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In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 – just prior to the alto saxophonist's relocation to Europe – the album was eventually released in 1972.

The Black Ark exhibits not only the power and imagination of Howard's playing, but also his breadth as a composer and bandleader. Listeners expecting unrelenting blasts of "energy music" might be surprised to find a cohesion atypical of free jazz; amidst the wild, impassioned solos, Howard weaves in Latin rhythms and fat-bottomed grooves.

The first side, consisting of "Domiabra" and “Ole Negro,” sets the album's tone. Both tracks sound as if they could have appeared on some of Blue Note's proto-spiritual jazz, groove-heavy releases – evoking the likes of Lou Donaldson or Horace Silver – before ceding the floor to the horn players' anarchic firepower.

As John Corbett writes in the liner notes, "Two players stand out. Bassist Norris Jones – who would soon consolidate his name into a one-word reversed amalgamation/permutation of the two, Sirone – is given ample room, largely unaccompanied; his corporal approach foreshadows later work with the Revolutionary Ensemble. But the secret weapon on The Black Ark is Arthur Doyle. Straight from basement rehearsal sessions with Milford Graves, whose ensemble he had joined and who remained a favorite of the drummer for decades, Doyle is a human flamethrower."

Trumpeter Earl Cross' guttural, vocal effects complement Doyle's take-no-prisoners approach, while the estimable combination of Muhammad Ali (Rashied's brother) on drums and Juma Sultan on congas adds an ever-shifting propulsion. The septet is rounded out by the enigmatic pianist Leslie Waldron, who anchors the group with imaginative accompaniment and occasional boppish flourishes.

Every bit worthy of its reputation as an "out-jazz" holy grail, The Black Ark only sounds better with age. It remains the ideal record to convert the remaining free-jazz skeptics.

„Better Than Raw“ ist Helloweens achtes Album, ursprünglich 1998 erschienen, und ist nun erstmals seit
fast zehn Jahren als Doppel-LP auf türkisfarbenem Vinyl erhältlich. „Better Than Raw“ enthält die Singles
„I Can“ und „Hey Lord!“.
Helloweens sechstes Album „Master of the Rings“, ursprünglich 1994 erschienen, ist nun erstmals als
Doppel-LP in Gold erhältlich. „Master of the Rings“ ist das erste Album mit dem Co-Sänger Andi Deris
und enthält die Songs „Where the Rain Grows“, „Mr. Ego (Take Me Down)“, „Perfect Gentleman“ und
„Sole Survivor“. Die erweiterte Doppel-LP bietet sieben zusätzliche Tracks.
Helloweens siebtes Album „The Time of the Oath“, ursprünglich 1996 erschienen, ist jetzt als erweiterte Doppel-LP t erhältlich, wobei die erste LP in Violett gehalten ist. „The Time of the Oath“ ist ein
Konzeptalbum, das auf den Prophezeiungen von Nostradamus basiert und die Singles „Power“, „The Time
of the Oath“ und „Forever and One (Neverland)“ enthält. Die erweiterte Version bietet acht zusätzliche
Tracks.

„Better Than Raw“ ist Helloweens achtes Album, ursprünglich 1998 erschienen, und ist nun erstmals seit
fast zehn Jahren als Doppel-LP auf türkisfarbenem Vinyl erhältlich. „Better Than Raw“ enthält die Singles
„I Can“ und „Hey Lord!“.
Helloweens sechstes Album „Master of the Rings“, ursprünglich 1994 erschienen, ist nun erstmals als
Doppel-LP in Gold erhältlich. „Master of the Rings“ ist das erste Album mit dem Co-Sänger Andi Deris
und enthält die Songs „Where the Rain Grows“, „Mr. Ego (Take Me Down)“, „Perfect Gentleman“ und
„Sole Survivor“. Die erweiterte Doppel-LP bietet sieben zusätzliche Tracks.
Helloweens siebtes Album „The Time of the Oath“, ursprünglich 1996 erschienen, ist jetzt als erweiterte Doppel-LP t erhältlich, wobei die erste LP in Violett gehalten ist. „The Time of the Oath“ ist ein
Konzeptalbum, das auf den Prophezeiungen von Nostradamus basiert und die Singles „Power“, „The Time
of the Oath“ und „Forever and One (Neverland)“ enthält. Die erweiterte Version bietet acht zusätzliche
Tracks.

„Better Than Raw“ ist Helloweens achtes Album, ursprünglich 1998 erschienen, und ist nun erstmals seit
fast zehn Jahren als Doppel-LP auf türkisfarbenem Vinyl erhältlich. „Better Than Raw“ enthält die Singles
„I Can“ und „Hey Lord!“.
Helloweens sechstes Album „Master of the Rings“, ursprünglich 1994 erschienen, ist nun erstmals als
Doppel-LP in Gold erhältlich. „Master of the Rings“ ist das erste Album mit dem Co-Sänger Andi Deris
und enthält die Songs „Where the Rain Grows“, „Mr. Ego (Take Me Down)“, „Perfect Gentleman“ und
„Sole Survivor“. Die erweiterte Doppel-LP bietet sieben zusätzliche Tracks.
Helloweens siebtes Album „The Time of the Oath“, ursprünglich 1996 erschienen, ist jetzt als erweiterte Doppel-LP t erhältlich, wobei die erste LP in Violett gehalten ist. „The Time of the Oath“ ist ein
Konzeptalbum, das auf den Prophezeiungen von Nostradamus basiert und die Singles „Power“, „The Time
of the Oath“ und „Forever and One (Neverland)“ enthält. Die erweiterte Version bietet acht zusätzliche
Tracks.

Das 1965 für Blue Note aufgenommene Album gilt als eines der kühnsten musikalischen Statements des
Pianisten und Komponisten Andrew Hill. Auf ihm versuchte Hill, die Avantgarde durch das Prisma der
Wurzeln des Jazz in den afrikanischen Rhythmen zu betrachten. Entsprechend setzte er sein Klavier in
den vier von ihm komponierten Stücken mehr als perkussives und weniger als melodisches Instrument ein.
Begleitet wurde er von einem bis zu achtköpfigen Ensemble mit zwei Bläsern, zwei Perkussionisten, zwei
Bassisten und einem Schlagzeuger.

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

One Believer, the Elektra debut by the late bluesman John Campbell, was outside of virtually every trend on major labels and in pop at the time. Other than Chris Whitley's Living with the Law, it was the only roots record issued on a major label in 1991.

A deeply atmospheric record full of subtle shimmering organs and warm guitar textures that accent the dreamy spooky side of the blues more than the crunchy stomp and roll that Campbell was known for in the clubs and displayed on his follow-up Howlin' Mercy. Tracks like "Angel of Sorrow," "World of Trouble," and "Wild Streak" offer shimmering ambient textures from which the blues emanate from the ether. Campbell was living and working in New York and his music was certainly influenced by that late-night environment. These are beautiful songs, tempered in shadow and restraint while baring their teeth at all the right moments. On "Couldn't Do Nothin'," "Devil In My Closet," and "Person to Person the roadhouse magic comes out. The album's last two tracks "Take Me Down" and the title track are menacing in their conviction and creepy swampy in execution.

One Believer is available as a limited edition of 750 individually numbered copies on blue vinyl and contains an insert.

Altan is arguably the most iconic band working in traditional Irish music today. For the past 35 years, they have brought the music of their native County Donegal to the world stage. The band's newest album, aptly titled Donegal , pays homage to County Donegal's rich musical heritage, breathtaking landscapes, and vibrant culture. The music's authenticity and allure transport listeners to a bygone era in rural Ireland while forging a connection between the past and the present.

Featuring co- founder, lead vocalist, and fiddler Mairead Ni Mhaonaigh ; newest member Clare Friel on vocals and fiddle; accordionist Martin Tourish; guitarists Daithi Sproule and Mark Kelly; and Ciaran Curran on bouzouki and mandolin. With Jim Higgins (percussion), Steve Cooney (bass), and Graham Henderson (keyboards). Recorded by Manus Lunny at Seafront Studio in County Donegal, Ireland.

Die lang erwartete Rückkehr der schwedischen Dream-Pop-Romantiker. Ein verschwommener Schleier aus düsterem und fesselndem Shoegaze-Pop. Die skandinavische Indie-Pop-Band Hater beendet nach ihrem beeindruckenden dritten Album ,Sincere" ihre dreijährige Pause mit der Veröffentlichung von "Mosquito", einem faszinierenden Dream-Pop-Drama, das sich über elf packende Episoden der Selbstreflexion erstreckt. Auf "Mosquito" klingt die in Malmö ansässige Band Hater wie neu belebt - sie greift den rohen Indie-Pop-Ansatz auf, für den sie bekannt geworden ist, jedoch mit einem direkteren, ausgefeilteren Songwriting. Die Band hat ihre Shoegaze-Wurzeln zu etwas Schärferem, Melodischerem und Tiefgründigerem verfeinert. Das Album strotzt nur so vor Geschichten, in denen mythische Wendungen (Vampire, Amor, Mücken) von der traurigen Sehnsucht nach wahrer Liebe untermauert werden. Aber dies ist kein typisches Album über die Liebe, wie die Band betont, es ist eine emotionale Achterbahnfahrt, die von halb vergessenen gebrochenen Herzen und gebrochenen Versprechen, voller Qualen und Kribbeln, aber auch von Hoffnungen und Träumen für zukünftige Lösungen geprägt ist. "Mosquito" wurde in der herrlichen Abgeschiedenheit der AGM Studios in Vollsjö, Schweden, aufgenommen, mit dem langjährigen Mitarbeiter Joakim Lindberg an den Reglern und dem Bassisten Adam Agace, der wieder zum Team zurückgekehrt ist. Sie vollendeten das Projekt in Lindbergs berühmtem Studio Sickan, wobei Caroline Landahl, Måns Leonartsson, Rasmus Andersson und Adam Agace gleichermaßen zu einem Sound beitrugen, der zwischen kraftvoller Introspektion und melancholischer Erkenntnis wechselt. Immernoch "Your next Scandinavian indie pop obsession." Flood. Klares Vinyl mit bedruckter Innenhülle und DLC sowie Digisleve-CD

I don't wanna die (Pt. 1 & 2) is John Wells raw portrait of two years caught between a stalled music deal, broken trust, and the fight to stay alive. Set against fog and grit in Baltimore, the EP blends soul-baring lyricism with shifting, dreamlike production — confronting self-doubt, past mistakes, and the stubborn will to survive.

London-based Irish singer-songwriter Seamus Fogarty returns with 'Ships', his most expansive and uplifting album to date, released March 6, 2026 on limited-edition 12” coloured vinyl, CD and digital formats. Praised for crafting “magical journeys through fable and modern life and back again, often in the same song” (----- – The Guardian), Fogarty blends motorik rhythms, folk traditions and leftfield electronics into a richly detailed collection that channels influences from Tortoise to early ’90s hip hop. Following 2023’s 'Hee Haw EP,' 'Ships' is packed with poignant, funny and deeply human vignettes touching on love, loss, DIY coffins, chance encounters and the quiet determination required to keep going.
Written in the wake of 'A Bag Of Eyes' and road-tested on tour with Lisa O’Neill, 'Ships' was brought to life with an esteemed cast of collaborators including Emma Smith, Chris Vatalaro, Aram Zarikian, Joe Auckland, Leo Abrahams and Mike Lindsay. Recorded across London, St Leonards-on-Sea and Margate, and fine-tuned in Fogarty’s Walthamstow home studio, the album moves effortlessly from the urban hum of ‘Come Down To The Square’ to the romantic sweep of the title track ‘Ships’ and the defiant crescendo of closing track ‘Doer Undoer’. “There’s something strangely uplifting about this collection,” Fogarty says. “It’s more honest than anything I’ve released before.”

London-based Irish singer-songwriter Seamus Fogarty returns with 'Ships', his most expansive and uplifting album to date, released March 6, 2026 on limited-edition 12” coloured vinyl, CD and digital formats. Praised for crafting “magical journeys through fable and modern life and back again, often in the same song” (----- – The Guardian), Fogarty blends motorik rhythms, folk traditions and leftfield electronics into a richly detailed collection that channels influences from Tortoise to early ’90s hip hop. Following 2023’s 'Hee Haw EP,' 'Ships' is packed with poignant, funny and deeply human vignettes touching on love, loss, DIY coffins, chance encounters and the quiet determination required to keep going.
Written in the wake of 'A Bag Of Eyes' and road-tested on tour with Lisa O’Neill, 'Ships' was brought to life with an esteemed cast of collaborators including Emma Smith, Chris Vatalaro, Aram Zarikian, Joe Auckland, Leo Abrahams and Mike Lindsay. Recorded across London, St Leonards-on-Sea and Margate, and fine-tuned in Fogarty’s Walthamstow home studio, the album moves effortlessly from the urban hum of ‘Come Down To The Square’ to the romantic sweep of the title track ‘Ships’ and the defiant crescendo of closing track ‘Doer Undoer’. “There’s something strangely uplifting about this collection,” Fogarty says. “It’s more honest than anything I’ve released before.”

The ultimate deep listening experience from two masters of dark ambient. A slow descent into the blackened watery abyss, where light cannot reach. The first release from Sleep Research Facility since 2012's "Stealth" (Cold Spring) is inspired by the deep sea ocean floor. The Canadian-based composer explores notions of awareness and perception in the sub/unconscious listener. Focusing primarily on sound bereft of rhythm based energies, SRF provides an environments wherein the music adds texture to the silence. Using form without structure and concentrating on space as opposed to narrative, SRF entertains the idea that music can reside in the very fabric of sound itself. The brand new material here was created specifically for this split release.Taking inspiration from the beautiful, but often harsh landscapes and environments of his home on Anglesey, North Wales, Llyn Y Cwn has built on the nautical theme of "Du Y Moroedd" (Cold Spring). These tracks are based on field recordings relating to the ocean, and could be seen as a companion piece to the album. 'Dale Dawn' features a recording of the dawn chorus made from the floating pontoon at Dale, Pembrokeshire. 'Pebble' includes the sound of waves crashing on a Dorset cobble beach, thousands of rocks colliding in chorus. 'Doppler Current Profiler' is based on the sound of an ADCP, an acoustic sonar instrument used to measure water currents - a 600Khz ping slowed to a heartbeat. CD in mini-LP sleeve, replicating the vinyl design. The artwork features a separate front cover design with individual art for each side, making this a true split release.

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

Return To Forever is often cited as one of the core groups of the jazz-fusion movement of the 1970s. The final album by the longest-lasting "classic" lineup of the group (which consisted of Chick Corea, Stanley Clarke, Lenny White and Al DiMeola) was Romantic Warrior, on which they continued their experiments in the realms of jazz-rock and related music genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

The album is more avant-garde and less funky than the band's previous album, No Mystery. It would go on to become the best selling of all Return to Forever's efforts, eventually reaching gold disc status in the US.

Romantic Warrior is available as a 50th anniversary edition of 1500 individually numbered copies on blue vinyl and includes an insert.

Our well received series of Golden Earring remastered and expanded editions continue with On The Double. The Red Bullet archive was turned inside out again by Wouter Bessels and he found the original first-generation quarter inch master tapes of this classic 1969 album. These particular tapes have never been used for any release before, as in the analogue days of mixing and mastering it was customary to run off a set of equalized tape copies - with compression and sometimes reverb added - for release on vinyl and cassette. Also, genuine stereo mixes of both ‘Dong-Dong-Di-Ki-Di-Gi-Dong’ and its B-side ‘Wake Up-Breakfast!’ were found.

As the On The Double album was mixed in glorious stereo, we've included these never-before released stereo mixes (instead of the original 1968 mono mixes), alongside the original stereo mixes of ‘Where Would I Be’/’It’s Alright, But I Admit It Could Be Better’, the single that came out after On The Double. All in all, this expanded release of On The Double contains everything released by Golden Earrings between the albums Miracle Mirror and Eight Miles High and, as it features all original stereo mixes, fills another important hole in the reissue programme of the band. On The Double (remastered and expanded) is now available as a individually numbered edition of 1000 copies on crystal clear vinyl. It contains an insert, printed inner sleeves with liner notes by acclaimed Golden Earring biographer & archivist Jeroen Ras and additional remastering notes and comes in a gatefold sleeve.

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel.

That’s The Way It Is is Elvis’ 12th studio album, consisting of eight studio tracks recorded at the RCA studios in Nashville and four songs performed live at The International Hotel in Las Vegas. It accompanied the theatrical release of the eponymous documentary film, although it is not generally considered a soundtrack album.

Added to this definitive 4LP legacy edition are four single sides from the period and a selection of fly-on-the-wall outtakes from the June Nashville sessions that produced the majority of tracks for the LP. Disc 3 and 4 feature the first complete release of a concert from Elvis’ 1970 "Summer Season” recorded on August 12. The 20-page booklet features an insightful essay, photos and memorabilia.

That’s The Way It Is (Legacy Edition) is available as a limited edition of 500 individually numbered copies on yellow and black marble vinyl.

The first original work in 15 years since 2010's “SOLID,” the 6-track mini-album “BECOMING THE GENBAKU ONANIES” is complete!
Unshaken by the changing times and environment, accepting the passage of time, and enduring countless twists and turns, THE GENBAKU ONANIES remain
steadfast in their pride as a punk band. Between change and constancy, their unwavering, resilient will, flexible sensibility, and supple insight are truly one of a
kind. Punk rock that tears through the air pierces your soul!

The first single cut 7"" from an original album in 15 years since 2010's “SOLID”!
Unshaken by the changing times and environment, accepting the passage of time, and enduring countless twists and turns, THE GENBAKU ONANIES remain
steadfast in their pride as a punk band. Between change and constancy, their unwavering, resilient will, flexible sensibility, and supple insight are truly one of
a kind. Punk rock that tears through the air pierces your soul!

First-ever official reissue - 180g black vinyl edition

In the late 1960s, a distinctive musical movement began to flourish in Italy—while also gaining momentum abroad, particularly in France and the United Kingdom. Known as library music (or sonorization), this genre consisted of genuine music libraries created specifically to accompany audiovisual productions such as television programs, commercials, documentaries, and films.

Produced under conditions of complete artistic freedom, these recordings often defy clear categorization, as they are not tied to any single musical genre. This creative independence allowed composers—frequently working in total anonymity—to experiment boldly, crafting avant-garde and forward-thinking sounds that, in many cases, anticipated musical trends that would only become widespread years later.

Oronzo De Filippiis known not only for his contributions to library music, but also for being part of the projectThe Braen's MachinealongsideAlessandro Alessandroni, one of the most significant figures in this field.

Meccanizzazione is a fully instrumental album—as is typical of the genre—literally dominated by the distinctive sound of the harpsichord. The record essentially alternates between two main compositional approaches: on one hand, more accessible and "friendly" tracks with a refined jazz-lounge and bossa nova flavor; on the other, darker and more hypnotic pieces, whose repetitive structures vividly evoke the rhythms and mechanical pulse of the industrial world.

Seine Kunstfertigkeit hat ihn zu einer prägenden Figur des zeitgenössischen Jazz gemacht, der Improvisation, Komposition und globale Einflüsse zu einem Klang verschmilzt, der sowohl filmisch als auch zutiefst persönlich ist.
Maestro begann im Alter von fünf Jahren mit dem klassischen Klavierunterricht und entdeckte mit acht Jahren den Jazz durch die Aufnahmen von Keith Jarrett und Oscar Peterson.
Mit neunzehn schloss er sich dem Trio des Bassisten Avishai Cohen an, war Co-Autor des gefeierten Albums „Gently Disturbed“ und trat weltweit auf.
2011 gründete er sein eigenes Trio und nahm sechs Alben auf, die seinen Ruf als einzigartige Stimme im modernen Jazz.
Das neue Album stellt einen mutigen Sprung nach vorne dar und kombiniert die Sensibilität des modernen Jazz mit elektronischem Sounddesign
und der harmonischen Tiefe der klassischen Musik. The Guesthouse schafft einen üppigen, filmischen Raum, in dem Grenzen verschwimmen und verkörpert aestros Erkundung von Offenheit und Zusammenarbeit.

John Pizzarelli returns with one of his finest albums yet, Dear Mr. Bennett—a heartfelt tribute to the legendary Tony Bennett, whom he knew personally. The cover even features artwork drawn by Mr. Bennett himself. A celebrated name in jazz, Pizzarelli has collaborated with music’s biggest stars and toured for years with Frank Sinatra. This release follows his acclaimed tributes Dear Mr. Sinatra, Dear Mr. McCartney, and Dear Mr. Cole.

This will be a two-project series based on the music of Tony Bennett. John is a well-known artist in the Jazz space and a staple in the NY scene. His father was a renowned studio musician and go-to person for years. Tony Bennett came to a show of John's and sketched a picture of him performing on a napkin during the show. That picture will serve as the cover of the album.

We are repressing Neil Young's 2004 Greatest Hits. The new pressing on 180g black 2LP vinyl will be available for a "release date" of 6th March for all retail accounts ex. Amazon.
Greatest Hits is the third hits compilation, and presents 16 of Neil Young's best-known songs, spanning his solo career from 1969-1992, including "Down By The River", "After The Gold Rush", "Old Man", "Heart Of Gold", and "Rockin In The Free World".
The original version of the LP came with an additional 7" which is excluded on this pressing.

Sicilian-born, Amsterdam-based Fran LF returns to Nastia's imprint with three Techno tracks built over a year of studio work, each one telling part of a single story that unfolds across the EP. The narrative moves through different chapters, starting with tracks that shift and transform as they play out, building tension through evolving elements rather than straightforward drops. These are straight-up warehouse cuts - the kind that start one way and shift into something heavier as they unfold. Dubby atmospheres that harden into driving rhythms, basslines that anchor the groove, and synths that evolve throughout.
Closing the record is a remix from Sicilian producer LPV, a close friend and admirer who reworks "Tsufuru Relaxation" with his signature dark, driving approach. He strips it down, adds a relentless bassline, and gives the track a completely different, moody and ethereal energy while respecting what made the original work.
Solid dancefloor techno with enough depth to keep things interesting.

After a long wait, a new release from Sleeve Records is finally here, a repress of an obscure Italian House record from the 90s - A timeless underground Record.

Alleviated Records is proud to present the third installment of 'Vault Sessions' series. Sharing recordings from the archives that either have never been issued or been out of print for a long time. After many years of being "on-the-shelf" we are extremely pleased to share these selections with the public.

Deep Steppe 003 moves boldly into the next level, honoring the roots while bridging California & Arizona's underground with a cast of rising selectors shaping tomorrow's sound. The A-side opens with west coast legend, Halo Varga's "Logan Square," a slow-burner built for the late hours, followed by Crypt Keepers' "Bomba," a percussive trip balancing swing and tension in equal measure. On the flip, Pily & Paul West unleash "Chandelier Swing," a drum-machine workout described by early listeners as a shiny Charizard of a tune. JJ Selects closes with "Here We Are," an acid-tinged roller that unravels with hypnotic precision, locking the record into a final pulse. Limited to 300 copies.

Very limited numbers, orders will need to be confirmed.

For his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.

The Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.

Six singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”

The song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.

Wasylyk writes in a room, in his native Dundee, full of “half broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.

Among the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.

The heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write some- thing that was obviously hopeful,” Wasylyk says.

‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”

The album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.”

Mathias Kaden returns to Rekids with ‘Fyutr’, featuring Zoë Xenia and a remix from Dennis Ferrer. The single is a preview of Kaden’s upcoming album. Mathias Kaden returns to Rekids with ‘Fyutr’, following his previous four releases on the label and once again linking up with DJ, producer, and vocalist Zoë Xenia, who also featured on his 2022 ‘Blackbird’ EP on the label. Set for release on 27th February 2026, the single offers an early glimpse into Kaden’s forthcoming album on Radio Slave’s flagship imprint, and comes with a remix from New York House legend, Dennis Ferrer.

A slow-burner with real progression, Mathias Kaden’s ‘Fyutr’ unfolds as a mind-melting journey. Dub chords creep in gently before stretching and mutating, while Zoë Xenia’s spoken-word vocal drifts through the mix, and sweeping strings give it a deep, timeless feel. The single is complemented by a remix from Dennis Ferrer, who flips the original into a beefy, pared-back House cut, warping Xenia’s vocals and locking into a rolling groove before resolving in lush chord work.

Active since the mid-90s, Kaden first appeared on Rekids in 2019 and has since built a wide-ranging catalogue across labels such as Cocoon and Vakant, alongside remix work for DJ Koze, KiNK, Monika Kruse, and Trentemøller. ‘Fyutr’ marks his fifth release on the label, following last year’s ‘Freedom’ remix EP, which received support from Ben Sims, Anja Schneider, Kölsch, Honey Dijon, and more.

Makebo Shares New Four-Track The Universe EP

Woven with textured sound design and warped synthwork, The Universe presents a detailed and deliberate journey shaped by contrast and progression across its 32 minutes. The title track sets the foundation with crunchy low-end and hypnotic percussion that steadily pull the listener inward. ‘Galaxy’ follows with buoyant rhythms that introduce a sense of lift, while ‘Save Me’ deepens the mood with gritty basslines and mystical vocals, adding emotional weight without disrupting the EP’s flow. Closing with ‘Birth Of A New Sun,’ Makebo delivers a club-driven finale that encapsulates The Universe’s expansive, forward-moving themes.

The Mountain is Gorillaz’ ninth studio album, a collection of 15 new tracks featuring a stellar list of artists and collaborators. Jamie Hewlett’s album artwork captures the four much-loved animated band members - Murdoc, Noodle, Russel and 2D – in a series of beautifully intricate, hand-drawn illustrations.

The Mountain is Gorillaz 9th studio album. The album is a collection of 15 new tracks featuring artists and collaborators including: Ajay Prasanna, Anoushka Shankar, Asha Bhosle, Asha Puthli, Bizarrap, Black Thought, Gruff Rhys, Idles, Jalen Ngonda, Johnny Marr, Kara Jackson, Omar Souleyman, Paul Simonon, Sparks, Trueno and Yasiin Bey; as well as the voices of Bobby Womack, Dave Jolicoeur, Dennis Hopper, Mark E. Smith, Proof and Tony Allen. Produced by Gorillaz, James Ford, Samuel Egglenton, Remi Kabaka Jr. and Bizarrap (Orange County), The Mountain was recorded in London, Devon, Miami, Jaipur, Mumbai, New Delhi and Rishikesh; and features artists performing in five languages: Arabic, English, Hindi, Spanish and Yoruba. The artwork for The Mountain sees Jamie Hewlett’s distinct, yet ever-evolving, style illustrate the world of Gorillaz with an ever more detailed and beautiful intricacy across a series of hand-drawn illustrations. Circumstances find Murdoc Niccals, Russel Hobbs, 2D and Noodle in India, where our heroes are immersed in the rhythms of mystical music-making as they navigate the mountainous terrain of this thing called life.

Fronted by Rainie Lassiter's sultry, soulful vocal and produced by Blaze, the track glides between sensuality and euphoria, capturing the exact moment house music went from underground NYC basements to global dance floors. The Deep Dish remix turned it into a worldwide anthem, topping charts in Italy and breaking into the UK Top 10, while still holding down credibility with DJs and crate- diggers alike. Its hypnotic groove, lush chords, and emotional pull have made it a staple in countless sets, and it's been sampled by artists like Four Tet & Champion who recognized its timeless pulse. Three decades later, "Hideaway" still sounds as smooth and vital asthe night it first hit the decks. This 12" features the Radio Edit, Deep Dish Remix & the Acapella.

Riotvan opens 2026 pulsating with drama in the form of a sad Valentine and a special collaboration: Hard Ton, joined by New York City icon Amy Douglas. “How am I going to fill the hours now?” It’s an emotion we’ve all known; and one we all dread, the raw burning haunting ache, when left alone with ourselves after loss. Hard Ton and Amy take us on a soul scorching journey through hollowed out earlymorning emotions, set to a raw, early-2000s house energy—somewhere between Berlin and New York, without drifting into nostalgia. Adding a layer of raw intimacy is a stripped-back piano interpretation shaped by Hard Ton together with maestro Matteo Baroni, whose freestyle takes became the emotional backbone of this version. From there, the release branches out: Massimiliano Pagliara stretches the original into a deep, slow-burning piece of late-night elegance, while Sylvio B flips the energy entirely, firing it back onto the floor with bold grooves and big-room confidence.

Twenty five years after its debut, the legendary Post Office compilation returns with its sixth volume – this time as a tribute to House music. Staying true to its pioneering spirit, the series once again brings together iconic figures and fresh talents from today’s international electronic scene. More than just a compilation, Post Office vol.6 is a true celebration of House music – honoring its roots while opening new sonic perspectives.

Never-before-heard psychedelic acid techno and ambient compositions from beloved Japanese producer Susumu Yokota. Recovered from a collection of DAT tapes gifted by Yokota to Ray Castle during the period he released some of his most memorable records such Acid Mt.Fuji or Ebi's Zen.

A fortunate meeting between Ray Castle and Transmigration label boss David Fogarty means these works finally see the light of day.

Following a triumphant first release, Archivio Records returns with another slab of golden era UK Techno House from a true master of the sound: Mark Ambrose

This versatile three track EP made up of 2 previously unheard and unreleased lost DAT productions, paired with a monstrous modern creation, from a man known for his uniquely trippy and boundary pushing take on the genre, presents the listener with a smorgasbord of peak time Tech House, hypnotic Techno and emotive Acid House.

The A side Mountain Storm is nothing short of an epic, instantly recognizable future classic! Punchy, percussion laden drums set the tone upfront, before a titanic, rumbling bassline blows the doors clean off! Disorienting vocals drift in and out before an eerily familiar string arrives by special delivery directly from the State of 808, building the tension required to set the stage for the main event: a haunting, poignant and highly relevant monologue for the times we find ourselves in today, delivered by a renowned, yet uncredited Jamaican poet.

B1 Get On Down takes the listener to the middle of the dancefloor, mid-set at a Techno-leaning after hours. Think Christian AB in a mischievous mood…

Obscure, industrial, fizzing drums start the show, followed by a stomping yet playful bass line, hip hop vocals urging you to get busy on the floor swirl around you, before a piercing arpeggio sends the listener to the cosmos, as the track peaks.

B2 Deep Sea couldn’t have a more appropriate name if it tried. A chugging, melancholy, submarine journey to the bottom of the Atlantic, presented at a lower BPM, making it equally perfect for the very beginning or very end of a set.

The Brooklyn-based record store proves their record label is no one hit wonder with this outstanding release from the Crayon Records head honcho. Unmissable.

Centered around the driving lead cut ‘Retrospective’, the EP delivers hypnotic floor-focused techno marked by meticulous sound design with its two accompanying versions — ‘Retrospective (Intro Version)’ and ‘Retrospective (Intro Tool)’ expanding the record’s functional range, while staying aligned with the Klockworks ethos of timeless,
uncompromising music built for the dancefloor.

“We’re excited to collaborate with Ben on this EP for his wonderful Klockworks label,” the duo states,“…an imprint that stands for precision, and music that holds its weight over time. Working on this EP we focused on stripping everything back to the core, letting the deepness of the dark groove and tension do the talking.

Volcov, the Veronese founder of the Neroli record label, returns to the BBE fold with the third compilation in his majestic series 'From the Archives' and once again this new installment is another collection of overlooked gems and unreleased beauties that are set to entice the discerning listener. As with volumes 1 and 2, 'From the Archives volume 3' features cherry picked songs that focus on melodies and weave a thread between eras and genres. From the Archives volume 3 is a genre free journey into authentic grooves which features music from the enchanted tones of Carlo Nino & Friends, an exclusive from Collettivo Immaginario, uptempo moments from remix kings Kaidi Tatham and DJ Spinna as well as two unreleased songs from Fred P and J2 Fusion feat. Javonttee and DJ Genius. From The Archive 3 represents another accomplished work of love from Volcov aka Enrico Crivellaro, who has a long list of albums and compilations under his belt as well as being involved in productions, edits, releases and projects with artists such as Dego, Theo Parrish, Phil Asher, Gerald Mitchell, Domu, Kaidi Tatham, Kirk Degiorgio, Patrick Gibin, Lars Bartkuhn, Ian O’Brien and many more. From the Archive volume 3 is released as a vinyl double LP and a digital download and is a compilation in which the music lover will be guided hand in hand through a collection of unreleased and hard to find songs that shift effortlessly between jazz and house, broken beat, ambient and soul.

Just when you thought Kevin Richard Martin's music couldn’t go any slower, lower or deeper, Sub Zero emerges. A slow-motion excavation of drug-tech, dub, dreamy noise and frozen ambience, the album gradually mutates into hypnotic pulsations and melodic melancholia. It is arguably Martin’s most striking release to date under his given name.


Originally released digitally on Bandcamp only in the depths of winter 2022, amid the final year of the COVID-19 pandemic and Russia’s initial invasion of Ukraine, this desolate epic went on to become KRM's best-selling digital album on the platform. With persistent demand for a vinyl pressing and a full DSP release from fans, Martin thought the time was right for Sub Zero to finally surface in its full glory: remastered and paired with fresh new artwork.


Unnervingly, the album is as beautiful as it is solemn, as glacial as it is relentless, and as subtle as it is terrifying. A trip into a sonic abyss, with a tour of a philosophical void, it’s to my ears, KRM’s most seductive work yet, and also his most emotionally resonant. Martin expertly balances tear-jerking motifs with heavier than hell rhythmic weight. With its melodic fog, eternal drones and eerie atmospherics, the peripheral throb of distant kick drums, the heartbeat punctuation of cavernous subs and the snowstorm blizzard of fuzz absolutely envelopes the mind, whilst crushing the soul.


In terms of lineage, Sub Zero might recall a more paranoid Porter Ricks, a dystopian GAS, or a brutally dubbed-out Pan Sonic. Most fitting, however, is its kinship with the deepest dub terrain Martin previously explored on In Blue, The Bug’s acclaimed 2020 collaboration with Dis Fig for Hyperdub, where he obsessively probed subaqueous pulses and low-end modulations.


Sub Zero is possibly the most minimal, desolate, and deviant dub record yet released on Martin’s PRESSURE label. It marks the point at which dub disappears into its own effects trails. Dub music capturing frozen moments in time. Dub as an addictive painkiller, that sounds both sacred and ocean deep.

BBE Music presents J Jazz volume 3, the latest in its definitive compilation series exploring the finest modern jazz from Japan. Since the first volume in February 2018, the J Jazz compilation series has showcased some of the most creative, inspired and sought-after jazz recorded in Japan during a golden period spanning the 1960s to the 1980s. Illustrating the richness and versatility of the composers and musicians on this collection, the music spans a wide yet coherent range of styles: samba, funk fusion, modal, spiritual, post-bop and bossa all combine to present an aural portrait of a jazz scene that was constantly moving and shifting its multiple musical centres of gravity. Mastered at the Grammy-nominated Carvery studio in London, many of the tracks featured are reissued for the first time, including mega-rare private press cuts from the Yasuhiro Kohno Trio, Masaru Imada Trio, and Hideyasu Terakawa Quartet. There’s heavy post modal bop by J Jazz legends Kohsuke Mine and Koichi Matsukaze; samba heat from Tatsuya Nakamura, Hideo Shiraki and Seiichi Nakamura; and funky dance floor energy by Hiroshi Murakami, Ryojiro Furusawa Quartet and Shigeharu Mukai. Selected albums from which the tracks are drawn will be reissued in full as part of the acclaimed BBE Music J Jazz Masterclass Series. Released as a deluxe, heavyweight x3 vinyl set in a gatefold sleeve with obi strip and insert, the collection comes with extensive artist biographies and track information. J Jazz volume 3 is also available in a x2 CD set with three bonus tracks, and selected tracks are available across digital platforms for download and streaming. J Jazz is conceived, compiled and annotated by Tony Higgins and Mike Peden for BBE Music.

 ‘Heart Under’, Just Mustard’s second album and first for Partisan Records
(IDLES, Fontaines D.C., Laura Marling), is an album that asks you to forget
what you know. At every turn, this remarkable record reconfigures and
stretches the ideas and ambition of a rock band and turns a year of lockdown
and personal struggles into a breath-taking artistic statement.
 Across its 10 tracks, the album presents a coherent style and ethos - those
scything guitars, Katie’s magical vocals - but still incorporates a wide and
untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In
Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all
tied together with impeccable instrumentation and a united vision.
 On debut ‘Wednesday’, the band played with dreamier soundscapes and
production techniques, and ‘Heart Under’ serves as the next stage of this
development, with every instrument brilliantly pushed to its limit and every
boundary of the band stretched.
 After the band had finished recording and producing the album, ‘Heart Under’
was pushed even further into singular territory when the band worked with
mixer David Wrench, whose previous collaborators include Frank Ocean,
Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone
who had done pop and electronic records and didn’t just work within rock
music,” Katie says.
 “Ireland’s buzziest new band” - The FADER
 “Their rapturous reception here at SXSW is a testament to their startling
evolution as well as the excitement that can only come from watching a band
just beginning to realise the full extent of their powers.” - NME
 “They have well and truly mastered the art of atmospheric rock” - Loud And
Quiet (9/10)
 Supporting Fontaines D.C. on their European and US tours this year. They
were handpicked by Robert Smith to support The Cure in Dublin in 2019.
 Eire headline tour in June, UK headline tour in September, including Village
Underground, and EU headline tour in October.
 Choice Music Prize nomination for Irish Album Of The Year for their debut
album, ‘Wednesday’.
 CD housed in a cardboard wallet with lyric and photo insert.
 LP pressed on black vinyl and housed in a single sleeve jacket with lyric and
photo insert.

...a re-rendering of Andy Vaz's 2013 deep house classic

DRIVETRAIN - Mix From Detroit
vocal sampling on an enthrallingly seductive rhythm bounce

CLOUDMASTERWEED - Def Mix
ghostly minimalism of deep soul with tribal overtones

JAVONNETTE - Mars Mix
accelerated pads punching through acid reinforcement

ANDY VAZ - Original Mix
the multi-inflected prototype groove for the bewitching after hours

The Romantic, the new album from Bruno Mars. The fourth studio album from the global superstar and 16 time GRAMMY® Award-winning artist marks Mars' first solo album release since 2017's 24k Magic and follows chart topping collaborations with Anderson .Paak as Silk Sonic, as well as smash hits with Lady Gaga and ROSÉ.

Available for pre-order on the 9th January at 5AM GMT and set for release on the 27th February 2026.

Sixteen-time GRAMMY® Award winner and thirty-three-time GRAMMY® Award nominee Bruno Mars is a celebrated singer, songwriter, producer, and musician who is one of the best-selling artists of all time and now continuously the number-one most listened-to artist on Spotify. With recent hits like “APT.” with ROSÉ and “Die With A Smile” with Lady Gaga—the latter earning him two nominations for “Song Of The Year” and “Best Pop Duo/Group Performance” at the 67th Annual GRAMMY® Awards—Mars has celebrated another extraordinary year in music. Among his robust list of accolades, some of which include “Album of the Year” for 24K Magic at the 60th Annual GRAMMY® Awards and “Record of The Year” for Silk Sonic’s “Leave The Door Open” at the 64th Annual GRAMMY® Awards, Mars has held the number one global song for more weeks than any artist in 2024 with both “APT.” and “Die With A Smile.”

Have Isaac Carter & Callum Asa made the most tasteful tech house EP of recent memory? The short answer is
yes....

Isaac and Callum, known for their respective club nights: OCHI and Planet People have been quietly chipping away at the coalface of underground dance music for quite some time now.

Isaac - perhaps known more widely as a regular at Circoloco & Phonox has shared bills with the likes of Moodyman, DJ Bone, Kai Alce, Laurent Garnier and Marcellus Pittmann whilst being championed by Joy Orbison, Ben UFO, Moxie, Seth Troxler, Raresh and Floating Points to name but a few. With such an impressive CV and wide ranging support, it’s wild to note that the first EP released on his own label, OCHI only came out in 2023. His star is clearly ascending with rapidity - so when we throw long term collaborator Callum Asa into the mix, things start to get really interesting. Calum has been running Planet People for the last couple of years, welcoming incredible names such as Shed, Surgeon, Willow, Ploy, Cooly G, Rroxymore and so many more. Steel sharpens steel and having been surrounded by such esteemed talent, it’s clearly rubbed off on the pair who present 4 polished, meticulously constructed, club ready masterpieces, each with their own distinct feel and an insatiable groove.

‘Feel Me’ sets the scene with a descending baseline that would eek a wiggle out of the most reluctant spectator. The twisted dub eeks out even more groove, locking in a more sinister bounce for the heads. By The time ‘Understand’ get’s into full swing, we’re already under the spell of Carter & Asa, this is the kind of roller that could go on forever and ever. The synth embellishments and washes of analog synth pull us deeper and deeper in, prepping us for the finale , ’Try You’ which simmers with deep, brooding intensity.

The magic of the dup’s appeal is that this EP will find its way into the bags of the deepest diggers and also appeal to a new generation of house fans. Elements of it are accessible , but in the right hands - the EP will open a portal to new worlds.

Desinteresse releases their second album Onschuld through Fabrika Records on September 9, 2025.

Desinteresse is a Dutch Coldwave act consisting of Bart Vranken (bass), Joppe de Swart (drums), and Sem van den Munckhof (vocals/synth/guitar). Formed in late 2022 as a duo, Bart and Sem released their debut album Voor Altijd in April 2023 and the EP Ik Wil Dood Als Ik Het Vergeet in November 2023, both on cassette through their own label DECADENCE. With the addition of Joppe in early 2024, they released their first work as trio in August 2024, the 7” single Grijze Dromen.

Desinteresse produces their music using original vintage equipment as a deliberate form of artistic expression and identity. Their live performances are a melancholic, but mesmerizing affair, where music and vocals amplify the weight of their message, emphasizing the non-existential and abandoned emotions that define their sound. An absolute delicacy for fans of Fad Gadget, The Normal, Joy Division and early work from The Cure.

The titles and lyrics are in their native Dutch. Onschuld (also the title of the opening track) translates to ‘innocence’. With other titles such as Niets Te Zeggen (nothing to say), Brekend Glas (breaking glass) and Grizje Dromen (grey dreams), this pensive album could be a good-bye to innocence, but it’s certainly the ideal companion for ruminations on gloom.

Having transitioned between London, Lisbon and back again as a DJ and producer, as well as across the world as the drummer in beloved pop group, Metronomy, Anna Prior remains an essential and independent force in alternative and electronic music culture. The current epicentre of this creativity is undoubtedly Prior’s own label, Beat Palace. Established in 2021, it has showcased the talent and diversity of FLINTA producers carving an esoteric space within alt-pop and electronic music.

Returning to the imprint for the first time since its inception, Anna Prior utilises this vital platform to refine her own craft across the five-track ‘Firefly’ EP, exploring new moods and styles, balancing playfulness with vulnerability, shadow and light. Prior describes ‘Firefly’ as, “a collection of moments - some fleeting and some stubbornly lingering.... Each track came together almost by accident, but now feels to me like they've always belonged together.”

Lead single ‘True For You’ pulsates with soft euphoria, as Prior weaves softly cascading synths with her own earnest declarations, composing a sensual, sophisticated drama about “letting other people's differing truths sit alongside your own” that nonetheless carries a distinct club energy. In contrast, title track ‘Firefly’, written alongside co-producer Matt Karmil, unfolds as a spoken-word piece, investigating memory, “the tricky mirror that reveals more than it conceals”. Throughout, Prior’s inquisitive, native Yorkshire accent anchors a wide-eyed soundscape that gradually, impressively escalates into the cinematic.

Centerpiece track ‘Silence’ turns this approach inside out, escalating the tempo and revealing a DnB-influenced shade of Prior’s work that is certain to surprise and impress, scattering elegant syllables amongst serious soundsystem pressure as Prior navigates the feeling of being ghosted; by friends, lovers and even her own work. ‘No More Drama’ returns to pop, presenting a bold cover of Mary J. Blige’s classic that inverts the original’s unmatched intensity for a more serene, but no less affecting rendition.

Finally, ‘Beside You’ delivers one last, sublime blend of Prior’s songwriting and sequencing instincts, a simple pop incantation that coaxes dancers into a soft trance while concluding with a reminder from Prior that “amid life’s unanswered calls and fleeting highs, there is always space to feel safe and unjudged.” Concluding this sublime EP, Prior finds new ground to settle into her talents.

"The Barras" brings two heavyweight cuts for the floor. On the A-side, "The Barras" drives with deep hypnotic rhythms and acid-soaked lines. The flip, "Pharmacy Keys", dives into raw Chicago Acid territory — weird, twisted and unstoppable in the late-night zone.

- Limited edition Orange 2x12” vinyl LP.
- Housed in PMS printed inner sleeve, featuring custom fonts by No Format and spot gloss abstraction of the original album artwork.
- Accompanied with a double sided 2-panel insert and double sided 4 panel poster.
- All sleeved in a custom PMS reverse board outer sleeve with die cut square centre panel and belly band.

The Boy and the Tree was composed after a visit to Yakushima Island, an outstandingly beautiful world heritage site off the southern tip of Japan, scored by a deep, lush and ancient ravine, home of the ancient 7000-year old ‘Jōmon Sugi’. Tree. Also the inspiration for Miyazaki's epic anime Princess Mononoke, a conflict between the rampant greed and destructive force of humanity, and the stoic, mysterious fragility of nature.

This fleeting immersion in nature lent the album a profound introspection and mystery, and the its twelve tracks unfold in dream sequence, each drifting seamlessly into the next while still managing to steer the listener in myriad directions, from eerie butoh atmospheres, to ebullient raga, to desolate, cavernous chanson. The Boy And The Tree is definitely one of, if not the most, visually evocative and cinematic Yokota releases.

8-page lyric / drawing booklet, glossy poster, download card (inc. mp3s), white inner paper bags, sticker on cover.

After 7 strange years of relative silence, and 13 years of being a band, Dog Chocolate have returned with ‘So Inspired, So Done In’. Their fourth album is their most focused, cohesive and song-y yet. They still sound like a bin full of wasps, but now the bin has double-cream or a Viennetta or something at the bottom. While many of the 16 songs on here barely make it past the 3-minute mark, each one is bursting with all the textures and colours of an office cupboard: full of old sweets, fluorescent markers, and multiple ways to fix paper together.

Thematically, a lot of ground is covered, with songs tackling subject matter as diverse as overheard conversations, healing fungal toenails, the Rogerian concept of the Actualising Tendency, bronze age living conditions, dreaming songs into being and human-plant relations. Work (and anti-work) is a recurring theme, as is artistic inspiration and burnout. Dog Chocolate revel in the mundane and incidental, to explore bigger, existential questions. Recorded and mixed by POZI’s Toby Burroughs and mastered by Sofia Lopes, ‘So Inspired, So Done In’ charts a long and confusing period in the band’s collective life, marked by major life changes, losses and shifts, colouring the band’s trademark frantic, daft and anxious energy with a contemplative glaze. Dog Chocolate continue to investigate their internal and external landscapes with playful curiosity, frustration, silliness and empathy.

Pre/history of the band: In the early 2000’s Andrew (vocals), Rob (guitar, vocals) and Matthew (guitar, vocals) played together as teenagers in South-East London-based maximalist, costumed surrealist punk band Yeborobo. They met drummer Jonathan playing with his instrument-swapping masked band Limn at art space Utrophia in Deptford. Later, when both bands had split, Dog Chocolate formed with a shared desire to make a band that was simpler than their theatrical past: small amps and light guitars, no more than 2 drums at any one time, a keyboard no longer than a ruler and a shared ethos… “it’s about giving a shit, but at the same time not giving a shit, but not ‘whatever’, not giving up never!”. The band floated the term “pencilcase punk” to describe their jumbled, colourful, dense and instant music.

Dog Chocolate built on this early scrappiness, bedding into their sound over several albums. Their first “Or” (2014) was a split with Ravioli Me Away, soon followed by “Snack Fans” (2016) and “Moody Balloon Baby” (2018). Along the way they played gigs with bands as wide ranging as Deerhoof, No Age, Dry Cleaning, Palm, Daniel Wakeford, Shopping and Pozi.

With a tendency to converse with each other both lyrically and musically cultivated over many years, the members of Dog Chocolate bounce off each other, respectfully disagree, try to make each other laugh and share some of their most vulnerable feelings with each other. ‘So Inspired, So Done In’ is their own unique offering during these unsteady times: a language of friendship translated into songs.

ARCHIVE veröffentlichen am 27. Februar 2026 ihr 13. Studioalbum Glass Minds über ihr eigenes Label Dangervisit / PIAS. Nach dem monumentalen Triple-Album Call to Arms & Angels (2022), das europaweit Top-10-Erfolge feierte und in einem triumphalen Konzert in der Pariser Accor Arena mündete, kehrt die Band mit einem Werk zurück, das intime Tiefe und epische Weite meisterhaft verbindet.

Musikalisch schlägt Glass Minds eine Brücke zwischen minimalistisch-introspektiven Klangwelten und treibenden, genreübergreifenden Arrangements – von hypnotischem Electro-Pop (Wake Up Strange) über motorische Gitarren-Power (Look At Us) bis hin zu tiefen Ambient-Atmosphären. Ergänzt wird das Album durch starke Gäste: Rapper Jimmy Collins verleiht „Heads Are Gonna Roll“ eine schneidende Intensität, während Lisa Mottram auf Songs wie „Glass Minds“ oder „The Love The Light“ ihre hypnotische Stimme einbringt.

Glass Minds markiert eine neue Schaffensphase in den drei Jahrzehnten von Archive. Von der Melancholie eines „So Far From Losing You“ bis hin zur Euphorie von „Shine Out Power“ demonstriert das Kollektiv seine ungebrochene Innovationskraft. Begleitend startet im Frühjahr 2026 eine große Europatournee mit Konzerten u. a. in Amsterdam, Paris, Hamburg und London.

Behind the name Pouf Pouf Pantoufle lie six musicians from Nancy, graduates of the Lillebonne music school: Vincent Petit on double bass, Gabriel Lambert on bass, Guillaume Schwab on keyboards, Tom Colombain on trombone, Gaspard Petitnicolas on flute, and Solal Piquand on drums.

In 2022, they founded the APC (Appellation Pantouflarde Contrôlée) association and started organizing concerts at the legendary MJC Lillebonne, often alongside BMM and RPT. Thanks to their eclectic and avant-garde line-ups, these events have become unmissable for fans of hybrid music, electronic curiosities, and off-format performances.

Through a form of free, improvised, and chaotic jazz, the band Pouf Pouf Pantoufle echoes the local scene that they federate. The sextet now presents its first eponymous studio album, a genuine laboratory of improvisation and experimentation with different materials and sound textures, mixing acoustic and electronic elements in an intense and exhilarating jumble.

Clear Vinyl / Pressed 180 grams.

Third Proces Kabaal Recut project offers three organic acid trips. Defenitely unformated live feelings out of conventions and in total cohesion of the Ned' acid music since ages.....

INFO :
A1 - Masscalation from BBQMasters is a repress from Proces Kabaal 02 (2003).
B1 - Why Birds Die In Our Court from Tamahata is a repress from Proces Kabaal 01 (2002)
B2 - 3000 from Smokescreensis a repress from Proces Kabaal 04 (2008).

Dae Han is the unsung backbone behind progressive Honolulu acts and international artists. He’s the go-to drummer whenever Japanese rapper Shing02 tours the US and Asia with a full band. In 2019, Takuya Kuroda tapped Dae to organize a band to support the Brooklyn-based trumpeter’s gig at Blue Note Hawaii. Dae also recently teamed up with guitarist Gilbert Batangan and bassist Mark Tanouye to open for Khruangbin. And every year he organizes an always impressive jazz-forward tribute to the late J Dilla.

On the drums, Dae’s swift, technical style compliments every situation, from jazz and funk to R&B, reggae, and hip hop. Much the same, Dae has approached the compositions and arrangements for his debut with craft and purpose.

BLUE, coming in February 2020, came to fruition over the past 12 months with the help of Nelson Cho, the musician and recording engineer behind Lightworks Recordings in Wahiawa, Oahu. Together, the two spent countless hours honing a sound that travels across hip hop, jazz, and house.

The resulting songs act as a diary of the artist’s fateful journey from Washington D.C. through New York to Honolulu, where he resides today. Reflecting on joyful highs and the lowest lows, Dae creates a collage for the listener to hear, appreciate, and understand the path he’s traveled thus far.

Formed in Southend in the late 90’s, Beatglider’s tale is a familiar one taking in early acclaim only for momentum and promise to be dashed by major label statis and indifference.

After the release of the debut long-player, ‘40 Days Of Summer’, in 1999 the band signed to Sony subsidiary Lakota and decamped to LA to record its follow-up, ‘Dreaming Of Roads’, an album that was never to see the light of day.

And now, over 20 years later, ‘Dreaming Of Roads’ eventually gets a deserved release on 28th February via the Arlen label. A beautiful 11-track understated delight which musically falls somewhere between the likes of Elliott Smith, Grandaddy, Yo La Tengo and Sparklehorse, the album has not only stood the test of time, but arguably sounds as fresh as ever in 2026.
The tracklisting of the album - recorded in Los Angeles at the famed Sound City studios - is as follows:

4XLP box set, 4 Coloured discs: translucent violet, ice, blue, and orange vinyl

Hardcover slipcase box
Celebrate twenty-five years of Ape Escape and thirty years of PlayStation with Ape Escape 3 Originape Soundtracks in a Box!

Ｓａｒｕ　Ｇｅｔ　Ｙｏｕ　３

As with the Ape Escape Originape Soundtrack, composer Soichi Terada has meticulously re-recorded and reconstructed all tracks from the Ape Escape 3 Original soundtrack. Previously only available on CD, this is the complete soundtrack's first time on vinyl. This box set was produced in partnership with Mr. Terada and Far East Recording, and is an officially licensed Sony Interactive Entertainment product.

This release contains eighty tracks, spanning four individually sleeved records, housed in a hardcover box. It is similar in construction to the Ape Escape Originape Soundtracks in a Box release (2024), and the two will look quite nicely next to one another on your shelf!

We are happy to announce that this box set features a definitive edition of the Ape Escape 3 Originape tracklist. This also includes "Swanlake," a track previously unavailable on the CD release. At its core, the Ape Escape 3 soundtrack features much of Soichi Terada's signature sound: lush electronic, jungle, silky smooth synthesizer, humor, and charm.

Ape Escape 3 was originally released in 2005 (Japan), and its moviemaking pipos were unleashed across the rest of the globe in 2006. The game features two new protagonists (Kei and Yumi) who battle the Freaky Monkey Five, underlings of the nefarious Dr. Tomoki and the evil monkey Specter.

Complimenting the game's journey through the TV-verse, the Ape Escape 3 soundtrack also features twists on themes from Wild West Showdowns, Kung-Fu movies, and space operas. Fans of the Ape Escape Originape Soundtrack, as well as newer work like Asakusa Light, will certainly enjoy all elements of Soichi Terada's music present in Ape Escape 3.

The music on this box set was mastered by Justin Perkins of Mystery Room Mastering, who also mastered the original Ape Escape Originape Soundtracks box set (2024). Using Mr. Terada's premastered source files, the music was completely and specifically mastered for vinyl. The box set also features original Ape Escape 3 character renders and key art. All of the design elements have been put together with careful thought, referencing the original Japanese guidebook for inspiration and visual cohesiveness.

It is with great pleasure that we celebrate Soichi Terada's music and the Ape Escape franchise with this four-disc release!

Original key art and renders from the サルゲッチュ team


Officially licensed © Sony Interactive Entertainment
©2025 Sony Interactive Entertainment Inc. “PlayStation”, ”プレイステーション”, “Ape Escape” and ”サルゲッチュ” are registered trademarks of Sony Interactive Entertainment Inc.

Shrouded in myth and working quietly at the edges of modern composition, the enigmatic Anichy & Lyemn announces the release of their newest recording on the esteemed Swiss imprint Fabrique d'Instruments—a new label championing radical, visionary sound.
This deeply affecting work unfurls as a meditation on impermanence, memory, and the slow unravelling of time. Across its extended movements, they create a sound world that is at once symphonic in scale and intimate in breath, echoing the aching resonance of William Basinski’s The Disintegration Loops, the spectral drift of The Caretaker, and the luminous stillness of Gavin Bryars.

Strings sigh, distant sounds dissolve, and tape-worn melodies return like half-remembered dreams. It is music that feels remembered more than heard—a fragile architecture built from erosion, decay, and the stubborn persistence of beauty.
Adding to its mystique, the record features previously unheard collaborations with a legendary British minimalist composer, whose identity remains deliberately withheld. These rare sessions—long thought lost to time—reveal the artist exploring harmonic minimalism with a disarming tenderness, the composer’s unmistakable signature woven delicately through Anichy & Lyemn’s drifting orchestral shadows.

At a moment when the world feels increasingly unmoored, this record arrives as a quiet monument to what slips away, and what remains.
Artist is available for very limited interviews.

Second Sinystria brings again a major acid dancefloor experience.
A meeting of Italian and Nederland artists... Travelling around :)

ENJOY !

Welcome to the second instalment of the collaboration between THE REFLEX’ DISCOLIDAYS label and BECAUSE MUSIC in Paris, remixing gems from the ZAGORA catalogue.

Created in 1975 by producer Daniel Vangarde (father of Daft Punk’s Thomas Bangalter), the Zagora label created some of the most exciting disco music in France, ranging from cult underground artists Who’s Who and Starbow, to massive international hits by the Gibson Brothers, la Compagnie Créole and Black Blood.

On this 12’’, we’ve got two first time ever remixes from LA COMPAGNIE CREOLE, one of the most successful acts in France during the 80’s who expertly mixed tropical sounds from the West Indies with pop and disco to staggering record sales.

With tapes thought to be long lost, a chance find of stems from two of their songs not only makes this release possible, but also perfectly showcases two sides of the band with ‘Le Bal Masqué’ which was a huge hit commercially in 1984 and ‘La Nuit Des Requins’ which is probably their least known and most underground track, both masterminded by songwriters DANIEL VANGARDE and JEAN KLUGER.

‘LE BAL MASQUE’, now devoid of its cheesiest sections, puts the focus on that infectious groove adorned with percussions and electronics but with its singalong chorus intact and stronger than ever. A guaranteed tropical disco floor filler at 122bpm, regardless of your knowledge of the French language!

‘LA NUIT DES REQUINS’, an ode to session musicians found regularly in Paris studios back in the day, gets a complete overhaul by putting the exhilarating drums and killer bass line of the original to the fore into a brand new 124bpm version that is destined to rock the most discerning dance floors the world over.

Released on 180g vinyl with custom artwork on card sleeve designed by AL KENT / MILLION DOLLAR DISCO.

Aspen Edities is pleased to present Aerial, the third album of the experimental quartet Oker.

Whereas their album debut Husene våre er museer (2018) and its follow-up Susurrus (2021) focused on collective and individual compositions, Aerial features two longform pieces of fully improvised music, sculpted from the recognizable acoustic sound palette that the quartet has developed across a decade of extensive touring. The titles, Aerial, Equinoctial Tide and Crepuscular Rays refer to meteorological and planetary phenomena, and in Oker’s interplay we hear light, wind, clouds, and tidal cycles transpire as shimmering, roaring, rubbing, coalescing and diverging environments of sound. The sonic stoicism and minimalism in their expression is challenged by frictioning micro-chaoses, combining to create calm, winding paths of musical detail and form. Echoing our planet and its meteorological reality, Aerial yields both consistency and perpetual change.

Bringing together some of the most compelling musicians from the Norwegian improvised music scene, Oker operates as an acoustic experimental quartet devoted to the amalgamation of improvised and composed modes of expression. Their music combines fine-tuned tonalities, deconstructed grooves, acoustic noise and other sonic events, taking their rather conventional instrumentation as a point of departure. Textures in gradual change coexisting with responsive and spontaneous gestures create a varied but coherent musical ecosystem which can be airy or dense, dry or blooming. A certain minimalist or stoic approach to sound production is an overarching and recurring element in all of Oker’s music, differentiating their sound from the majority of music in the field of improvised music or free jazz.

Adi Oasis returns with Silver Lining, her boldest EP yet, exploring strength through surrender and vocal freedom. Blending neo-soul, funk and retro-future R&B with producer Carrtoons, this new EP showcases Adi’s soaring vocals and stage ready energy, a modern diva moment designed for movement, empowerment and joy.

"Lost Tracks: Accra To Addis" wurde von Afrocat zusammengestellt, seit 25 Jahren als DJ, Musik-/Kulturkuratorin, Radiomoderatorin der "Blaxploitation Lounge" (Totally Radio) und Abenteurerin tätig ist. Sie reiste nach Ghana und Äthiopien, um die Vielfalt der Vintage-Sounds zu erkunden und den Geist der ersten Revolutionsära Afrikas wiederzubeleben, in der Unabhängigkeit, Fortschritt und die Gleichstellung aller Menschen im Vordergrund standen – in diesem mitreißenden, funkigen und tiefgründigen Soundtrack, geprägt von Ethio-Jazz, Highlife, Gospel, afrikanische Polyrhythmen und psychedelischen Klängen. Aus der Idee eines Samplers entstand schließlich ein eigenes Plattenlabel: Lost Tracks Records ist unter Vertrag und hat einige fantastische Releases, internationale Live & Club-Events sowie Kollaborationen in petto. Als eine der wenigen schwarzen, weiblichen Labelinhaberinnen der Branche ist dies eine Stimme, die gehört werden muss. Freut euch auf die Entdeckung internationaler Disco-Klänge, Deep Funk, Blaxploitation, Dancefloor-Jazz und intergalaktische, afro-futuristische Klangabenteuer!

Built on the solid, classic rock foundation of three-part harmonies and dual guitar leads, Canada's Juno Award-winning and multi-platinum selling - the Sheepdogs blend Southern boogie rock, groove-based psychedelia, and bluesy barroom swagger into a modern rock & roll revival. Hailing from the small prairie city of Saskatoon, The Sheepdogs are one of Canada’s most successful bands amassing a legion of fans worldwide with their rich harmonies, rounded guitar tones and classic rock-influenced sound. The band has achieved thirteen top 20 hits on Canadian Rock radio, with ten reaching the top 5 and three claiming the #1 spot. Most recently, their single "Take Me For a Ride" cracked the top 5 and spent over eight months in the top 20. This success followed their 2022 run of  90 cumulative weeks with at least one song in the top 20 at Canadian Rock radio. Hit singles “I Don’t Know” and “Feeling Good” both reached Platinum certification, with “The Way It Is” achieving Gold sales. Additionally, the albums Learn & Burn and The Sheepdogs both achieved Platinum status, and to date the band has been nominated for 11 JUNO awards, including 2022’s “Outta Sight” and winning four awards.

Hotel Fiction is an indie rock band from Athens, Georgia comprised of Jade Long (vocals, keys, guitar), Jessica Thompson (vocals, lead guitar), Aaron Daugherty (lead guitar, synth), Aidan Hill (bass), and Gideon Johnston (drums). Their sound has often been described as genre-fluid, with indie, pop, folk, and rock influences. They have become known for their honest lyricism, haunting harmonies, and electric live shows.

Deluxe edition of Hotel Fiction's 2023 release Staring At The Sun. Features two new songs as well as alternate versions of album tracks, including a guest appearance from Hey, Nothing. LP pressed on limited edition coke bottle clear vinyl.

Single Coke Bottle Clear Color LP w/ printed inner sleeve + insert and updated artwork

Figure Study is the Manhattan-based duo of Nathan Antolik and April Chalpara. They formed in 2009, after meeting through the Wierd Records weekly party, where they would play their first concert soon after. While their debut 7" contained two songs recorded in 2009, this full length contains all new material recorded throughout the past year.

For their debut self-titled album, Figure Study utilizes a carefully tailored set up of vintage analog synthesizers and drum machines. Figure Study creates a lush sound where haunting vocals echo over dark melodies that reflect an isolated and disintegrating world. Songs flux between dissonant dance numbers and more sparse, somber compositions, each carrying a sense of urgency and modernism. Figure Study's sound includes influences from such early underground artists as Kirlian Camera, Nine Circles, and The Actor.

The album was recorded in their small Chinatown studio using a sparse set-up of analog synthesizers, drum machines and sequencers. It was mixed at The Wave Lab in Brooklyn by AJ Tissian and mastered for vinyl at Fantasy Studios in Berkeley by George Horn. Each LP is packaged in a specially designed jacket and includes an insert with lyrics. Figure Study draw their own model using shapes and forms from the synthetic landscape.

World Of Echo announces the reissue of two remastered albums by Japanese guitarist and songwriter Naoki Zushi, 1988’s Paradise, and 2005’s III. Two classics of Japanese psychedelia, both Paradise and III were originally released on Org Records, the imprint of Shinji Shibayama of acid-folk group Nagisa Ni Te, with whom Zushi has guested on second guitar for decades. Both intimate and expansive, rich with revelatory songwriting and blasted, sky-scouring guitar, these reissues return these albums to print for the first time since the 2000s. It’s the first time III has been officially released on vinyl, with an extra, previously unreleased track, “Under The June Moonlight.”

Recorded in Kyoto’s Townhouse Studios in mid 1987 and released in limited-to-500 vinyl pressing in 1988, Paradise emerged from a scene in Kansai, Japan that was embracing the idiosyncracies of 1970s singer-songwriters, the soaring solos of early seventies psychedelia, and the DIY impulse of 1980s post-punk. While Zushi’s musical history stretched back to the early eighties – he was a founding member of Jojo Hiroshige’s noise outfit Hijokaidan – he found his feet with groups like Hallelujahs, whose dream-pop collection Niku O Kuraite Chikai Wo Tateyo was recently reissued by Black Editions, and Idiot O’Clock.

Paradise appeared two years after that Hallelujahs album and share much the same membership – Zushi’s backing band on several of the songs includes Shibayama on drums and Ken-Ichi Takayama (aka Idiot) on electric guitar, though just as often, Zushi plays all the instruments himself. The coordinates here are wide-reaching – you can hear the volume and intensity of Neil Young & Crazy Horse (on “Hallelujah: Left Side” and “Paradise: Midday”), the slow-motion magic of Galaxie 500, the idiosyncratic spirit of The Only Ones, all mixed up with tender guitar miniatures and stumbling garage-psych-pop moves.

Seven years later, after the transitional album Phenomenal Luciferin, Zushi released III. Perhaps his masterpiece, it’s already been bootlegged on vinyl, but this reissue is the real deal. The album was recorded at Studio Nemu over seven years, and sees Zushi backed by Shibayama (bass) and Masako Takeda (drums), his erstwhile bandmates in Nagisa Ni Te. By this stage, Zushi had started to really stretch out, and many of the songs on III swoon languorously, taking their sweet time to say what they need to say. It’s rich with lovely, melancholy songs, in a similar realm to bandmates Nagisa Ni Te, of course, but you can also hear traces of everything from Syd Barrett’s The Madcap Laughs, through seventies private press loner folk, to the slow-burn meanderings of the likes of early Low or Damon & Naomi.

When interviewed by Shibayama in the mid-nineties, Zushi said of Paradise, “it was a sort of collection of songs that had meant something to me up to that point… it was my paradise. I wanted to create paradise.” That’s something Zushi achieves on both of these albums – visionary Japanese psychedelia, en route to paradise. - Jon Dale

Carpenter Brut draws its influences from 80s TV shows and B-movies loaded with synthesizers.
The mysterious and discreet man evokes an encounter between Justice beats and the universe of John Carpenter.

Across ten tracks, Leather Temple, the third and final chapter of the Leather trilogychannels a raw and nervous energy, somewhere between saturated electro, industrialfever, and 90s synthetic pulse. Yet behind this intensityalso lies a cinematic andorchestral dimension, with arrangements that expand the horizon and add dramaticscope. A tight format, a constant intensity: Leather Temple goes all in on impact,balancing raw immediacy with the feel of a post-apocalyptic moviesoundtrack.

DJ Mitsu the Beats, a globally active member of the Sendai-based hip-hop crew GAGLE, teams up with R&B singer reina from the creative collective and label w.a.u for
the new track "Gtg" now released as a 7-inch single.
The song is a bittersweet and ephemeral love track that expresses straightforward emotions and feelings, as if wandering toward the endlessly stretching sea.
The laid-back, jazzy beats and piano by DJ Mitsu the Beats, reina’s smooth and comforting vocals, and Kzyboost’s emotional talk box blend together into a mellow groove,
creating an alternative R&B sound that evokes the chill of the ocean.
The jacket artwork is a collaborative design featuring ocean photography by Yasuma Miura, a photographer based in Shonan and Kamakura who travels the world while surfing,
and design by So Iguchi (soiguchi design), a designer known for his work on outdoor brand catalogs and lookbooks.

Miki Nakatani’s Best Album MIKI to Be Reissued on Vinyl in a Long Awaited Colored Edition!
This compilation features songs from actress Miki Nakatani’s music career during the mid 1990s to early 2000s, produced by Ryuichi Sakamoto.
It includes the much talked about track “Chronic Love”, which served as the theme song for the drama Keizoku, a beautifully rendered cover of NICO’s
“Chelsea Girls” that captures the original melancholy, and a drum only mix of Taeko Onuki’s “Natsu ni Koi Suru Onnatachi (DRUM MIX)”.
Additionally, Side D includes three off vocal versions, just like the CD release.






[d] b1 Kowareta Kokoro [Band Mix]



[h] c2. Natsu ni Koi Suru Onnatachi [Drum Mix]

MariMari’s debut album “Mimitomesoshiteecho”, originally released in 1997, is finally getting its long awaited analog reissue.

Known for being fully backed by members of Fishmans, this work centers on MariMari’s vocals, which combine transparency and fragility, layered with
the floating, organic ensemble reminiscent of the Fishmans sound a truly unique album that deserves recognition across generations.
For this reissue, UK cutting engineer Dave Turner, who also handled the latest Fishmans reissues, took charge of the cutting process.
The original master’s charm has been maximized while optimizing the sound for today’s listening environments, bringing the album back to life with a
fresh sonic image.

Die Standard-Doppel-LP-Version enthält das Remaster zum 20-jährigen Jubiläum und die A Fever You Can't Sweat Out (Demos).
Nach ihrem aufsehenerregenden Auftritt beim When We Were Young Festival in Las Vegas feiern Panic! At The Disco weiterhin die zwei Jahrzehnte seit der Veröffentlichung ihres bahnbrechenden, mit Mehrfach-Platin ausgezeichneten Debütalbums mit der Ankündigung der A Fever You Can't Sweat Out (20th Anniversary Deluxe) Edition.


Das wegweisende Album, hervorgehoben durch den neu mit Diamant-Status ausgezeichneten Hit „I Write Sins Not Tragedies“, katapultierte die Band aus Las Vegas zum Rock-Star-Ruhm und etablierte sie als eine der prägendsten Acts ihrer Generation.


Entdeckt von Pete Wentz von Fall Out Boy, als die Bandmitglieder noch Teenager waren, explodierten Panic! At The Disco mit der Veröffentlichung von A Fever You Can't Sweat Out im Herbst 2005 in die Musiklandschaft. Das Album erreichte die oberen Ränge der Billboard 200 und feierte Mehrfach-Platin-Erfolge.


Die Breakout-Single der Veröffentlichung, „I Write Sins Not Tragedies“, wurde zu einem der bekanntesten Songs dieser Ära, erreichte die Top 10 der Billboard Hot 100 und wurde ein Radiohit in verschiedenen Formaten. Die ikonische Hymne findet weiterhin großen Anklang bei Musikfans und erhielt kürzlich eine RIAA Diamant-Zertifizierung für über 10 Millionen Streams/Verkäufe.


Angetrieben von Hymnen wie „Build God, Then We’ll Talk“, „The Only Difference Between Martyrdom And Suicide Is Press Coverage“ und „Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off“, hat das Album bis heute Verkäufe von über 5 Millionen Alben und fast 4 Milliarden globale Streams generiert.

This is that absolute stank-face filth: hard, espionage drama-soul and tough, jazzy street-funk. Hogan, The Hawk & Dirty John Crown sounds like the soundtrack of a blaxploitation movie from the early 70s and, packed with funky fusion and smoother orchestral numbers, it is basically that.

Featuring a veritable who's who of killer library break snakes - Alan Parker, Alan Hawkshaw (under sneaky alias William Parrish), Simon Haseley, Reg Tilsley and Gordon Grant - it's not hard to see how this commands over £350 on secondary markets.

This beautifully presented reissue, part of Be With's fresh campaign with the legendary library label Music De Wolfe, is well overdue.

Recorded for De Wolfe in 1972, Hogan, The Hawk, Dirty John Crown is a fantastic start-to-finish listen. The flute-funk of Hawkshaw and Parker's opener "The Hawk" comprises driving, fuzzy, wah-wah-drizzled bell-laced breaks with synths and basslines to murder for. Up next, Haseley's "The Happening" is a carefree, rhythmic builder with strings and horns. Let's face it, it doesn't prepare us for the monster that follows...

Hawkshaw and Parker's amazing "Main Chance" is likely the reason you're here; it's a moody, beaty proto-hip-hop banger; all rolling drums and flute-laced, organ-drenched, synth-funk breaks. Just sensational - you'll want to play it again and again and again.

The cool AF "Hogan Baby" has a soft, rounded, bluesy feel - it's a lighter number and Haseley's work here sounds more than a little indebted to Burt Bacharach. It's melancholic, reflective and contains ace breaks with beautiful flutes and wistful horns. It's just gorgeous. Grant's pounding "Dirty John Crown" brilliantly conjures swirling string-swept serenity atop driving, incisive drama-funk breaks. Sublime. Hawkshaw and Parker come roaring back with the murky, creeping crime-funk of "Swarf" with killer basslines underpinning slow-mo high-class flute-funk.

Reg Tilsley enters the fray with the bright, snappy, carefree "Turnover". It's lightweight but still retains some nice orchestral movements. The brief “Tarantula” gets us back on track - from the pen and chops of Hawkshaw and Parker, are we surprised? - with the driving crime funk breaks, super clean yet brooding. Synths, sax and 'nuff guitars. YES.

Side 2 opens with the car chase swag of Haseley's dramatic, driving "Precinct". Jazzy, instrumental flute funk over great percussive breaks. We love this. Haseley's rolling "Sidewinder Version 1" is robust and exuberant with bouncy horns before a cracking Parker-Hawkshaw one-two featuring the tense "Pressure" and the deeply soulful "Call Me", a relaxed, medium-tempo organ feature. With building piano and strings Gordon Grant's excellently titled "Scorch" is as aggressive and dramatic as you'd hope. Hawkshaw and Parker's furtive flute-funk of "Digger" precede the light, melodic and romantic themes of Tilsley's "Marianne" whilst "Sidewinder Version 2", a faster iteration of Track B2 sees Haseley close out this remarkable set in bouncy, bright fashion.

The audio for Hogan, The Hawk, Dirty John Crown has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Jon Lucien’s ‘Search For The Inner Self’ was one of the highlights of Paul Weller’s recently complied Ace CD “That Sweet, Sweet Music”. When also issuing it as a single, we included ‘We Got Love’, a track from his self-financed CD “Precious Is Love”, which proved to be as feted a choice as the top side. Due to this and further encouragement from soul fans, DJs and the Lucien family, we licensed the rest of the Beau Ray Fleming produced 1969 recordings for LP and CD reissue. Here is the very start of Lucien’s songwriting creativity − ‘Precious Is My Love’, ‘A Heart In Love’, ‘Flower Garden’ and ‘The Season Of Spring’ are accomplished and captivating creations, equal to his later much-admired work.

Die Indie-Folk-Ikone Sam Beam, auch bekannt als Iron And Wine, bringt ein neues Studioalbum raus, das voll mit wunderschöner, natürlicher Americana ist, darunter zwei Kollaborationen mit dem weiblichen Folk-Trio I'm With Her. „Ich wollte schon immer diesen Titel verwenden", sagt Sam Beam über „Hen's Teeth“, sein achtes Album in voller Länge und sein sechstes für Sub Pop Records. „Ich liebe ihn einfach. Für mich steht er für das Unmögliche. Hühnerzähne gibt's nicht. Und genau so fühlt sich dieses Album an: wie ein Geschenk, das es eigentlich nicht geben dürfte, aber doch da ist. Eine unmögliche Sache, aber sie ist real."



„Hen's Teeth“ und sein vorheriges Album „Light Verse“ sind so was wie Geschwister. Sie wurden während derselben Sessions nach einer einjährigen Pause mit derselben Band im Waystation Studio in Laurel Canyon aufgenommen. „Wenn ich gerade richtig in Schreiblaune bin und die Band mich dort abholt, wo ich gerade stehe, treiben sie mich zu etwas, das ich mir nicht hätte vorstellen können. Ich bin an einem Punkt in meinem Leben, an dem Spontaneität für mich viel wichtiger ist. Ich muss nicht mehr so viel beweisen wie früher. Ich bin viel freier und liebe es mehr denn je, Musik zu machen. Es gibt keine richtigen oder falschen Antworten. Man betet einfach um Glück und gibt sein Bestes." In diesem Fall wurden die Gebete erhört und das Glück schlug voll zu. Die Musiker fanden so schnell zueinander und inspirierten sich gegenseitig so sehr, dass sie Songs oft in nur wenigen Takes aufnahmen, manchmal zwei oder drei pro Tag. Die beiden Alben können daher als zweieiige Zwillinge betrachtet werden: Sie teilen sich die DNA und ergänzen sich, haben aber unterschiedliche Identitäten und zeichnen sich ebenso durch ihre Unterschiede wie durch ihre Gemeinsamkeiten aus. Die Welt von „Hen's Teeth“ ist erdiger, dunkler, robuster und greifbarer als die von „Light Verse“. Die Songs haben Titel wie “Roses", “Robin's Egg", “Dates and Dead People" und “Singing Saw". “Run into the one you love forever / Laugh into each other's empty mouth", singt Beam in “Roses", dem ersten Titel des Albums. Es ist einer von mehreren Songs, in denen Liebende so tief miteinander verbunden sind, dass sie physisch verschmelzen. “Paper and Stone" erinnert daran: “But for the time we fell in two / You'd be me and I'd be you / One crust of bread could fit in our mouths / You'd breathe in and I'd let it out." Und in “In Your Ocean" finden wir Beam betend: “Praying for dry ground / Though I only want to drown / When I find myself swimming in your ocean".

Brandneues Album von Stephen O'Malley, dem Mitbegründer von SUNN O))), mit neuen, bisher unveröffentlichten Stücken für Pfeifenorgel. Diese Platte hat zwei lange Stücke für Orgel von Stephen O'Malley, die er auf diesen Aufnahmen zusammen mit der bekannten Organistin Kali Malone und Frederikke Hoffmeier (Puce Mary) spielt. Das Album wurde an Weihnachten 2021 in der Église Saint-François in Lausanne, Schweiz, auf Les Grandes Orgues (Scherrer (1777), Walker (1867), Kuhn (1995)) in der Église Saint-François in Lausanne, Schweiz, aufgenommen und ursprünglich von Stephen im Rahmen einer Suite mit dem Titel Les Sphères (effondrez-les), Phasen I-V, für eine Zusammenarbeit mit der bekannten belgisch-schweizerischen Choreografin Cindy Van Acker komponiert. Neben den beiden Orgelwerken auf dieser Platte umfasste die Suite auch die Phasen III und V für E-Gitarre, Verstärker und Elektronik (gespielt von Stephen O'Malley und Kali Malone) sowie die Phase IV für Percussion-Ensemble (gespielt von Eklekto). Abgemischt von Stephen O'Malley im EMS, Stockholm, und von François-Xavier Delaby und Tristan Mazire, Paris, im Februar 2022. Gemastert und geschnitten von Rashad Becker, Berlin, Juni 2025. Perfekte Pressung bei Optimal, Deutschland. Dieses Album ist eine Koproduktion mit La Becque Editions. Stephen O'Malley ist auch auf der kommenden Compilation ,XKatedral Anthology Series III" vertreten. Stephen O'Malley ist Gründungsmitglied von Sunn O))), die 2026 ausgiebig auf Tournee sind.

All Cats Are Cute ist ein Instrumental-Funk-/Lofi-Beats-Party- und Chill-Album für alle Tierfreunde! Dieses Album feiert nicht nur Katzen, sondern auch den Geist der Vielfalt und Zusammengehörigkeit unter allen Lebewesen auf der Erde. Egal, ob man sein Zuhause mit Katzen, Hunden, Nagetieren, Vögeln, Menschen oder einfach nur mit der Liebe zu allen Lebewesen teilt, diese Platte ist der perfekte Soundtrack - eine Fahrt weg vom Trubel, auf einem bunten Katzenbus vorbei am Soul Train zur Regenbogenbrücke. Inspiriert von den Rettungskatzen Tibby und Slippy von Furnace Record Pressing, kommt diese LP Katzen zugute, die es am meisten brauchen. 100 % der Einnahmen werden an Brooklyn Animal Action gespendet, um deren Mission zu unterstützen, Tiere in Not zu retten, zu rehabilitieren und ihnen ein neues Zuhause zu geben. Dieses Projekt wurde ermöglicht durch die großzügige Unterstützung von Furnace Record Pressing, Catbeats und allen beteiligten Anbietern, die ihre Dienste gespendet haben, um sicherzustellen, dass jeder Cent direkt der Hilfe für Tiere zugute kommt. Hinter dem Namen steckt Shelby Cinca, bekannt als ehemaliger Sänger der 90er-Jahre-Hardcore-Band Frodus.

Carpenter Brut draws its influences from 80s TV shows and B-movies loaded with synthesizers.
The mysterious and discreet man evokes an encounter between Justice beats and the universe of John Carpenter.

Across ten tracks, Leather Temple, the third and final chapter of the Leather trilogychannels a raw and nervous energy, somewhere between saturated electro, industrialfever, and 90s synthetic pulse. Yet behind this intensityalso lies a cinematic andorchestral dimension, with arrangements that expand the horizon and add dramaticscope. A tight format, a constant intensity: Leather Temple goes all in on impact,balancing raw immediacy with the feel of a post-apocalyptic moviesoundtrack.

Auf ihrem achten Album "Nothing's About to Happen to Me" erzählt Mitski, musikalisch unterstützt von ihrer Band und einem Orchester, eine vielschichtige, verrätselte Geschichte, in deren Mittelpunkt eine Frau steht, die zurückgezogen in einem verwahrlosten Haus lebt. Außerhalb ihres Zuhauses ist sie eine Außenseiterin; innerhalb ihres Zuhauses ist sie frei. Mitski schrieb alle Stücke auf "Nothing's About to Happen to Me". Das Album, produziert und aufgenommen von Patrick Hyland und gemastert von Bob Weston, setzt die musikalische Linie von "The Land Is Inhospitable and So Are We" (2023) fort. Eingespielt wurde es live von Mitskis Tourband The Land. Die Orchesteraufnahmen, arrangiert von Drew Erickson fanden in den Sunset Sound und TTG Studios statt, die Tontechnik übernahm Michael Harris. Mitski ist "die faszinierendste und geheimnisvollste Musikerin des Indie-Rock" (Rolling Stone), die sich "immer wieder auf brillante und wunderbare Weise weiterentwickelt" (NPR Music). Im Laufe ihrer Karriere hat sie bislang sieben Alben veröffentlicht, vier davon erreichten Goldstatus. Ihr Stück "My Love Mine All Mine" ist ein Welthit und erreichte Vierfach-Platin. Zu Mitskis vielfältigen Kollaborationen mit anderen Künstler:innen zählen zwei Co-Writing-Beiträge für das aktuelle Florence and the Machine-Album "Everybody Scream", sowie eine Zusammenarbeit mit David Byrne und Son Lux für den Oscar-nominierten Film "This Is A Life". Derzeit schreibt sie Musik und Texte für die Musical-Adaption von "Das Damengambit". Ihre Konzerte, die Variety als "faszinierende Bewegungsstudie" bezeichnet hat, wurden auch als "hochstilisiert, brillant umgesetzt, supercool" (Philadelphia Inquirer) und "ungewöhnlich, rätselhaft und absolut fesselnd" (The Guardian) beschrieben. Ihr erster Konzertfilm "Mitski: The Land" lief im Oktober 2025 in über 600 Kinos weltweit und festigte ihren Ruf als "eine der wenigen Indie-Stars, die sich den großen Durchbruch verdient haben" (Uproxx). Er erschien zeitgleich mit dem Live-Album "The Land".