeating the experience. And once it was over and I left Misha to do what he pleased with respect to mixing and overdubbing, all I could think was 'I need to write another album now.'" So Fredrick brought longstanding producer/engineer and TBW-associate Scott Campbell (Stevie Nicks, Acetone) along this time to help out with engineering and good cheer.

Fredrick, who has been "accused" of being "astonishingly prolific," learned that bandmate Andy Creighton had recently become unemployed, seized the opportunity to have yet another multi-instrumentalist flesh out the new songs he quickly wrote after he came back from Austin. “Achilles Past,” the first single, is in fact a song that John wrote when the production team thought the album was done—and the front man avers that it’s often the case that a very strong song comes to him, as it were, in the eleventh hour. The same could be said for “Listen You Wait”—another number that came late to the Austin sessions.

Nevertheless, the recording of the first half of For All The World has Creighton's signature indelibly stamped on it - especially on such tracks as “Fainting” and “Surely You Rally”- just as the latter half highlights Bullock's formidable talents. "They're both not just brilliant musicians and they understand my aesthetic and bring their own sensibilities to bear on my stuff. Our respective tastes meet in, you guessed it, The Beatles' realm - the great shadow that hangs over all I do, at least."

"There's A Place," the final song on side two, serves in fact as a distinct homage that's been a long time coming for a band that included a cover of "It's All Too Much" as a bonus track and that release a quite punkish, uptempo version of "Eleanor Rigby" on a 7".

A meeting of minds and bodies on a heady percussive trip with no clear destination, captured live at Espacio Cultural El Tanque in Tenerife. With both imaginary and lived in tropical sceneries coalescing the two units, both Tenerife's Lagoss and Kampala's Abagwagwa (aka Nihiloxica) find a common thread to disentangle cartographies. As if it was bound to happen. As it did.

Taking Abagwagwa's relentless barrage of polyrhythms as a starting point to jammin' excursions that never falter into self indulgence, brimming with ideas and spirits pulled from East African traditions, Free Jazz cosmologies, Dub tactics, urban sonic warfare and different strains of psychedelia through a vast array of drums, percussion, flutes, skewed synths, ecstatic vocals and electronic processing.Blessed with the xamanic drumming of João Pais Filipe on two tracks and feeling equally indebted to both bands' vision all the while commiting to a newfound sense of wonder, 'Island Slang' is a celebration that's truly alluring in its search for some sort of 'Universal Consciousness' - to quote Alice Coltrane - for which we're now invited to tag along. You are all welcome.

Ein Mensch verbringt den ganzen Tag damit, eine Maschine zu bauen, nur damit sie ihn die ganze Nacht hindurch quält. Als ob das nicht schon verdreht genug wäre, gefällt es ihnen auch noch. Es gefällt ihnen sogar so gut, dass sie am Morgen verjüngt aufwachen und eifrig an der Maschine feilen, bis sie in ihrem Kopf perfekt läuft.
Dies ist die nächtliche Vision, die Cryptopsy zu ihrem neunten Album Nightmare inspiriert hat. "Hüte dich vor dem Scheinwerferlicht", warnt Sänger Matt McGachy, bevor "Dead Eyes Replete" mit einem schmerzerfüllten Breakdown vor deinen Augen aufblitzt. An Insatiable Violence spiegelt unsere toxische Beziehung zu den sozialen Medien wider, aber obwohl es unheimlich vorausschauend ist, ist das Album von den vielen Mutationen beeinflusst, die die Hall of Fame-Diskografie der Band geprägt haben. Inspiriert von einem Mukbang, der furchtbar schief gegangen ist, ist der gefräßige Opener "The Nimis Adoration" ein Sammelsurium an Blasts, Christian Donaldsons Fishhook-Riffs und einer kräftigen Portion Groove, der die Boxen zum Beben bringt.

Cryptopsy wissen, dass nicht jede brutale Technical-Death-Metal-Band lange genug durchhält, um nach 30 Jahren einen kanadischen Grammy zu gewinnen. Das Cover von "An Insatiable Violence" wurde von dem verstorbenen, großartigen Martin Lacroix gestaltet, der mit unheiligem Vergnügen über die frischen, fetthaltigen Tiefen von McGachys falschem Akkordschrei grölen würde. Ein anderer ehemaliger Sänger kehrt auf "Embrace the Nihility" zurück, um alle flüsternden Zweifel an seiner Vormachtstellung zu zerstören. Doch obwohl Cryptopsy bereits auf ihrem zweiten Studiowerk die Krone der abscheulichsten Death-Metal-Band für sich beansprucht haben, gehen sie immer noch an die Grenzen des Extremen.

Die Leadsingle des Albums rumpelt und knirscht zu Olivier Pinards schaurigen Bassschlägen - und doch erhebt "Until There's Nothing Left" im Kern den Anspruch, Cryptopsys größter Ohrwurm zu sein. Selbst Flo Mounier - der buchstäblich das Buch des extremen Metal-Drummings geschrieben hat - hat neue Techniken verfeinert, um die Blasphemie von An Insatiable Violence frisch zu halten. Zum Abschluss kommt "Malicious Needs" im Schneckentempo daher, bevor es wie eine Fledermaus in eine schwarze Rauchwolke aufsteigt.

Verbeugt euch vor der neuen Abscheulichkeit der Könige des extremen Metal.

FFO: Suffocation, Dying Fetus, Nile

Reissue. Worm Infested is a compilation EP of tracks recorded between 1996 and 2001, featuring previously unreleased outtakes along with killer covers of songs by Accept, Possessed and Metallica.

Reissue. Worm Infested is a compilation EP of tracks recorded between 1996 and 2001, featuring previously unreleased outtakes along with killer covers of songs by Accept, Possessed and Metallica.

Green w/ red splatter vinyl. Worm Infested is a compilation EP of tracks recorded between 1996 and 2001, featuring previously unreleased outtakes along with killer covers of songs by Accept, Possessed and Metallica.

Mustang Island, the third album from Austin-based band Little Mazarn, is a gentle force. Waves of grief crest like surf on the Texas coast. Wild horses break through long-shuttered gates, only to come back around. Lead songwriter, vocalist, and multi-instrumentalist Lindsey Verrill (she/her) joins bandmates jeff Johnston (he/him) and Carolina Chauffe (they/thern), The tensong, collection continues work with Dear Life Records. A full-throated romp through the capabilities of community-minded songcraft, Mustang Island is both naturalistic and futuristic, completely recasting Little Mazarn's origins in primitive folk. Instead, the band reaches towards sonic experimentation and spacious expansion. Lindsey's heart-opening vocals and jeff's singing saw, both trademarks of the project, mix with unexpected bombastic drums, dissonant synthesizers, and a chorus of orchestral oddities. This mid-career ode dances confidently in the creative liberties granted by decades in the game - more dazzlingly lively, and honestly somber, than ever before. The band's crossroads branch across prominent Southern outsider music: On cello, Lindsey has recorded with Patty Griffin and Dana Falconberry. The longtime side player wouldn't write her first song until age 34, Jeff has played in Bill Callahan's band, as well as with LIl Capin Travis and Orange Mothers. Carolina is known for prolific solo project hemlock, Little Mazarn has also collaborated with Lomelda to release their last EP, Honey Island General store (2023), following past LPs Texas River Song (2022) and lo (2019). Alongside silliness and reverence, including covers from Kate Wolf and Bob Wills * His Texas Playboys, griet directs much of Mustang Island. Lindsey left her job of seventeen years teaching cello at a local school, Recording also aligned with the passing of Jeff's facher, a career educator in Jeff and Lindsey's hometown of Dallas. "Grief, and the avoidance of grief, is a big part of being human," says Lindsey. "You make a choice, and then you grieve for the other choice. Or you finish a meal and literally grieve that it was so good. If you really befriend griet, you re like, 'Oh, it's here, in this pancake, which I loved so much that I ate the whole thing, and now it's gone.**

Limited edition white vinyl (800 copies) The self-styled ritualistic electro-mechanical ensemble OSMIUM is a veritable supergroup. Made up of Oscar-winning composer and instrumentalist Hildur Gudnadóttir, veteran engineer and producer James Ginzburg, Senyawa's idiosyncratic vocalist Rully Shabara and Grammy-winning sound designer / producer Sam Slater, while each member brings along a laundry list of accolades, the project is far greater than the sum of its parts. Alloying burnished electroacoustic soundscapes with dense, metallic drones, barbed rhythms and buckled, bio-mechanical vocalizations, OSMIUM's eagerly awaited debut album doesn't try to cast a rigid future. Rather, it tempers a viscous flow of unorthodox speculations that smolders through the distant past, blazing a trail all the way to the frontier of fate. Absorbed by questions about the relationship between humans and technology, tradition and progression, the individual and the group, OSMIUM channel their experience and expertise into a set of forward-thinking sonic interrogations that skewer established cultural preconceptions. And although genre is acknowledged - the album draws from folk, doom metal, 20th century minimalism, industrial music and extreme noise - there's never a sense that it's riveted firmly in place. Widely known for her soundtrack work (including `Joker' and `Chernobyl') Gudnadóttir plays the halldorophone, a unique cello-like electroacoustic instrument designed by Halldór Ulfarsson that allows the performer to harness unstable feedback loops. Taking his cues from this process, Slater (who has worked alongside Jóhann Jóhannsson, Ben Frost and others) generates rhythms using a self-oscillating drum he designed with KOMA Elektronik and Subtext boss and Emptyset member Ginzburg responds in kind, producing booming tambura-like sonorities from a device he developed himself based on the monocord, an ancient single- stringed resonator. OSMIUM synchronize the three unique instruments using a custom system of robotics to generate basic rhythms that underpin their improvisations and experiments, and Shabara's alien tones supply the band with their conceptual fulcrum. The vocalist is one of South Asia's most recognizable underground artists, and the sounds he's able to create using exhaustively rehearsed extended techniques are so distinctive that he's been studied by scientists back home in Indonesia. Never weighed down by needless sound design or modish ornamentation, it's music that feels authentically experimental; OSMIUM have figured out an awkward symmetry between their discrete approaches, concentrating their gaze on the outcome rather than the process. The result is a work of science fiction that's driven by interaction, conversation and sensation.

Father's Children waren eine Funkband, die sich Ende der 1960er aus der in Washington D.C. ansässigen Doo-Wop-Formation The Dreams entwickelte. 1979 nahmen sie als achtköpfige Band unter der Leitung von Wayne Henderson (The Crusaders) und Augie Johnson (Side Effect) ihr selbstbetiteltes Debütalbum auf, an dem auch Bobby Lyle (The Genie) und Dean Gant (Keni Burke) beteiligt waren. Die beiden Keytracks des Albums - der oft gesampelte, britische Rare-Groove "Hollywood Dreaming" und der Two-Stepper "Got To Get Away" - werden hier erstmals zusammen auf einer 7" präsentiert, dazu noch erstmals in den vollständigen Albumversionen.

We are proud to present this solo-release by techno legend CJ Bolland on Flatlife Limited. It features 3 amazing techno electro acid tracks. We've seen some really big remixes from this man the last years, like the brilliant remix of LSG's classic "Netherworld"; but no solo release yet appeared - so we're extra proud on this one. In the past CJ Bolland created major albums like "Electronic Highway" & "The 5th Sign" which made a statement in the underground scene. We don't need to explain what this man has meant to the underground Techno Scene and still does. We still remember hits like "The Prophet" & offcourse "Camargue" which are legendary. For the Flatlife Labelgroup: a dream coming true to get this release out there !!

We always knew we would return to this project because Brutalism remains a profound part of our lives, something we cherish deeply. Inspired by the photographs we have been capturing for a new book, the music emerged effortlessly. Documenting these buildings feels instinctive; this is where we belong.

Our unwavering fixation on symmetry, synchronisation, and repetition endures, but this time we believe the music reveals a more emotional depth. That is the direction we have been moving towards. Some things simply take time, yet this album seemed to take shape of its own accord.

Join us as we walk through these modern day cathedrals, monuments to the people.

Seit Mitte der 1980er Jahre prägt Caspar Brötzmann einen unverkennbaren Sound - infernal, radikal, kompromisslos. Unbeirrt verfolgt er seinen eigenen Weg, jenseits klarer Genregrenzen. Als Sohn des berühmten Saxofonisten Peter Brötzmann fand er früh seine künstlerische Identität und entwickelte eine einzigartige Klangsprache, die sich in brachialer Katharsis entlädt. Seine Musik ist keine Anpassung an Trends, sondern eine sensible, leidenschaftliche, fast autistisch anmutende Annäherung an Verzweiflung und Wut - und doch voller Hoffnung. Mit seiner virtuosen Eigenständigkeit am Instrument ist er eine Ausnahmeerscheinung. Ein atonaler Hendrix, made in Germany. Nach der Veröffentlichung seiner ersten Komposition "The Lovers And Destroyers" mit Caspar Brötzmann Bass Totem im Herbst 2024 veröffentlicht der international renommierte Gitarrist nun eine Platte mit seiner Band Massaker beim deutschen Label Exile On Mainstream. Es ist die erste Aufnahme der genreprägenden Band seit 26 Jahren nach dem letzten, 1999 erschienen Album "Mute Massaker". "It's a Love Song" besteht aus zwei unterschiedlichen Versionen seines Songs "All This Violence", die im Januar 2025 in Wien und Dresden mit Saskia von Klitzing (Drums) und Eduardo Delgado Lopez (Bass) aufgenommen wurden. Angesichts der aktuellen Weltlage entschied Brötzmann, mit "All This Violence" ein klares Zeichen zu setzen. Er selbst schreibt dazu: " Schon nach ein paar Augenblicken war klar: was ich hier hörte, hatte die Botschaft, die Kraft und spiegelt unser Zeitgeschehen wieder. Keine von meinen Studioaufnahmen hatte diese Power. Und das war nur die eine Seite, es bedeutete auch den Spalt zwischen Schwarz und Weiß zu finden, zwischen Hell und Dunkel und zwischen Leicht und Schwer, wohin mit all meinen anderen Songs? Lange, lange habe ich nach der Achse gesucht und völlig unerwartet stand sie plötzlich neben mir im Raum . . ."

Ipsa Corpora (,Actual Bodies") ist ein 40-minütiges Solo-Gitarren-Meisterwerk und Nathan Salsburgs erstes rein akustisches Album seit dem 2018 erschienenen ,Third". Salsburg hat die letzten Jahre damit verbracht, Zeit und Raum mit seiner transzendenten Landwerk-Serie (bestehend aus E-Gitarre und Samples von alten 78er-Schallplatten) und einem gemeinsamen Album mit Bonnie ,Prince" Billy zu erforschen, auf dem die beiden Lungfish coverten. ,Ipsa Corpora" setzt diese Übungen in minimalistischer Zurückhaltung fort - und ist vielleicht sein bisher ehrgeizigstes Projekt.

There's no real way around it: Kelsey Waldon's new album, Every Ghost, is heavy stuff. Across its nine songs, she confronts addiction, grief, generational trauma, and even herself - and comes through it stronger and at peace. "There's a lot of hard-earned healing on this record," Waldon says. As she sings in the album's title track and first song, 'Ghost of Myself,' she's put in the work not only to better herself and leave behind bad habits, but also to learn to love her past selves. Compassion is a throughline on Every Ghost, whether it's for Waldon herself, for the person in the throes of addiction in 'Falling Down,' or for a suffering world in 'Nursery Rhyme.' The people in Waldon's songs aren't irredeemable - they're struggling.

Moments of Solace is the introspective new EP from London-based artist, musical director, and producer Amane, released via Música Macondo.
Across six beautifully crafted tracks, Amane distills elements of ambient electronica, IDM, and jazz, creating music that evokes a deeply emotional journey through sound.

From the outset, Moments of Solace is contemplative and hypnotic, weaving together the pulse of electronic percussion, the glow of nocturnal pads, and the calming resonance of synths. Echoes fade and return like tides — forming ecstatic waves of sound that invite the listener into a space of reflection and emotional release.

For Amane, this collection serves as a creative response to a world that feels increasingly chaotic and dark — offering listeners a sonic refuge. The EP channels the ambient excursions of Boards of Canada, the rhythmic urgency of a Floating Points club set, and the cinematic sweep of night drives along the Pacific Coast Highway or meditative rides on Japan’s Shinkansen.

Despite an intense touring schedule, Amane found the time to craft this personal and globally resonant work. Moments of Solace mirrors his life experience as a nonstop traveling artist — soundtracking late nights, contemplative moments, and euphoric dance floors alike.

- Amane combines ambient textures, IDM structures, jazz influences, and club sonics into a cohesive sound.
- Inspired by artists like Boards of Canada and Floating Points.
- Reflects a global journey: from London nightlife to Pacific coastlines to Tokyo train rides.
- Released via Música Macondo, a label known for global, genre-blending innovation.

Amane is an East London-based musician, producer, and musical director whose career spans an eclectic range of genres and high-profile collaborations.

He has served as Musical Director for Little Simz, Jorja Smith, Amaarae, Ego Ella May, and Maverick Sabre; performed alongside global stars such as Ed Sheeran, Elton John, Anne-Marie, Sigrid, Dermot Kennedy, King Krule, and Ata Kak; and was a key member of the acclaimed London ensemble Maisha, whose debut was released via Gilles Peterson’s Brownswood label as part of the landmark We Out Here compilation.

In his solo work, Amane channels his deep musicality into soundscapes that reflect on the state of the world, offering listeners spaces for reflection, calmness, and emotional connection.

Different Rooms is the sophomore album by Jeremiah Chiu & Marta Sofia Honer. The followup to their critically acclaimed Recordings from the Aland Islands, this collection extends the path of pastiche forged by their debut: quietly multi-rhythmic, modular-trance-meets-processed-and-unprocessed-chamber strings, bewitching and bewildering field recordings-all knitted tightly, an LA patchwork.

It has been almost seven years since the release of Alpestres, the impressive debut by Matthias Puech on Hands in the Dark. While that first experience took us on a mystical journey through fascinating fictional landscapes, 'Cabanes' lets its narrative unfold in a confined space: eight pieces each resembling small structures or makeshift shelters that, while enveloping and isolating the listener, remain open to their surroundings. These are not merely interiors; they are handcrafted spaces through which we gain insights into the world. Yet they allow the light from the outside to seep in, reminding us of reality.

According to Puech, each composition has a distinctive two-part story that are both clear and intriguingly interconnected. The first one often revolves around the anecdotal and tangible aspects of instrumental "play," showcasing a technical exploration with his tools, the discovery of sounds in a library, and the serendipitous encounters that inspired them. The second part, however, delves into the more elusive yet profound state of existence that the French artist experienced while engaging with these sounds, reflecting on the moments he listened and re-listened to them, ultimately deeming them worthy life companions. These two narratives, perhaps reshaped over time like distant memories, interact in ways that can either clash or complement each other, creating a lasting impact on the listening experience.

A significant aspect of the compositional process involves distancing oneself from these connections to creation, allowing for the rediscovery of a state of listening that is free from prior emotional influences—what one might call "pure" listening. This method enables the transformation of a sequence of events into a narrative that is independent of its original intent, resulting in a universal object. After spending considerable time with the attached pieces and attempting to induce a form of amnesia to reconstruct an artificial narrative, Matthias Puech has ultimately chosen to relinquish this pursuit. Thus, the album is aptly termed “Cabanes” (“Huts”): fragile structures whose design clearly reflects the intention behind their creation, showcasing all the signs of considerate craftsmanship.

Stirring, snaking riffs, set closer to Josh Homme’s sun-bleached Joshua Tree compound, than the English Channel-lashed grin-and-bear-it character of Cleethorpes, sound the return of Lincolnshire teen-trio, Revivalry as they get set for 2025. Rushing and rattling into 2025, targeting fresh terrain as last year’s land grab of main stage festival and support slots becomes yesterday’s news, most recent single "Lost"'s three-and-a-half minutes of abandon pushes at the door of another sunny season of big shows and wild memories. School was out in 2024 as the teenagers took off from their hometown to first tackle the festival fields of Kendal Calling last summer, becoming the youngest ever band to play the Main Stage, having been hand-picked by bookers who spotted them mid-flow at one of their earliest shows. With trailblazing single, The Town, accompanying them on their way as thousands of new music-hungry gig goers caught the band on stages of increasing scale, their online listeners kept pace. Touring from sweaty venues to major outdoor support slots, their impressive run included a first, major Manchester headline, playing at Deaf Institute as the year met it’s festive close. Delving into record collections and distinct individual tastes, the three members of Revivalry refer with comfort to Rage Against The Machine and Bring Me The Horizon, as easily as fellow documentarians of youth, Arctic Monkeys or Supergrass, when discussing their beyond-years writing.

Impressed proudly presents the soundtrack to Memoir of a Snail, a 2024 Australian stop-motion animated film directed by Academy Award-winning animator Adam Elliot, on a very special golden swirl picture disc.

The film follows the story of Grace Pudel, a quirky, book-loving misfit with a passion for collecting snails, whose world unravels when she is separated from her twin brother, Gilbert. As she faces challenges, Grace finds unexpected hope and inspiration in a heartwarming friendship with Pinky, an eccentric and wise elderly woman. Together, they embark on a journey of self-discovery, proving that even in the most difficult times, connection and courage can shine through.

Composed by Elena Kats-Chernin, and performed by the Australian Chamber Orchestra, the soundtrack masterfully blends classical, contemporary, and emotionally dynamic arrangements to mirror the film's emotional journey. This 42-track record is both delicate and powerful, with soft piano passages, rich strings, and an overall mood that is whimsically bittersweet.

Critics have lauded the soundtrack for how it beautifully captures the heart of the film through its effortless flow between reflective intimate moments and dramatic passages.

Impressed is proud to present Brenton Thwaites—renowned actor, writer, and now accomplished songwriter—with his debut Album Searching For The Man. The announcement follows his recent iconic role in the Paul Kelly-inspired film How to Make Gravy. While filming Titans in Toronto, Brenton dove into music, recording Searching For The Man with producer Justin Abedin. The album weaves together styles from blues and folk to singer-songwriter and country. Brenton’s songs offer an intimate glimpse into his journey to and from Hollywood, life on the road with his family, and the rollercoaster of highs and lows that define it.

Marcus Index.

Wordsmith and musical wanderer.

Across a decade as the front man of Spookyland, and more recently Beth & Blue, Index received worldwide critical attention for the raw intensity of his vocals and poetic lyrics, garnering comparisons to artists like Jeff Mangum and Bob Dylan.

Paula revels in the ocean of space.
Each star a story, each galaxy a poem,
Paula's spirit danced among them, forever changed by the celestial ballet.
Her soul feels at home among the constellations.

Ukrainian Riot Grrl Trio 'Death Pill' Return With 'Sologamy' Their Much Anticipated Second Album. Two years on from their sensational debut, Ukrainian 'Riot Grrls' Mariana, Anastasiia and Nataliia, aka Death Pill are back. And back in full force, locked and loaded with a mighty set of tunes, _ as they put it. 'A bold exploration of personal empowerment'. 'SOLOGAMY' is fierce, heavy and melodic. The album's 10 tracks mark a bold evolution in the band's sound and Death Pill really deliver with ferocity and belief through multiple gear changes and genres as if it were easy. Hardcore, punk, grunge, thrash, riot grrrl, emo, are just some of the touchstones this album moves through, and all with the accomplished ferocity and memorable melody the band introduced on their debut. There are cellos, piano's, sound effects and ornate arrangements that open out their sonic palette, there's a bit of pop and even a bit of prog. But rest assured _ It's all pure 'Death Pill'. Thematically 'Sologamy' is, at its core, a celebration of the self! DP says: "The title, inspired by the concept of marrying oneself, speaks to the importance of making a personal commitment to self-care, happiness, and emotional well-being. In an era where that can sometimes be misconstrued as selfishness, Death Pill pushes back against these misconceptions, inviting listeners to embrace the power of prioritizing their own mental and emotional health." "Each track on the album is quite different from the last, and we see this as a way of accepting and supporting yourself in any emotional state. You arrive in this world alone and you leave it alone. The bottom line is: You're the only person you've got. "Every song on the album is a story that happened to us. Maybe it'll happen to you too. But every story deserves to become a song." "Sologamy" is more than just an album-it's a call to action" The very special LP version is not only frosted clear vinyl, but comes w/ foiled sleeve art, poster, sticker and free dlc! CD is nice too.

Cinematic funk visionaries The Diasonics drop a new disco-funk 45 vinyl with two killer tracks tailor made for DJs and cinematic funk fans. Only 500 copies pressed wordwide, instant collector's item. From the snowy streets of Moscow to the crates of vinyl diggers worldwide, cinematic instrumental combo The Diasonics unleash a new limited edition clear vinyl 45 with two killer tracks taken from the upcoming new album "Ornithology", set to drop worldwide on October 3 via Record Kicks. On the A side "Oriole" is a vintage disco-funk stormer taking inspiration both from the Soviet-era disco and jazz fusion records, as well as from 70s European library music and synth-funk movement. A minimalist synthesizer melody echoing the song of the oriole, paired with a steady disco-funk groove reminiscent of a train in motion ("Oriole" is also the name of a popular Russian electric train) lay the foundation of their most danceable track to date. The b-side holds the equally strong "Chickadee" a funk stomper with bold bassline and heavy b-boy breaks and percussions and a NY early 80 vibe able to set every dancefloor on fire. A peerless party-starter that you just don't want to miss it. Formed in 2019, this four-piece instrumental unit _ Daniil Lutsenko (electric guitar), Kamil Gazizov (keyboards), Maksim Brusov (bass), and Anton Moskvin (drums & percussion) _ quickly gained cult status through a series of sought-after 45s on Mocambo and Funk Night Records. Their critically acclaimed debut album "Origin of Forms" mixed by Henry Jenkins, producer of the Australian cult band Surprise Chef, came out on Record Kicks in 2022. The vinyl went sold out in few weeks and is now in-demand on the international cinematic funk scene.

Die niederländische Band “Digital Emotion“ wurde 1983 gegründet und konnte in den folgenden Jahren mit Titeln wie “Don’t Stop“ , “Get Up Action“ oder “Go Go Yellow Screen“ weltweit Erfolge feiern.

Neben der perfekt produzierten Musik , waren Digital Emotion auch für ihre Bühnenshows bekannt. Die Compilation “Greatest Hits & Remixes“ liefert alle Hits der Band.

Jetzt auch als Vinyl erhältlich Ein Muß für alle Fans von Italo Disco, Eurodisco, Spacesynth!

With this, their fourth album Black Helium find themselves widening the parameters of their take on heavy psychedelic rock, with probably their most baked and hook-laden material to date.

From the no-safety-net freak out of ‘Return the Curse’, to the sawtooth groove of ‘Up on a Hill’, ‘The Animals Are Coming’ LP is Black Helium at their most exploratory and focused.

Recorded one sun-drenched week in late June 2024, this time at Axe and Trap Studios with Ben Turner (Hey Colossus, Part Chimp). ‘The Animals Are Coming’ is the band sweating it out in a room, fueled by “party foods “and vintage amps. Digging deeper towards the source, no matter how transcendent, no matter how dark.

Black Helium are a psychedelic power trio, based in London. Never afraid to stray from the beaten path, they traverse aural hallucinatory soundscapes; from detuned Neanderthal rock to deep oceans of introspective blissed out psychedelia.

The band consistently gig across the UK (including a two week tour with Japanese label mates Hibushibire late 2024), and have recently started ventures into mainland Europe. And plan to continue throughout 2025.

Ride bassist Steve Queralt’s debut solo album Swallow is a beautifully brooding nine-track collection that combines the darkly textured soundscapes of early M83 and Sigur Rós with an electronic sheen reminiscent of Boards Of Canada. It also features guest vocals from Sonic Cathedral labelmate Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrelane, Memorials).Swallow has been slowly but surely pieced together between Ride albums and tours over the past five years and, perhaps as a result, has a slightly dystopian, Blade Runner feel that reflects the liminal spaces in which it was created.Despite the fact that the majority of the album is instrumental, there is plenty of power and emotion poured into these moody, moonlit soundtracks. When words do appear, an underlying anger and political slant emerges and amplifies the album’s dark intensity. This is most notable on the closing track, ‘Motor Boats’, where he overlays words from Julie Sheldon’s polemic poem The Same Boat (“We’re all in the same boat they say, but I would disagree”). According to Steve, these simple words of rejection “capture the reality of our times perfectly”. However, it was the collaborations with the two guest vocalists that tied the whole thing together and paved the way to the finished album. “After a few false starts, I had started to doubt the project altogether. It was going nowhere,” says Steve. “Then, out of the darkness, Emma got in touch to tell me that she’d found her voice and could I send her some tracks. A few files back and forth and an afternoon in the studio later and we had ‘Lonely Town’ and ‘Swiss Air’.”In the meantime, Verity from Electrelane had added vocals to the song ‘Messengers’ and transformed the track. Matthew Simms, now her bandmate in Memorials, would go on to mix the finished album.“Swallow has turned out so much better than I had hoped,” enthuses Steve. “I’d fallen out of love with it so many times I was thinking of calling it Loveless. But then, that wouldn’t be the whole story.”

Die mit Sicherheit coolste Spaghetti-Western-Compilation aller Zeiten kommt vom legendären SoundtrackLabel CAM Sugar. Niemand geringeres als der Brite Jeymes Samuel, Regisseur des modernen NetflixWesterns „The Harder They Fall“ und anderer Erfolgsfilme, sowie Singer-Songwriter (The Bullits), kennt sich mit der Musik italienischer Kult-Western bestens aus. Aus den CAM-Sugar-Archiven hat er jetzt 20 mitreißende Tracks aus der Feder von Ennio Morricone, Piero Umiliani, Nico Fidenco und anderen Legenden zusammengestellt. Diese Themen voll wilder Rhythmen, donnernder Gitarren und entfesselter Orchester sorgen für Action auch auf dem Plattenteller.

Drei der von den Originalbändern remasterten Tracks sind bislang auf Vinyl unveröffentlicht. Multi-Talent Jeymes Samuel hat auch das Cover-Artwork von Hand gemalt, im beiliegenden Booklet interviewt er die beiden Stars seines Westerns “The Harder They Fall”, Regina King und David Oleyowo, außerdem sind Original-Notenblätter und Filmposter abgebildet.

Jetzt auch auf Vinyl: Nach Mette Henriettes vielbeachtetem selbstbetitelten Debüt folgt nun Drifting – ein Album, das von Trio-Gesprächen mit eigenwillig-originellem Ausdruck durchdrungen ist. Mit Rückkehrer Johan Lindvall am Klavier und dem Neuzugang Judith Hamann am Cello präsentiert Mette kammermusikalische Ausarbeitungen von höchst konzentrierter und forschender Natur, zum Ausdruck gebracht durch subtile und zugleich intensive Interaktion. Motive und wiederkehrende Muster entstehen fast unscheinbar und offenbaren ein prägnantes Narrativ. Die Saxophonistin erklärt, dass ”dieses Album in Bewegung ist. Es bahnt sich seinen Weg und hat sein eigenes Tempo – der kreative Gestus unterscheidet sich grundlegend von dem, was ich bisher gemacht habe.” Aufgenommen in Oslo, fertiggestellt in den Studios La Buissonne und produziert von Manfred Eicher, präsentiert Drifting Trioerkundungen gedämpfter Texturen und vielfältiger Timbres mit besonderer Klarheit und Präzision.

This is the very first reissue on 7” single of these super rare and gorgeous early Reggae tracks by one of the most underrated voice of Jamaica. Both these tracks were produced by Dandy Livingstone and released in 1969 on the Downtown label, a Trojan sublabel, on two separate singles:
- DT-436: Audrey "You'll Lose A Good Thing" with Desmond Riley "If I Had Wings" on the flip.
- DT-414: Audrey "Love Me Tonight" with Brother Dan All Stars "Shoot Them Amigo" on the B side.
NOTE: Desmond Riley "If I Had Wings" is featured on our companion single also to be released on June 21, 2025.
This reissue brings these two rare gems together for the first time on a 7” single allowing enthusiasts and collectors to experience their gorgeous sound.
The original pressings have become highly collectible, with copies fetching big sums in the collectors' market.
This exceptional release will be available on our website and in select record shops worldwide from June 21, 2025.

Audrey Hall, aka Audrey was born in Kingston in 1948, sister to Pam, Trevor & Raymond Hall, all Reggae artists. She began her career as a duo, Dandy & Audrey with Dandy Livingstone. She recorded two albums with Dandy as a duo in 1968 and 1969.
She also recorded a handful of solo singles on the Down Town label with Livingstone as a producer. Dandy was a key producer shaping Jamaican sounds in Britain at that time. Although these tracks are actually all quite nice, two tracks really standout: “You’ ll Lose A Good Thing” and “Love Me Tonight” both released together for the first time on this single.
After the Skinheads craze subsided in Britain, Audrey moved to New York. During much of the 1970s and early 1980s, she worked as a backing singer alongside her sister Pam Hall. She made a real come-back as a solo artist in 1985 with producer Donovan Germain and scored many hits in the U.K.including “One Dance Won’t Do”, "Smile" and "The Best Thing For Me".
While she gained wider success in the 1980s with lovers rock hits, she did not quite get the recognition her outstanding singing skills deserved and she remains one of the most underrated voice of Jamaica…

Enjoy The Toons Records in partnership with Paramount
Pictures proudly presents Teenage Mutant Ninja Turtles:
Out of the Shadows (Music from the Motion Picture),
Score by Steve Jablonksy. Michelangelo, Donatello,
Leonardo, and Raphael are back to battle bigger, badder villains,
alongside April O’Neil (Megan Fox) and a newcomer:
the hockey-masked ally Casey Jones (Steven Amell).
After supervillain Shredder (Brian Tee) escapes custody,
he joins forces with two dimwitted henchmen, Bebop
(Gary Anthony Williams) and Rocksteady (WWE's Sheamus),
to unleash a diabolical plan to take over the world. As the Turtles
prepare to take on Shredder and his new crew, they find themselves facing an even greater threat with similar intentions: the notorious Krang (Brad Garrett). Teenage Mutant Ninja Turtles: Out of the Shadows (Music from the Motion Picture) features music by Steve Jablonsky (Transformers film series, The Sims 3, Gears of War 2). Jablonsky's signature sound is present, with a unique call-back to the original theme and fun, exciting orchestration for the 2016 film score. Teenage Mutant Ninja Turtles: Out of the Shadows (Music from the Motion Picture) is a 2xLP, housed in a gatefold jacket and pressed on colorful themed vinyl. The pressing is limited to 750 copies across 3 color variants. –

Third installment on Raw Elegance is here. MBM delivers a new chapter for the label including 4 track crafted to shake the dancefloors in different moments of the night.
A1 “Dancebreaker” gives the name to the record: deep and focused with some tribal touches and a mesmerizing vocal.
A2 “Smash and Prey” criticizes the behavior of those who do harm and then clear their conscience, as well as the contradiction in accepting violence if it is conveyed by religion.
B1. “Empty Minds” features a vocal guest, with a mental and repetitive yet focus approach that gets the listener lost in the concept of time.
B2. “Vocaltool” closes the release, providing an energetic and muscular vibe with minimalistic and tribal vision.

This is a new project for Spooky’s Duncan Forbes on 49North.

Together with internationally acclaimed violinist Jonathan Hill, the duo have produced a ten track album that is a blend of beautiful atmospheric electronica combined with analogue sonics, treated piano and live strings.

Each track is accompanied by an abstract film created by Matthew Le Maistre Smith alongside Duncan.

This is one for fans of Erased Tapes, Nils Frahm, Brian Eno and Hania Rani.

Few lovers stay together for life-and beyond. Just as rare are the artists who manage to keep alive the burning flame of their creative desire. Areski Belkacem is one of those who nurtures in his heart a fire that never dies out, a passion that burns just as intensely for music as it does for his beloved. As long as the message eventually reaches its intended recipient, he cares little for how long the journey takes. His new album, Long courrier, is proof of this: twelve unreleased songs that flow like a love letter set to music. In nearly 60 years of career, Areski Belkacem has released only three solo albums-intimate and deeply personal works that feel like whispered confidences to a loved one. In an era where commercial demands shape much of music production, these records exist solely to fulfill his need for expression. The late music lover and producer Jean-Philippe Allard once said, "Areski goes against the tide-he always seems to enjoy taking forbidden paths!" In Long courrier, Areski tenderly expresses love for his homeland and his beloved. He believes in the power of sensuality, the sacredness of pleasure, and the hidden beauty in every person despite life's hardships. He shows a fraternal gaze toward outsiders and sings of inner journeys, doubt, vows, eternal bonds-with a voice as warm and bright as a loving smile. He honors the mystery of the union between music and the French language. Blending his familiar chaabi rhythms and guitar with piano, accordion, bass, and electric guitar, he plays alongside the same musicians who have accompanied him for over two decades on stage-supporting the woman he shares both stage and life with: the incomparable Brigitte Fontaine.

After the explosive Comme à la radio, infused with the free jazz energy of the Art Ensemble of Chicago, Brigitte Fontaine and Areski Belkacem released six albums together or separately between 1972 and 1977. Their music, often stripped down to voice, guitar, and percussion-or performed a cappella-stood in stark contrast to the orchestrated French pop of the time. This minimalist and spontaneous approach highlighted the poetic power of the lyrics and the intimacy of the melodies, earning them recognition in the counterculture and underground scenes. By the end of the 1970s, Fontaine sought to make her work more visible without losing its originality. The Baraka album marked this transitional moment, initially recorded in a home studio without external musicians. Its title (meaning "blessing" in Arabic) hinted at a desire for success. Mixing introspection, absurd humor, and bold stylistic choices, the album was technically ambitious, featuring stereo duets and layered vocals, and lyrically rich, tackling everything from metaphysical themes to playful nonsense. However, the project ultimately veered off course. After moving the recordings to the massive Studio Davout and bringing in producer and guitarist Martial "Mimi" Lorenzini, the album lost its original intimacy. Overproduced arrangements clashed with the simplicity of Fontaine and Belkacem's initial intent, resulting in an album-renamed Les églantines sont peut-être formidables-that the artists later disowned, refusing to allow its commercial release. Recently rediscovered demo tapes, stripped of their bombastic layers, reveal the raw, emotional core of the songs-showcasing the duo's voices with a rare authenticity. These recordings bridge a missing link in their discography, between their experimental lo-fi years and their later, more accessible work. Decades on, Fontaine and Belkacem remain defiant originals, never settling into a formula, always evolving, and continuing to shake the foundations of French chanson.

The new and third album from the fabulous Split Squad, an All-Star band founded by Michael Giblin - producer (notably of The Fleshtones) and the band's bassist and songwriter - joined by the now late Clem Burke (Blondie), Keith Streng (The Fleshtones), Eddie Muñoz (The Plimsouls), and Josh Kantor (The Baseball Project). A Power Pop album and a brilliant follow-up to the already highly acclaimed first two records of the band. From classy garage rock to masterful power pop craftsmanship, Less of Everything is already establishing itself as a major classic and a must-have in the band's discography.

"CAM Sugar is thrilled to present Jeymes Samuel’s Spaghetti Western Collection, a selection of rare cuts from Italian Western film soundtracks (1963–1972), curated by the acclaimed father of the contemporary Spaghetti Western genre, BAFTA-winner director (The Harder They Fall, The Book of Clarence) and singer-songwriter Jeymes Samuel (The Bullits, Executive Music Consultant for The Great Gatsby alongside Jay-Z and Baz Luhrmann, as well as collaborator of Gorillaz and Talib Kweli, Jay Electronica). The English artist has also supervised the art direction of the products – painting the cover artwork by hand – compiled the music selection and produced two new original tracks. 2-LP DELUXE VERSION 2LP, a 20-track deep dive into the CAM Sugar catalogue casting a light on the trademark Italian sound that shaped Spaghetti Western, the legendary film genre birthed 60 years ago from the brainchild of Sergio Leone A Western Saloon Inspired Box Set with additional artwork for the box set. Exclusive 7” featuring an original song written and composed by Jeymes Samuel and an instrumental version of the song. Exclusive 10” featuring an original song written and composed by Jeymes Samuel with a CAM Sugar Sample and an unreleased poem by Regina King. Exclusive Official and unreleased story board from The Harder They Fall by Dwayne Turner Exclusive Interviews by Jeymes Samuel with The Harder They Fall protagonists Regina King and David Oleyowo, included in a booklet that will also feature content from the CAM Sugar Archives: Original Scores and Movie Posters One Dollar mini poster customized with Jeymes Samuel’s portrait in pure Spaghetti Western style THE STANDARD 2LP and CD versions:Featuring the 20 tracks selected by Jeymes Samuel and the exclusive booklet, including interviews By Jeymes Samuel to The Harder They Fall protagonists Regina King and David Oleyowo as well as content from the CAM Sugar Archives: Original Scores and Movie Posters.
"

Composer Corneliu Cezar (1937-1997) was a distinctive personality within the Romanian post 1960 avantgarde: a visionary of music, a thinker and a prophet, a richly gifted artist also active with writing, poetry, painting and astrology. Cezar was an activist rediscovering the natural resonance of sound within a different historical context and he embraced the recovery of authenticity as a reaction against the artificialized culture of serial doctrines. When, after 1975 the spectral music trend became official in Paris, with much fuss and remarkable support from musicologists, nobody knew that this trend has already been practiced by a small group of Romanian composers lead by Corneliu Cezar for ten years. The four electro-acoustic pieces on this album (privately released on CD in Romania in 2000), recorded with little means between 1967 and 1975, display the incredibly strong ideas of a truly visionary artist. Everything Corneliu Cezar has done during his short earthly life bared the shade of authenticity.

Xzibit – Kingmaker marks the West Coast legend’s long-awaited return, his first album since 2012. Packed with heavyweight collaborations, Kingmaker features industry icons like Dr. Dre, Ice Cube, Busta Rhymes, Redman, Royce da 5'9", Ty Dolla $ign, and more. With hard-hitting production and Xzibit’s signature razor-sharp delivery, this album blends raw lyricism with top-tier beats, reaffirming his status as a hip-hop powerhouse. A must-have for retailers and fans alike, Kingmaker is set to make waves across the culture.

DIEMAJIN is the duo of Berlin-based producer DJ DIE SOON (Daisuke Imamura) and Tokyo-based vocalist MA. Their self-titled debut is equal parts scrambled hip-hop, simmering noise and spectral Tokusatsu soundtrack. A set of cursed beats and possessed raps inspired by Japanese sci-fi and supernatural-horror films from the 1960s.
The pair, both originally from Japan, first collaborated live at an event in Berlin organised by Morphine Records in 2019. But the eleven tracks on their self-titled debut were made by swapping beats, sounds and acapellas across the internet. Editing, arranging and degrading them into the collection presented here.

Far above the skylark sings And beats the air with joyful wings Till all the sky with music rings At high noon of the day With 2022's critically acclaimed album Ghosts, enigmatic Shropshire group HARESS markedout their own place in a growing landscape of artists navigating the world of the traditional and the rural in new ways. Ghosts led to the normally reclusive Haress venturing out from their base in the Shropshire Hills for live performances with the likes of Godspeed You! Black Emperor, Shovel Dance Collective, Big Brave, Steve Von Till and appearances at Supersonic and Krankenhaus Festivals - not to mention making fans of everyone from Kevin Martin to James Holden in the process. Skylarks is perhaps the natural conclusion of these past few years for the group. Whereas previous Haress recordings have embraced something of the unknown in the process of their making, Skylarks sees a well-travelled group of musicians carefully craft long and expressive pieces of music in a powerful and instinctual way. The music here might be long, but it never sprawls out of control. The telepathy present in live performance has been harnessed and used to carefully compose and arrange these four pieces, narrating a journey through landscape and time that is as powerful as it is beautiful. Inspired by found folk songs, the power of nature and the power of community and Ben Myers' brutal tale of resistance The Gallows Pole, Haress have created a genuinely epic soundtrack to a world both past and future, real and imagined. The ambience and atmosphere of the recording (expertly captured by Phil Booth of JT Soar Studio on location in the group's hometown of Bishop's Castle) is entirely natural, the sound of an ensemble playing live in the room around you. The only vocal interjection this time comes from a choir of voices, replicating the communal singing that has been the centrepiece of Haress live performances. When the voices emerge, it feels truly euphoric and heavy. Not heavy as in metal, but heavy as in the Earth itself - a primal, joyful gut punch to the system. "This blissed-out psychedelia is not quite pastoral – there’s nothing twee about these unwinding grooves – yet evokes water and wood, light and shadow, a place of forgotten labour and the absent human form with a beguiling grace" - Luke Turner on Ghosts, The Quietus Albums Of The Year 2022 "That timelessness of the old sounds but with an added tripped out modernity and dissonance hooked into the past by the power of drone is magical and exhilarating stuff – they are truly spellbinding – ancient and modern like British ragas or a damp searching for the soul of England take on the desert blues of a Tinariwen" - Jon Robb reviews Krankenhaus Festival 2023, Louder Than War

Preeminent cellist / composer Oliver Coates follows his scores for
‘Aftersun’ and ‘Foe’ with a stately string and electronic orchestration for Tudor and Stuart-era period drama ‘Mary & George’. Coate’s score draws on his roots in classical, electronic and club music to accompany an adaptation of the non-fiction book ‘The King’s Assassin’ by Benjamin Woolley, which outlines the romantic affair between King James VI and I and George Villiers, 1st Duke of Buckingham.
The score sees Coates reaching for a suitably lavish palette of strings, from symphonic to puckered chamber arrangements, sometimes underlined with Burial-esque beats and choral pads, as in ‘France’, or alloying the two in a way recalling Nicholas Britell’s ‘Succession’ soundtrack. There’s enough harpsichord to make the ruffed-necks swoon, and Coates takes the license to distort sounds to taste when necessary, resulting a clear highpoint in his work, both solo and for film

Exclusive to Invada Records and released in association with Netflix, the incredible score to the critically acclaimed Yance Ford’s documentary “Power” scored by Robert Aiki Aubrey Lowe (Candyman / Telemarketers / Grasshopper Republic).
The album was mixed by the legendary Randall Dunn at his studio Circular Ruin and mastered by Invada’s own James Trevascus.
No other variants pressed.

Formed on a rooftop in the East Village of New York City over a decade ago,
SKYFACTOR was born when the musical paths of longtime friends Bob
Ziegler and Jason Taylor (formerly of Michigan's Brother Rabbit) and brothers
Jon Rubin and Cliff Rubin (formerly of NYC's Sky Blues) finally crossed. Almost instantly the songs started flowing, and they knew they were on to something.
Their debut album Daydreams received much critical acclaim and notice, including that of MTV's hit show Teen Mom, who chose the track "OK" as their
season 2 finale theme, resulting in thousands of downloads and streams from around the world. The band then honed its musical chemistry and style for
Signal Strength, which further spotlighted personal, insightful lyrics backed by a big acoustic guitar and one very powerful rhythm section. The guys even
had a song from the album prominently (and humorously) featured on
Adult Swim's Eric Andre Show, resulting in even more buzz for the band.
Cut to 20 25 and just one listen to Master Plan proves these guys know how to craft memorable and powerful songs that grab you from the get-go-and
won't let go.

[o] B8 Back In The Highlife; Producer, Engineer – Paul Q. Kolderie, Sean Slade; Written-By [Uncredited] – Steve Winwood, Will Jennings

Pentagram ist eine amerikanische Heavy-Metal-Band aus Alexandria/Virginia, die vor allem als einer der Pioniere des Doom Metal bekannt ist. Die Band war in der Underground-Szene der 1970er Jahre sehr produktiv und produzierte viele Demos und Probebänder, veröffentlichte aber kein komplettes Album, bis sie sich Anfang der 1980er Jahre mit einer fast komplett neuen Besetzung neu formierte. Das einzige konstante Mitglied in der Geschichte der Band war der Sänger Bobby Liebling.

Pentagram wurde Anfang der 1970er Jahre gegründet und veröffentlichte 1985 ihr Debütalbum Relentless. Die Band überlebte mehr als vier Jahrzehnte voller Widrigkeiten und Triumphe, um zu dem legendären internationalen Act zu werden, der sie heute ist und der ihren Namen fest in die Geschichtsbücher des Heavy Metal geschrieben hat. Obwohl Pentagram einst als Kultband mit einer starken und engagierten weltweiten Fangemeinde angesehen wurde, hat ihre Popularität in letzter Zeit stark zugenommen, was zum Teil auf den Dokumentarfilm Last Days Here aus dem Jahr 2011 zurückzuführen ist, der die Irrungen und Wirrungen des Leadsängers von Pentagram, Bobby Liebling, zeigt.

Tracklisting

Das damals dritte Album der Punkrock- und Streetcore-Band aus dem Ruhrgebiet. Seit 2008 aktiv, hat sich das Quartett bis 2018 weiter nach vorne gearbeitet, sogar bis in die Charts, und ist kurz darauf erstmal für länger abgetaucht. Ihr "Pottcore" ist eine kompakte Mischung aus zielstrebigem Punkrock und Streetcore, wie man ihn von Acts wie TOXPACK lieben gelernt hat. Mit "Retro In Via" (von 2016) hat die sympathisch bodenständige Band zehn mitreißende, fetten Singalong-Hymnen für den gepflegten Straßenköter abgeliefert. Dabei ist die Bandbreite des Albums musikalisch wie lyrisch extrem weit gefächert: Vom schnellen Gassenhauer mit Gänsehaut-Refrain wie "Das Hat Mit Freiheit Nichts Zu Tun" über den Knaller "Punkrock Allianz" (mit Beteiligung von EMSCHERKURVE 77- und BRIGADE S-Musikern) bis hin zu nachdenklicheren Tönen über Liebe, Freiheit, Andersdenkende oder das Drama der aktuellen Flüchtlingspolitik (richtigerweise aus der Sicht der Opfer) haben HARTE WORTE einen wahren Quantensprung gemacht. Orangenes Vinyl, vollfarbig bedrucktes Insert, limitiert auf 500 Exemplare weltweit.

The buzz about the Crystal Teardrop that has been growing for the past two years looks set to reach fever pitch with the release of their debut album _IS FORMING. Featuring a dozen memorable compositions by the bands Alexandra Rose and Leon Jones, the album more than lives up to the promise of their 2024 single releases and their ecstatic live performances on stages across the UK and Europe. The band formed in Stoke-on-Trent in early 2023, "inspired," explains Alexandra Rose, "by a mutual passion for the sights, sounds and creative experimentation of the late 1960s." In addition to Alexandra on lead vocals on guitar, the band comprises Leon Jones (guitar, sitar), Stuart Gray (keyboards, Mellotron), Ed Quigley (bass, vocals), and Huw Woodward (drums, percussion). Intuitively blending elements of garage rock, folk-rock, power pop and psychedelia, the band have created an appealing concoction infused with their own perspectives and personalities. To best capture their sound, they recorded at an all-analogue facility, Tilehouse studio in North London, working closely with White Stripes producer Liam Watson of Toe Rag Studios fame.

Here’s another gem from the Made Up Records catalog, crafted by none other than Laserdance legend Michiel van der Kuy. Once again, Vintage Pleasure Boutique delivers a beautifully remastered original, breathing new life into this classic cut. But that’s not all. Thanks to the access to the original studio stems, the release also features four brand-new remixes. A.P. Mono, Electro Potato, Bellatrix, and Chris van Buren all stayed true to the essence of the original production, but each one gave “Let Me Free” a fresh twist – tweaking, polishing, and reimagining it to build a smooth bridge between the old school vibe and modern dancefloor energy, all while giving a respectful nod to today’s DJs.

Danza Tribale opens a new chapter in 2025 with MAITAKE - ??, the debut EP from Italian sound explorer Lo.Sai. Rooted in sonic tactility and movement, the project draws from both ancestral rhythms and experimental structures to create something intimate, immersive, and future-facing.

Named after the "dancing mushroom" from Japanese folklore, MAITAKE is inspired by the interconnected growth of mycelial networks and the emotional ecology of shared experience. Developed in collaboration with choreographer Maria Combi, the EP is a meditation on collective motion - where dance, rhythm, and ritual coalesce.

Across five tracks, Lo.Sai weaves together broken percussion, deep bass, fieldrecordings, and global rhythmic language. Fragments of flamenco, muezzin prayer, and Central African everyday rhythms float through the record - artefacts gathered by the artist's close-knit creative circle in Lunigiana. What emerges is not just a club record, but a living, breathing sonic organism.

The Collective Cuts sub-label of Cinthie’s 803 Crystal Grooves makes a welcome return
with a fresh VA package, featuring Willy Mikkelson, Luca Olivotto, Batch One and Roque
(CRP).
Since its inception back in 2020, Cinthie’s Collective Cuts imprint has welcome the likes of
KETTAMA, 9th House, S3A, UC Beatz, Anaxander, Azuni and many more onto the label. Here
the story continues with more dynamic house jams from Cinthie’s coterie of underground
artists from across the globe.
Nashville, USA’s WiLLY MiKK leads with Devastate, laying the foundations for the records
with a classic Hip House vibe, fusing crisp drums, bright stabs and bumpy bass with
choppy hip hop vocals. Small Great Things head honcho Luca Olivotto follows with
‘Passion’, the Berlin based Italian delivers his refreshing disco-tinged House aesthetic via
funky guitar licks, bright chord melodies, ethereal pad textures and shuffled drums.
Batch One’s ‘When U R Free’ follows to open the flip side, merging snaking arpeggios and
bouncy bass notes with uplifting piano lines and a raw, robust rhythm section. Spanish
artist based out of Basel, Switzerland Roque (CRP) then concludes the package with ‘Bring
It Down’, perfectly rounding things out on a deeper tip, raw, reduced drums carry the
groove alongside an amalgamation of chopped vocal chants, dubbed out stabs and tension
building strings.

This is certainly both a mysterious one and an elusive one! Who were Grupo Natureza (Nature Group), and why is this release such a rarity? ‘Pode Acreditar’ was pressed on Som Livre Records in 1981 and it is believed very few copies were released into the commercial market. Those familiar with the productions of Lincoln Olivetti and Robson Jorge will no doubt recognise their hallmark sound here and that this single is ‘probably’ the work of the pair or one member at least. They were a regular in-house production team at Som Livre at the time, and there is a definite resemblance to Adriana’s song ‘Sei la Amor’ from 1978 which Lincoln Olivetti was involved in. Very little information is available about this release. A tantalising comment by Brazilian collector ‘bargainvinyl1’ on the original release’s Discogs page suggests ‘Pode Acreditar’ was a reaction to the Baby Consuelo and Pepeu Gomes pro-marijuana song ‘O Mal o Que Sai da Boca do Homem’, which caused controversy with Brazil’s governing military dictatorship at the time. Though condemning marijuana’s use, the word “baseado” (joint) is mentioned in the song, and this could be the reason behind the release being pulled by the heads of Som Livre and consequently it becoming one of the rarest releases on the label. Whilst its backstory is not crystal clear, it is an undeniable sun drenched, laidback boogie groove with AOR touches by the clandestine group. Pure 80s Riovibes, super-catchy and an earworm that sticks with you throughout the day.

- Next installment in BRAZIL45 Series.
- One of the rarest releases on the Som Livre label.
- Pure 80s laid back boogie grooves.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

Having James Shinra back on AF is always a cause for celebration, and doubly so this time because we present 'Meteorites', his second album following the highly acclaimed Vital Heat (2018). During 2023-24, James uploaded a series of digital releases called 'Meteorites', a set of dreamy and introspective tracks where the artist showed his evolution and maturity, refining the emotive sound that's his trademark and has garnered so much praise in recent years. We should do justice to that material, giving it a worthy treatment/format, so we decided to release all together. James has revisited and reworked many of the tracks for the occasion, polishing, adding, removing... and the result is 'Meteorites', the album. A MUST for all braindance sensibilities and nonconformist electronic heads. We're sure it will remind you exactly why you loved this talented guy for so long and why he's one of the most uncompromising artists working in electronic music these days.

LA label Milkcrate Mondays is back with more slick contemporary hip-hop and r&b sounds, this time in the form of a split 7". Abel takes care of the opener with 'Flex'd Up', which has slow, seductive and silky drums and synths making for a sunny sound that is topped with a gorgeously heartfelt r&b vocal that swoons and swoops effortlessly. On the flip, Netwerk's 'Horns Of A Feather' has a duster and more classic boom-bap hip-hop beat that's low in the mix, with muted horns and another aching vocal really finishing it in style. Two different vibes, both are excellent.

"6-track house finesse from Amsterdam mainstay Beraber, topped off with a killer remix by Brazilian artist Zopelar. Expect six melodic tracks for the body & mind. Beraber returns to United Identities with Gentle Actions, setting the tone for long summer evenings and sun-soaked days. The Amsterdam based producer and DJ organically blends Chicago's classically-schooled keys and machine backdrops with subtle, atmospheric textures. This long-awaited record by Beraber (Baris Akardere) is a deeply personal collection of music, encapsulating a period of creative and personal growth. Rather than a concept record, it serves as a document of the past years, bundling some of most cherished productions into a cohesive and heartfelt gift to the audience. This EP marks the first time the producer has used his own vocals in his productions, next to vocal contributions from Barcelona-based artist Ivy Barkakati, whose lyrics perfectly resonate with the journey of the EP. Gentle Actions opens with Between Us, a calm builder, gracefully layered with meandering pads. Distant Language picks us up with its dubbed-out groove, guiding our feet on a journey through melodic landscapes. It flows into Responsibility, an introspective track with a powerful message about turning dreams into reality, before continuing with Lost in Loops, a loose and soulful house cut featuring his own vocals. The journey ends with the more upbeat, instrumental Good Company, topped off with a deep, nocturnal remix by Zopelar. Written and produced entirely in his Amsterdam studio -- housed in the same building that once held De School -- Beraber continues to rely on a deeply analog and outboard gear-heavy approach. The result is a record that stays true to his soulful and introspective signature, mirroring the sonic identity of his acclaimed radio show, Gentle Actions on Amsterdam's online radio station RRFM."

Wh0 arrives on Rekids with ‘Girls & Boys’. The Grammy-nominated producer’s next single comes with a remix from Catz ‘n Dogz.

Wh0 lands on Radio Slave’s Rekids with new single, 'Girls & Boys', out 13th June 2025. A full-throttle piano jam, the track distils a range of House styles into one expressive, infectious, modern-day classic. Powered by a raw, rolling bassline and loopy chords, it brings unrelenting energy built to raise hands in the air all summer long.

Polish duo Catz ‘n Dogz step up on remix duties with a chunky dub mix. Stripping things back, they reimagine the original into a thudding Techno cut, complete with eerie vocal chops and a deliciously deep, driving groove.

Formerly a member of legendary House duo The Rhythm Masters, Wh0 has since made his mark as a solo act with sold-out shows at places like Printworks, XOYO and Fabric. The Wh0 Plays and Wh0 Worx label boss boasts production credits for artists like Ten City, Royksopp and Idris Elba and collaborations with the likes of David Penn, David Morales and Nile Rodgers, with his work often topping digital charts and his Spotify clocking up more than a million streams a month.
Radio Slave’s Rekids was founded in 2006 and has since spawned successful off shoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Harry Romero, Tal Fussman, Spencer Parker, The Hacker, and many more.

Madrid-based ensemble Sinouj fuses the deep-rooted traditions of the Mediterranean with the driving force of contemporary jazz, funk, rock and West African grooves. Their open-door vision draws in musicians from across the spectrum – from flamenco and Iranian classical music to soul and cutting-edge jazz – creating a dynamic, ever-evolving sound that is both global and unmistakably their own.

Their latest release shines a spotlight on 'Hak Dellali', a traditional North African tune that first rose to fame in the 1980s thanks to Tunisian star Hedi Habbouba and later Emirati singer Hussain Al Jassmi. In Sinouj's hands, this classic song becomes a transformative ritual, pulsing with the festive sway of Moroccan chaabi rhythm, Tuareg rock grit and the spontaneous spark of jazz. Over the years, it has consistently ignited the band's concerts into ecstatic celebration.

Backed with a psych-tinged and club-oriented remix by Berlin's Voodoocuts, with 'Hak Dellali' Sinouj continue to blur lines between genres and geographies, offering a fresh take on tradition.

Erik Rico returns to Cosmocities with The Rare Groove Project, a limited-edition EP featuring funk-heavy, soulful covers of groove gems from Matt Soulie’s vinyl vault, alongside standout remixes from Gerd, DJ Nature, and Aroop Roy.

The EP opens with a brassy, high-energy take on P.J. City’s Straight Forward, followed by Gerd’s Chicago house-inspired remix and a funkier alternate version full of disco-era charm. Rico then revamps Franklyn’s Future Love into an electrified P-funk boogie blast, while NYC’s DJ Nature turns out a synth-laced, bass-driven after-hours groove.

Rico also reworks Star Lighters’ Disco Funk into a high-impact, slap-bass purple tinged stomper, with UK house and jazz funk expert Aroop Roy rounding things out with a dancefloor house flavoured summer anthem.

Limited pressing—act fast.

[a] A1 Big Mike's; Drums, Bass, Clarinet, Organ, Mixed By, Written-By – Dijon (7); Guitar, Piano, Vocals [Additional], Organ, Mixed By, Written-By – Michael Gordon (30); Mixed By – Jack Karaszewski; Slide Guitar – Noah Le Gros
[b] A2 Scratching; Mixed By, Written-By – Dijon (7); Producer [Additional] – Michael Gordon (30); Producer [Additional], Mixed By – Jack Karaszewski
[c] A3 Many Times;Drums, Baritone Guitar, Written-By – Michael Gordon (30); Guitar [Additional], Written-By – Dijon (7); Programmed By [Additional Programming], Mixed By, Written-By – Andrew Sarlo
[d] A4 Annie; Acoustic Guitar, Written-By – Dijon (7); Bass – Michael Gordon (30); Mixed By, Written-By – Jack Karaszewski; Saxophone [Casio Sax Replica] – John Keek; Vocals [Additional] – God's Children (11)
[e] A5 Noah's Highlight Reel; Clarinet, Guitar, Mixed By, Written-By – Dijon (7); Vocals [Additional], Bass, Synth, Written-By – Michael Gordon (30); Vocals [Additional], Written; By – Noah Le Gros
[f] A6 The Dress; Bass – Gabe Noel, Sam Wilkes (2); Drums, Synth, Written-By – Dijon (7); Guitar – Noah Le Gros; Keyboards – John Keek; Mixed By – Andrew Sarlo; Vocals [Additional] – Michael Gordon (30); Written-By – John Keuch

[h] B2 Did You See It; Instruments [All], Written-By – Dijon (7); Mixed By – Jack Karaszewski
[i] B3 Talk Down; Bongos – Henry Kwapis; Drum Programming, Mixed By, Written-By – Jack Karaszewski; Drums, Synth [Strega], Mixed By, Written-By – Dijon (7); Guitar, Baritone Guitar – Michael Gordon (30); Keyboards – John Keek; Written-By – John Keuch
[j] B4 Rodeo Clown; Clarinet – John Keek; Mixed By – Jack Karaszewski; Written-By, Guitar – Dijon (7); Written-By, Guitar [Additional], Bass – Michael Gordon (30); Written-By, Slide Guitar – Noah Le Gros
[k] B5 End of Record; Baritone Guitar, Bass, Synth – Michael Gordon (30); Mixed By – Jack Karaszewski; Mixed By [Stem Mix] – Andrew Sarlo; Written-By, Guitar, Mixed By – Dijon (7)

[b] A2 Shot Down, Mixed By, Recorded By [Additional] – Warne Livesey
[c] A3 Eve's Volcano (Covered In Sin), Vocals [Chorus] – Dee Lewis, Tessa Niles
[d] A4 Spacehopper, Guitar [Airhead Guitar], Vocals [Screams] – Donald Ross*
[e] A5 Planet Ride, Organ [Acetone] – Paul Crockford, Vocals [Chorus] – Dee Lewis, Tessa Niles

[g] B2 Saint Julian, Cor Anglais – Oboe Kate St John*, Strings [String Machine] – Keith-Richard Frost*


[j] B5 A Crack In The Clouds, Cor Anglais – Oboe Kate St John*, Guitar [Oregon Guitar] – De Harrison*, Strings – Warne Livesey