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Keyboardist/composer Doug Carn was the
biggest star on the legendary Black Jazz Records
label, with four releases to his credit (all reissued
by us at Real Gone Music), and remains a
touchstone for spiritual jazz fans and musicians
alike. But very, very few folks have heard his
debut record, cut for the venerable Savoy label
back in 1969. In fact, it’s so rare that we couldn’t
even find a copy to use for artwork, so, with
Doug’s help, we enlisted his daughter Eroniffa
Ibrahim to create illustrations for our reissue
based on the original cover photos. But you know
what we did find? That’s right…the original master
tapes! So, not only is this the first LP reissue for
The Doug Carn Trio, but it’s an all-analog edition to
boot, pressed at Gotta Groove Records with their
proprietary GrooveCoated stampers to minimize
high-frequency loss with each successive pressing.
And, we’ve added an insert with liner notes by Aaron
Cohen based on an exclusive interview with the man
himself. As for the music, it’s a tight organ trio set
that starts cooking right from the get-go with a groovin’ cover of Gus Cannon’s “Walk
Right In,” which became a folk hit for The Rooftop Singers. Carn’s fluid, forward-thinking
playing anticipates Larry Young’s future keyboard forays, and originals like “Butter from
the Duck” and “Yna Yna’s Delight” presage the compositional prowess he flashed on the
Black Jazz releases (note: that’s Don Hales on guitar, not Gary Starling as credited on the
original record). The opening salvo from a scintillating career, finally available again!

Sheffield uber-legends Parrot and Jarvis Cocker take the title track off Baxter Dury's hugely acclaimed album Allbarone and take it on a nighttime walk through the industrial heartlands of the city, adding a mercury heavy bassline and a pair of sliced up vocals that bubble up together into something resembling liquid acid. This remix is now available on a highly limited edition 7 (the original version sits on the other side).

Originally released in June 2009, The Ecstatic stands as a defining artistic statement from Mos Def (now known as yasiin bey) — a richly textured return to form that reaffirmed his status as one of hip-hop’s most adventurous and intellectually engaged voices. Arriving a decade after his celebrated debut Black on Both Sides, the album was widely regarded as his strongest work in years, earning near-universal praise for its lyrical breadth, eclectic production, and thematic ambition.

Musically, The Ecstatic weaves a global sonic tapestry shaped by an array of forward-thinking producers including Madlib, J Dilla, Oh No, Preservation, Mr. Flash, Chad Hugo (of The Neptunes), and Georgia Anne Muldrow. The resulting soundscape is both rooted in hip-hop tradition and unbound by genre, integrating elements of jazz, soul, Middle-Eastern inflection, and experimental sample work. Tracks like “Supermagic” and “Twilite Speedball” establish a vibrant, restless energy that mirrors the album’s expansive creative scope.

Lyrically, yasiin bey traverses personal, political, and philosophical terrain with characteristic incisiveness, confronting social inequality, Western imperialism, and questions of cultural identity with poetic urgency. Embracing risk and complexity rather than nostalgia, The Ecstatic remains a mature, deeply felt body of work whose ambition, depth, and enduring resonance have solidified its place as a standout entry in Mos Def’s catalog and in modern hip-hop history.

I Bet on Sky is the third Dinosaur Jr. album since the original trio – J Mascis, Lou Barlow and Murph – reformed in 2005. And, crazily, it marks the band’s 10th studio album since their debut on Homestead Records in 1985. Back in the ‘80s, if anyone has suggested that these guys would be performing and recording at such a high level 27 years later, they would have been laughed out of the tree fort.

The trio has taken everything they’ve learned from the various projects they tackled over the years, and poured it directly into their current mix. J’s guitar approaches some of its most unhinged playing here, but there’s a sense of instrumental control that matches the sweet murk of his vocals (not that he always remembers to exercise control on stage, but that’s another milieu). This is head-bobbing riff-romance at the apex. Lou’s basswork shows a lot more melodicism now as well, although his two songs on I Bet on Sky retain the jagged rhythmic edge that has so often marked his work. And Murph…well, he still pounds the drums as hard and as strong as a pro wrestler, with deceptively simple structures that manage to interweave themselves perfectly with his bandmates’ melodic explosions.


After submerging myself in I Bet on Sky, it’s clear that the album is a true and worthy addition to the Dinosaur Jr. discography. It hews close enough to rock formalism to please the squares. Yet it is brilliantly imprinted with the trio’s magical equation, which is a gift to the rest of us. For a combo that began as anomalous fusion of hardcore punk and pop influences, Dinosaur Jr. have proven themselves to be unlikely masters of the long game.

"Der preisgekrönte Komponist, Produzent und Multi-Instrumentalist Danny Keane kehrt mit „Kinesis“ zurück – einem kühnen, genreübergreifenden zweiten Album, das die Energie von Bewegung, Zusammenarbeit und kreativer Freiheit einfängt. Aufbauend auf jahrelangen Tourerfahrungen mit weltbekannten Größen wie Mulatu Astatke und Anoushka Shankar hat Keane ein außergewöhnliches Ensemble zusammengestellt, um einen facettenreichen, Grenzen überschreitenden Sound zu verwirklichen.


„Kinesis“ verbindet Einflüsse aus Jazz, zeitgenössischer Klassik, Weltmusik und Elektronik und bewegt sich mühelos zwischen hypnotischen Rhythmen, komplexen Taktarten und zutiefst emotionalen Kompositionen. Vom treibenden Puls von „Running“ bis zum intimen, nachdenklichen Abschlussstück „Time To Go“ erkundet jeder Titel Themen wie Reisen, Zeit und persönliche Entwicklung, die alle durch Keanes unverwechselbaren musikalischen Stil miteinander verbunden sind.


Mit Beiträgen führender britischer und internationaler Musiker ist „Kinesis“ ein fesselndes Hörerlebnis – perfekt für Fans von zukunftsweisendem Jazz und globaler Fusion. Als fesselndes und filmisches Album markiert es Keanes Durchbruch als wahrhaft origineller Künstler, der sich nicht an Genres bindet."

27 years later Me First and The Gimme Gimmes are still a drag, now a neon green (vinyl) one, and the sleeve is foiled! CD still available too. Though it doesn't sound like a brilliant idea, Me First & the Gimme Gimmes, an all-star cover band dedicated to regurgitating punk rock-style the most frothy music in their parents' record collections, are actually extraordinarily entertaining and can make the likes of John Denver and Barry Manilow sound not so bad. The lineup here includes Fat Mike of NOFX, the guitarist from the Foo Fighters, a couple of the guys from Lagwagon, and Spike Slawson, the Gimmes' sweet-voiced singer, who also plays bass for the Swingin' Utters. On their second record, Are a Drag, the Gimmes tackle all of their parents' favorite showtunes, claiming homage rather than satire. Most of their choices are songs that anybody even remotely into musicals knows by heart. Their cover of "Don't Cry for Me Argentina" has more choruses than the original, rocks pretty damn hard, and is certainly worthy of a swirling slam pit. Though it's not as wild as John Coltrane's version, the Gimmes' "My Favorite Things" is raging enough to send Julie Andrews swan diving off the stage into a sea of sweaty punkers. They mess with the jazz standard "Summertime" by Gershwin, adding some fine surfy leads to a song that's been played a million times over. Also, there's their furious rendition of Andrew Lloyd Webber's "Phantom of the Opera." On Are a Drag, the Gimmes succeed at playing showtunes that punk kids can dig, no small feat.

After Diogo’s hit record, we are following it up with another set of swinging dance floor detonators! Arriving directly from Brasil, Sérgio presents itself as another moniker from one of the greatest creative minds in all South America, Gabriel Guerra. With dozens of releases scattered over Future Times, Superconscious Records, LAMA, Got Tun, Balaclava Records, or his own 40% Foda/Maneiríssimo, he lands on our lap with a couple of highly effective, UK infused, and slightly nostalgic dance tracks. We’ve allways neutered a profound sense admiration for everything that Guerrinha was releasing under his 40% Foda/Maneiríssimo label, and had the feeling that his vibe was definitely one that we could relate to. Happy, a little wacky, and truly unpretentious dance floor madness! From acknowledging that, to reaching out was just a step. He was super available to work with us, and after the first talks he promptly provided us with a google drive folder with more of 100 unreleased tracks… Yes! You heard it! More than 100 gems of pure creativity ranging from all kinds of genres and across a fucking multiverse of alias and alter egos! So yes, that’s the kind of creative genius we are talking about… Moving from this “garagy” universe, Guerrinha presents us with a set of super fun tracks, which both leans over this infamous side of dance music, as well as it keeps an eye open for the most blatant forms of pop culture. Pure and simple dance floor tracks, to be enjoyed with a smile on your face.

"Is this the sound Sérgio?" or "Is this Sergio's sound?". The question of the questions seems silly, but it was postulated in 2019 to answer Guerrinha a new sound idea: A super appealing garage sound, so that any kind of doubt about the fact that Guerrinha's sets being fun, and that he himself would be able to mix swinging rhythms, would be eliminated. Sérgio is Guerrinha’s pseudonym for this, and since its first release in 2019 with the album “Utensílios” it has strangely become his most played alias, with a few small hits in the small Brazilian scene. After the pandemic drama, he returned in 2022 with the album "Mais Utensílios" and the single "Fantabobi / Riquititas", two releases that again grew the good problem of other djs constantly asking Guerrinha for these tracks. Now he releases the 12'' "Pelo da Churreia" via Discos Extendes, made in 2020 and containing small garage hits from that time. All this information raises the initial questions, since Sérgio is not just a pseudonym, but the curse that grew inside Guerrinha himself, sometimes it's in the appeal that “the bug catches on”.

Great Television unfolds as a loose, emotionally driven narrative about navigating love, identity, and self-destruction against a backdrop of memory, movement, and Southern imagery. It begins with “Sunset Promenade,” where a deep, possibly lifelong bond offers comfort amid internal turmoil, establishing a desire for connection strong enough to withstand a restless mind. This sense of identity expands in “Girls of Atomic City,” where independence and womanhood are celebrated, though tinged with performance and uncertainty.

As the story progresses, songs like “Okeechobee Mud” introduce instability and intensity, portraying relationships that are passionate but corrosive, where love becomes inseparable from pain. “Thiokol Tripwire” honors the lives lost in the 1971 Thiokol Chemical Explosion and those affected in the south Georgia community of Woodbine. “Razorwire Wall” reinforces this devotion to chaotic love, suggesting loyalty even in destructive circumstances. A turning point arrives with “The Easy Kind,” where Cook reflects on attempts at self-repair, acknowledging her contradictions and rejecting simplicity in favor of a more fractured self-understanding. This awareness deepens in “Caldonia and The Love Convoy” and “In Your Veins,” where freedom blurs into recklessness and love takes on addictive qualities, revealing her complicity in cycles of harm. “19th Nervous Breakdown” provides crucial context, tracing her instability back to a turbulent upbringing marked by neglect and emotional disorder. “Feverfew,” leaves the narrative unresolved, as she recognizes her repeated attraction to destructive paths yet continues to follow them. In contrast, the closing track “Lightly” offers a rare glimpse of pure, protective sisterly love. Altogether, the album portrays a cyclical journey of longing, damage, and partial self-awareness, where clarity emerges but transformation remains uncertain.

15 pop songs about animals by 15 of the best indiepop bands in the world: Pets Sounds is as simple as that. Ranging from the playful (Sassyhiya, Gay Skeleton Club) to the heartbreaking (Caleb Nichols, Jetstream Pony) to the enigmatic (Railcard, Oh Hippo) to the satiric (The Magnetic Fields, Brian Bilston and The Catenary Wires), there's more diversity on this album than you can shake a stick at. Or throw a bone at. The LP comes with a full colour insert and the CD comes with a booklet featuring artwork by Elodie Ginsbourg. Musicians spend a lot of time working at home, with their pets for company. The pets sit around, happy in their own worlds, sublimely indifferent to their humans' endeavours. As familiar as family members, but as unknowable as aliens, pets are the perfect muse. They can be treated as objects of adoration - `Rufus' by Tugboat Captain is an expression of pure joy - or they can be treated as metaphors. More reliable than lovers but less dangerous than heroin, pets are a great vehicle for singing obliquely about something else. Swansea Sound's `I Don't Like Men In Uniform' is about an ageing, irascible terrier, but it's also about men striving to maintain their potency as territorial aggressors. The Magnetic Fields' `Fido, Your Leash Is too Long' is a libidinous and unreliable partner, as well as a dog that likes sniffing other dogs' private parts. For the most part, animals come off better than humans on this album. In `Kings Of The Animal Kingdom', The Burning Hell dramatise our indulgent love of pets in order to expose our cruelty to other human beings. In `Bo's New Haircut', The Cords express the injustice and unfairness of an innocent animal having to submit to human demands. In `Crayon Potato' by Sassyhiya, the magnificent Crayon contemptuously rejects the gifts offered by her besotted human owners. In `Lola', the opening track, Lande Hekt tries to put this enigmatic human-animal relationship into words. And concludes that however much we love our animals, and no matter how much we manage to communicate with them, we can never really know them. A melancholy conclusion maybe, but the music - as with all the songs on this album - is expressive of the wonderment and the joy that comes from sharing your life with a member of another species. The tracks by Brian Bilston and The Catenary Wires, Jetstream Pony and Railcard are previously unreleased. These three bands are also playing a launch show at The Water Rats, London, on 9th July 2026.

Named after Anderson's Bengal cat, Rupi, the album is filled with wit, warmth & sharply observed storytelling, weaving together folk, rock, jazz, classical & world music influences into a uniquely atmospheric collection. Anderson's unmistakable flute melodies & expressive vocal performances lead the journey through vivid character sketches & reflective narratives, from the elegant title track & the playful "A Raft Of Penguins" to the poignant beauty of "Pigeon Flying Over Berlin Zoo." Musically adventurous yet deeply personal, 'Rupi's Dance' captures Anderson in a particularly creative period, balancing sophisticated arrangements with an inviting sense of spontaneity & charm. Tracks such as "Calliandra Shade (The Cappuccino Song)" & "Eurology" showcase his gift for blending intricate musicianship with lyrical humour & social commentary, while "Birthday Card At Christmas" reunites him with the sound & spirit longtime fans associate with his work in Jethro Tull.

There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.

Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...


"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.

This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the ­Cro-Magnon cave artists. The Icelandic literary magician Andri Snær ­Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.

I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, ­regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee

Gary Sullivan's Bodega Pop project returns to DINTE with a cassette-only collection of traditional sounds plucked from CDRs found in the night-markets of Savannakhet, Vientiane, and Luang Prabang.

"In Lao PDR, music was seemingly everywhere. Walking through an open field outside Savannakhet to the sound of someone playing a khaen on a distant porch, the bracing rush of electronic molam from of one of Vientiane’s many aging malls, the awkward blending of the blind so u player’s voice with the bustling sounds of Luang Prabang’s night market.

It was in that UNESCO World Heritage Site that I found most of the CDs and CD-Rs from which I’ve ripped the tracks for this compilation. I’m almost certain I picked up a thumb drive at the night market that held many hours of additional music that could have been included, but if so, I’ve misplaced it, lost it for good, or simply misremember purchasing it in the first place. What I do remember is that these discs were literally the last copies in the cafe, museum, bookstore, and night market where I bought them, and not all of them played all the way through without sonic deterioration.

The sounds compiled here play in stark contrast to the more contemporary recordings I found in Laos, most of which featured some form of upbeat digital workstation molam or children’s songs. In addition to the ever-present khaen, this collection includes recordings of the sanai, a single-reed instrument fashioned from a water buffalo horn, the ceremonial khong nyai gong, the pi and similar free-reeds, and at least a dozen more traditional instruments played by Lao and ethnic minority artists. While some of these tracks were laid down in Vientiane or Luang Prabang, most were recorded near where the artists lived, from the legendary Vat Phou in the far south to the former Pathet Lao capital Xam Neua in the northeast.

Unlike Laurent Jeanneau’s more focused Lao collections for Akuphone and Sublime Frequencies, which remain among my favorite albums of all time, the present cassette-only selection is literally all over the PDR map. The sequencing is entirely in response to rhythm and texture and includes recordings from the 1970s, 80s, 90s, and early aughts. This may frustrate those with more of an ethnomusicology bent, but my hope is that the listener experiences something akin to wandering for the first time through this majestic country, encountering the last copies of forgotten recordings one after another, and hearing in these remains fragments of the past and a living musical landscape."

Following the acclaimed release of the Digitec LP, this companion EP digs even deeper into the archives of one of UK tech house’s most influential figures.

As a pivotal force in shaping the late '90s and early 2000s underground, the longtime Fabric resident and close friend of Sushitech finally opened his vaults to reveal a treasure trove of rare classics, forgotten sessions and unreleased material.

This follow-up offers collectors a further glimpse into that archive, featuring meticulously remastered editions of the elusive Funky Future and Bonjour Charles two stripped-back, dubwise London tech house cuts that became permanent fixtures of Terry’s legendary Fabric sets! Timeless, understated and unmistakably Terry Francis.

Die "JoJo's Bizarre Adventure: Golden Wind" Vinyl enthält mit 26 Titeln von Komponist Yugo Kanno die musikalischen Highlights der vierten Staffel des Anime und ist so der erste Vinyl Release zu dieser Serie. Mit dabei sind natürlich einige der eindrucksvollsten Titel wie "Il vento d'oro" (Golden Wind) und "Esperienza d'oro", die diese gelb-orangene 140g Doppelvinyl zu einem Must-Have für Fans macht, das die Energie der Serie gekonnt transportiert.

Dance your dance. From the first beat to the last, slow or fast, house music is a home for everyone.

This release symbolises a moment in time. A blueprint for dance music before the world knew what it was. Formally referred to as Garage, House or Loft music in the 80s, Frankie Knuckles and Larry Levan shaped the sound from its roots. Larry, resident DJ at Paradise Garage, New York, Frankie at The Warehouse in Chicago, both prolific remixers and some of the first career DJs. Two close friends. Countless genres. One feeling.

RE:VERSAL are excited to present our third compilation, a strictly limited one-time pressing on high-quality 12" 180g heavyweight vinyl - FULL 12” VERSIONS

Available for the first time since its original release in 1980, this is compelling, funky, exploratory jazz from Melbourne, Australia.
The album opens with the floating Song For Bobby, a downtempo gem with the heartbeat aura of Herbie Hancock’s Butterfly; Orchestral Excerpts (From The Symphony Of Life), In The Basement and City Of Stone are high-grade fusion jams with one eye on Weather Report and Return to Forever, the other on the organic Australian sound of Alan Lee and John Sangster. The album closes out with the completely improvised Universal Suite, a 17-minute excursion which begins with a cinematic opening reminiscent of electric Miles at his most introspective before taking flight on passages of hard-driving Latin percussion, shimmering fusion and gritty funk. Slick, cultured and in close dialogue with the most advanced sounds of the era, Pyramid documents one of Australia’s great fusion bands at the height of their powers.

Pure Devotion, benannt nach der gleichnamigen Live-Reihe von 2024, markiert einen weiteren Entwicklungsschritt für Overmono. Hinter dem Projekt stehen die Brüder Tom und Ed Russell, die bereits seit Jahren in der britischen Elektronikszene aktiv sind - sowohl gemeinsam als auch über ihre Solo-Projekte Tessela und Truss. Diese Erfahrungen aus dem UK-Underground bilden die Grundlage ihres Sounds bis heute. Das Album vereint bewusst Unschärfen, technische Imperfektion und zufällige Momente mit einer klaren künstlerischen Haltung. Über elf Tracks hinweg erweitern Overmono ihren Produktionsansatz und greifen dabei auf ungewöhnliche Mittel zurück: analoge Synthesizer aus den 70er- und 80er-Jahren, alte Lautsprechersysteme oder experimentelle Klangbearbeitung. Das Ergebnis wirkt kontrolliert, organisch und immer treibend. Auch die Vocals tragen zur Atmosphäre bei - unter anderem von John Joseph Holt, Kindora und Ruthven. Insgesamt legt Pure Devotion den Fokus stärker auf Emotionalität und Klangtiefe als auf reine Funktionalität im Clubkontext. Das Projekt entwickelte sich aus einer Neujustierung ihrer Live-Show und gewann parallel zu ihren Touraktivitäten an Form. Nach dem Erfolg ihres Debütalbums Good Lies (2023), welches ihnen größere Aufmerksamkeit und internationale Auftritte einbrachte, spielten Overmono zahlreiche Festivals und eigene Shows, darunter Glastonbury und Alexandra Palace in London. Während dieser Phase entstand neue Musik, die später in Rückzugsorten wie Spanien und Island weiter ausgearbeitet wurde. Die Single "Lockup" steht exemplarisch für die Herangehensweise des Duos: direkte, rhythmisch präsente Strukturen treffen auf zurückhaltendere, emotionale Elemente. Pure Devotion wirkt damit weniger wie ein Bruch als vielmehr wie eine konsequente Weiterentwicklung - geprägt von Erfahrung, Neugier und dem Anspruch, den eigenen Ansatz weiter auszuloten. Overmono sind eine neue Größe in der internationalen Club-Kultur.

Originally released on 28 May 2013, the Ginning EP by Stavroz returns 12 years later with a special vinyl repress.


Following the record’s Gold and Diamond status in France, Stavroz felt the time was right to bring this beloved release back to vinyl. This new edition features two additional ambient tool tracks.


Secure your copy now and celebrate the return of a modern classic.

Joyce und Tutty Moreno, die legendäre Sängerin/Gitarristin und der Schlagzeuger, die maßgeblich den Klang der brasilianischen Popmusik geprägt haben, haben sich mit Adrian Younge zusammengetan, um JID027 zu erschaffen. Das Ergebnis ist ein Album, das die ätherische Schönheit kollektiver Improvisation, die Schwere der Saudade und die unzerstörbare Verbindung zwischen zwei der angesehensten Musiker Brasiliens einfängt.Das Album bewegt sich in einem feinen Gleichgewicht zwischen Vorausplanung und Improvisation. Joyce' Kompositionen - ,Mandala", ,Uaná Eté", ,Is This Love?", ,Fingers" und ,Janeiro" - stehen neben instrumentalen Stücken von Younge, in denen Joyce' Stimme selbst zum Instrument wird: mal wie ein Horn, mal wie eine Flöte, ein wortloser Strom aus Melodie. Den Abschluss bildet ,Círculo Vicioso", eine Vertonung eines ikonischen Gedichts von Machado de Assis, Brasiliens bedeutendstem Schriftsteller. Joyce' gesprochene Worte, vorgetragen in ihrer Muttersprache Portugiesisch, verwandeln das Stück in eine Meditation über Leben, Tod und die zyklische Natur der Kunst.

Heisenberg continues its vinyl series with HSBRGV015, a four-track VA bringing together some of the labels all-time favorite artists. Romania s Nu Zau and Direkt set the tone with their signature hypnotic grooves and unmistakable swing. From Latvia, D I N adds a deeper, driving touch, while label head Saktu closes the record with a stripped, groovy, and trippy cut true to the Heisenberg sound.
HSBRGV015 is a pure reflection of the label’s identity, carefully selected, deeply underground, and made for those who truly understand. Vinyl only.

Boisterous stuff out of Uruguay, courtesy of Kalahari debutant Michelle.

An early Nicolas Lutz protégé and live set demolition expert offering hard-edged techno and electro drama, with occasional pitstops into tech house turf. Lean, mean and utterly relentless with it. Pervaded by cranky, unruly dancefloor spectres and haywire cybernetics – all deftly constructed but administered with brute force and controlled ferocity.

Bearing heart and soul at the controls of her 303, it isn’t all full-frontal assault. A fierce feminine energy pervades every nook and cranny, brooding and angsty, totally rooted in that Montevideo warehouse sound. Straddles the beautiful and terrifying with ease.

Machine-powered and ruthless, the Slipknot-sampling closer is a fitting end.

Figure marks its latest chapter with X54, a gripping new EP from French production talent KUSS.

Known for his meticulous work with hypnotic rhythms and tactile textures, his debut release for the label thrives in the darker, more introspective corners of the club. X54 is a perfect example of tension-building-balancing forward-thinking sound design with the kind of dancefloor efficiency that Figure is known for.
While the EP is defined by the heavy, metallic undertones that K.U.S.S. has made his own, the record also features two collaborations with Clotur. These tracks bridge K.U.S.S.'s clinical percussion with Clotur's knack for expansive, cinematic atmosphere. Together, they create a sound that feels both surgically clean and sonically massive.
Built for the late-night hours and the depths of the club, X54 is an uncompromising addition to the Figure catalog.

For the 10th Anniversary of the iconic and unique For Honor, Kid Katana Records teamed up with Ubisoft to bring you this high quality album on an exclusive double vinyl. With over 35 million players since its release, For Honor has kept on bringing new content in the game, enriching the players’ experience with new Heroes, Factions and Music to keep the battle for survival and honor alive.


The physical edition is a premium 2LP designed in close relationship with the game's creative team:


● Track selection handpicked by For Honor team, including 2 new tracks (Year 10 exclusive) and a track never released before from Y1 Season 7
● 2 Golden vinyls
● Exclusive cover art with glossy effect on the logo
● Exclusive 16-page booklet with insights on each faction’s music, liner notes
from the game’s creative team and composers Luc St-Pierre, Danny Bensi and
Saunder Jurriaans



The tracklist is a selection of music from the 10 seasons of the game, one side per faction:

Radio Slave reissues 2000 and One’s ‘Tropical Melons’ with remixes from Bart Skils and Mark Broom, Dylan Hermelijn, aka 2000 and One, also contributes a new mix of the 2007 hit

2000 and One’s noughties track ‘Tropical Melons’ lands on Rekids 31st July 2026, reissued with a new mix from the artist, Dylan Hermelijn, himself alongside fresh remixes from label debutant Bart Skils and Rekids regular Mark Broom. Originally released via Hermelijn’s 100% Pure in 2007 and championed by the likes of Sven Väth, ‘Tropical Melons’ remains a genre-blurring club cut that has lost none of its impact, now re-released and building on the reissue of 2000 and One’s ‘Wan Poku Moro’ on Rekids in 2024.

Opening the record, Bart Skils adds to the already heavily synth-laced original, sharpening its edges while preserving the lose-your-mind energy that made it such a standout. Mark Broom follows with his signature drum work: raw, muscular and driven by a jackin’ groove as the original’s dubbed-out melody washes over its rhythm. On the flip, Dylan Hermelijn revisits the track himself with a new 2026 mix, cleaned up and nudged forward with a subtle increase in pace, while keeping the irresistible pull of his original fully intact.

Originally released in 2014, Travellers, the acclaimed album from Bison, returns in a newly remastered edition as a limited double vinyl LP.

Created by an exceptional cast of collaborators including Paul Mudd Murphy, Ben Smith, Ursa Klose, and the late Holger Czukay of the legendary German group Can, Travellers occupies a unique space between experimental electronics, psychedelic soundscapes, and leftfield dance music.The album also features reinterpretations by Conrad McDonnell of the influential DJ and production duo Idjut Boys, helping to cement its reputation among adventurous listeners and collectors alike.

Over the years, Travellers has quietly become a cult favourite. Long unavailable on vinyl, original copies have become highly sought after and increasingly expensive on the second-hand market, earning the record a near-mythical status among collectors and fans.Fully remastered from the original recordings, this new edition of Travellers brings renewed depth, clarity, and presence to an album that has quietly earned cult status over the past decade, while preserving the atmosphere and character that made it so distinctive.

More than ten years after its original release, Travellers returns not as a nostalgic artefact, but as a vital and enduring work whose reputation has continued to grow through word of mouth, discovery, and devotion from collectors and listeners around the world. Travellers remains a document of a unique moment in time, a collection of friendships, ideas and happy accidents that somehow found their way onto tape.

Collaborations have always been an aspect of music I enjoy a lot, it can bring out the best in both artists when done well. It's a privilege to return the favour for one of the most exciting producers around in my opinion and to put out some of our music on my label after I released 'Reflections' on his excellent Temple of Sound back in 2019.

Tom and I came up through similar circles of music, inevitably connecting. We started to chat online and send ideas back and forth, immediately finding a shared enthusiasm for production and music in general. With a similar ethos of DIY and letting the music speak for itself, this EP was formed from the track 20-25 aptly named due to the stems being bounced back in 2020 but it eventually came together in 2025. We exchanged a few ideas and quickly realized we had a pretty strong EP in the works combining the best of both our sounds.

The EP consists of 4 hypnotic & rolling bass music tracks around 130 BPM merging influences from broken & deep Techno styles, Breakbeat & House. Perfect for deep listening or wiggling air in the club.

20-25 is a crunchy broken beat roller with lush pad work, stabs and slinky grooves before dubbed out bongos crank the energy up a notch and solidify the groove. 5 years in the making, but definitely worth the wait!

Strings on the A2 leans heavier into repetition and hypnotic grooves with slinky synthetic percussion and cavernous atmospherics. The track gradually evolves with elements filtering in and out whilst the groove anchors the track before the breakbeat science and pitchy bass comes into play. It's low and slow, building the tension before weaving in the full power of the track with haunting dissonance and dark melodics.

The title track takes the EP in another direction with it's delicate melodies and vocal, ushering in thunderous kicks. Around 2 mins in, the full weight of the track is noticeable with the low sub bass and modulating percussion. The track slowly morphs into an insatiable groove with peaks and troughs before a full send on the 2nd drop with additional percussion, intensifying the energy and taking the track into more dancefloor territory.

Finally we have Depth Charge on the B2, eyes down, dubby with a wonkified groove. This one is a slow burner, coming in at over 8 mins long. The rhythmic prowess is on full display with counter balanced rhythms, an interesting bassline and dubby pads and stabs. The track has a noticeable energy shift around 3.30 with a key change, and the slow meshing of subtle elements culminate in an easeless hypnotism where 8 mins feels like a lot less, a perfect closer.

We hope you enjoy, keep it deep!

Fij makes a vibrant return with his new single "Don't Bring Me Sunshine," a bittersweet, high-speed ode to independence and renewal. Described by Fij as an "anti-love song," "Don't Bring Me Sunshine" flips the script on romance. Its sardonic, bah-humbug lyrics are set against a rush of euphoric energy - inspired by the simple thrill of driving fast with the windows down, music blaring, and summer stretching endlessly ahead. As Fij puts it: "Who needs love when you've got a full tank of petrol... and the whole of Summer lying ahead on the heat-hazed open road?" The track is the latest preview of his long- awaited debut solo album, due this September via Tip Top Records. It signals a clear shift in tone and tempo. After years marked by introspection - shaped by personal upheaval, frontline work during the pandemic, and his role as a funeral celebrant - Fij has hit reset.

Re- embracing the electric guitar, raising the BPMs, and rediscovering joy, his new material blends the fuzzed edges of dream-pop with elements of pop and electronica, all delivered with his signature wit and melodic finesse. Fij first emerged in the early 90s with Adorable, whose debut album Against Perfection (Creation Records) became a cult favourite, earning multiple NME accolades and topping the Indie charts. The band's legacy continues to resonate, with artists citing their influence and figures like Noel Gallagher famously calling their label's decision to drop them a major mistake. Following Adorable, Fij explored new sonic territory with Polak and later collaborated with Terry Bickers of The House of Love, producing critically acclaimed releases that reaffirmed his reputation as one of Britain's most distinctive voices. His baritone - often compared to Lee Hazlewood, Lou Reed, and Richard Hawley - remains as rich and compelling as ever, now carrying a renewed urgency.

Joyce und Tutty Moreno, die legendäre Sängerin/Gitarristin und der Schlagzeuger, die maßgeblich den Klang der brasilianischen Popmusik geprägt haben, haben sich mit Adrian Younge zusammengetan, um JID027 zu erschaffen.Das Ergebnis ist ein Album, das die ätherische Schönheit kollektiver Improvisation, die Schwere der Saudade und die unzerstörbare Verbindung zwischen zwei der angesehensten Musiker Brasiliens einfängt.Das Album bewegt sich in einem feinen Gleichgewicht zwischen Vorausplanung und Improvisation. Joyce' Kompositionen - ,Mandala", ,Uaná Eté", ,Is This Love?", ,Fingers" und ,Janeiro" - stehen neben instrumentalen Stücken von Younge, in denen Joyce' Stimme selbst zum Instrument wird: mal wie ein Horn, mal wie eine Flöte, ein wortloser Strom aus Melodie.Den Abschluss bildet ,Círculo Vicioso", eine Vertonung eines ikonischen Gedichts von Machado de Assis, Brasiliens bedeutendstem Schriftsteller. Joyce' gesprochene Worte, vorgetragen in ihrer Muttersprache Portugiesisch, verwandeln das Stück in eine Meditation über Leben, Tod und die zyklische Natur der Kunst.

The Toy Tonics crew is known for being addicted to two things: vintage music machines and old vinyl. 100% music aficionados. On the Tonic Edit series the crew shares some of their favorite old tracks - in a reworked version. This time COEO get back in time. They destroyed a couple of 1970ies disco jams. Recut & repasted them. And gave them their special COEO touch. Of course it's irresistible! This release comes on vinyl only first. Later maybe could be out on selected Digital sellers.. not sure yet.

“If there is one thing you can always count on with Alex Lahey, it’s that the Melbourne-born indie singer-songwriter is going to provide fans with a hell of a good time.” – Billboard

Impressed Recordings is proud to present a world exclusive variant of Alex Lahey's original EP, 'B-Grade University'. In addition to the original EP, this repress includes brand new re-recordings of “You Don’t Think You Like People Like Me” and “Let’s Go Out,” alternate versions of “Wes Anderson” and “Let’s Go Out” taken from Lahey’s 2020 Between the Kitchen and the Living Room EP, plus a version of “You Don’t Think You Like People Like Me” recorded in 2017 live in-studio at triple j in Australia for their Like A Version series.

"I vividly remember writing this collection of songs in my childhood bedroom at my mum’s house next to a small window where I could catch glimpses of the ever expanding edges of the Melbourne city landscape in the years I lived there. I sold my trusty blue Toyota Corolla (aka the Corolls Royce) and gathered every single dollar I could from random day jobs to pay for studio time and will the project into existence.""

"I am not exaggerating when I say this EP completely changed my life. These songs found their place in the world in a way I could have never fathomed and have forged a life of their own over the last decade. They’ve taken me to corners of the world I could only have dreamed of seeing, let alone playing music in, given me the privilege of meeting so many people who have found their own stories in the songs and they have enabled me to keep making the next thing. I feel indebted to all of these songs and treat them with extra care and love whenever I play them live."

Starting with the sleeve, reminiscent of comic book style album covers from the 70’s and 80’s like The Upsetters “Return of the Super Ape” and Scientist’s “Scientist Encounters Pac Man”, you know this album is straddling the decades of ska, rocksteady, dub and reggae. King Zepha recorded vocals, sax, woodwinds, keyboards, guitar and percussion at his home studio, with his fellow touring band members adding “the stuff I can’t do particularly well” backing vocals, brass, double bass and drums

Black Screen Records once again teams up with composer Chris Christodoulou and Hopoo Games for a vinyl repress of the classic original soundtrack to Risk of Rain 2. At the request of Christodoulou, the new edition of the triple vinyl comes on heavy 180g black wax, the way he enjoys the format the most. The set is housed in a beautiful trifold sleeve with the original artwork illustrated by Italian artist Daniele Giardini. All 20 songs have been carefully remastered by Christian Bethge (Risk of Rain, Deadbolt, Divinity: Original Sin II, A Plague Tale) for the vinyl format. With Risk of Rain 2 the classic multiplayer rogue-like returns with an extra dimension and more challenging action. No run will ever be the same with randomized stages, enemies, bosses, and items. Play solo, or team up with up to four friends to fight your way through hordes of monsters, unlock new loot, and find a way to escape the planet. In his third collaboration with Hopoo Games, Chris Christodoulou returns to the Risk of Rain franchise adding another dimension to the game's music-verse. This two-hour-long genre-bending release spans from foreboding electronica to pounding progressive metal and features all music from the game and then some.

The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.

The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.

In the early 1960s, beat groups from the Dutch Randstad dominated the national charts. Yet far from the big cities, in the clubs of Drenthe, one band was already being billed as “Beatgroup Number One”: Cuby + Blizzards. But frontman Harry Muskee never embraced that label. Raised on broadcasts from The Voice of America, he possessed a deeper understanding of the blues than most of his contemporaries. Muskee didn’t want to sing ‘songs,’ as he called them, he wanted to sing the blues, raw and unfiltered, in the tradition of Howlin’ Wolf, John Lee Hooker and Muddy Waters.

Their debut single “Stumble & Fall” was recorded in the Bavohuis, a simple gym hall in Amsterdam, with Addy Kleingeld as producer. But the debut album Desolation marked a turning point, recorded at the Phonogram Studios in Hilversum with renowned blues producer Tony Vos, it captured the band exactly as Muskee intended.

The resulting album became a jewel of Dutch music history. Never before had the Netherlands heard a blues singer who poured his emotions into a recording with such conviction and authenticity. Muskee even outshone his British peers. Eric Burdon (The Animals), Paul Jones (Manfred Mann), Mick Jagger (The Rolling Stones) and Van Morrison (Them).

At the 1968 Grand Gala du Disque (the Dutch equivalent of the Grammys), Muskee received an Edison Award for Desolation, handed to him by cabaret artist Wim Sonneveld, whose lukewarm speech couldn’t diminish the significance of the moment.

Sixty years later, the legacy of this groundbreaking album still resonates, an essential document of European blues and a defining moment in the story of Cuby + Blizzards.

This 60th anniversary edition of Desolation is now available as an expanded 2LP-set including the original 1966 album plus fifteen bonus tracks. The gatefold version features songs “Things I Remember”, “Stumble & Fall”, “L.S.D. (Got A Million Dollars)”, is a limited edition on blue vinyl and includes new liner notes by Dutch Blues authority Johan Derksen.

Nothing have always been rule-breakers. Shoegaze renegades who've rebuilt the stereotypically lightweight genre in their own bloodyknuckled American image. Outlaw poets spilling existential dread on mile-wide canvasses of fuzz and reverb. Beginning as a Philly-born bedroom solo project in 2010, Nothing's music has always captured the full scale of the human condition, both the blaring anger and the whispering sadness. a short history of decay, Nothing's fifth solo album and first for Run For Cover Records, widens that aperture even further, providing the most hi-def rendering of Nothing to date. The band have never sounded this colossal, never felt this intimate, never been this honest. With the strongest arsenal in Nothing's ever-shifting lineup locked in -- guitarist Doyle Martin (Cloakroom), bassist Bobb Bruno (Best Coast), drummer Zachary Jones (MSC, Manslaughter 777), and third guitarist Cam Smith (Ladder To God, also of Cloakroom) -- singer-songwriter Domenic "Nicky" Palermo knew he had the manpower to make the band's most ambitious record yet. Co-written and produced with Whirr guitarist Nicholas Bassett, and with additional production and mixing work from Sonny Diperri (DIIV, Julie), a short history of decay, is the most evolved musical statement in Nothing's catalog. Songs like "Cannibal World" and "Toothless Coal" are cataclysmic lashings of mechanized industrial-gaze that sound like My Bloody Valentine -- except more extreme. On the other end of the spectrum, the ornately morose "Purple Strings" boasts a beautiful string arrangement that includes harpist -- and two-time Nothing contributor -- Mary Lattimore. That baroque delicacy permeates other a short history of decay, highlights, particularly "The Rain Don't Care," a lilting ballad that channels the worn-down elegance of Mojave 3, and also "Nerve Scales," a pattering bop that resembles Radiohead in its marriage of otherworldly atmosphere and mortal precision. Palermo calls the new record "a final chapter." Not the end of Nothing, but the conclusion of a story that began with Nothing's 2014 debut, Guilty of Everything -- another album about time, regret, and confronting uncomfortable truths -- and now resolves with a short history of decay,. As much a snapshot of Palermo's past as it is a leap into Nothing's future.

Longform: Across two decades, the California-born hardcore outfit CEREMONY has earned its standing as one of punk’s most adaptable and unflinching bands, always ready to meet the moment without surrendering its principles. True to form, CEREMONY's seventh album, Tell Me Your Dream pushes the group’s punk-forged intensity all the way to the fore, capturing the quintet at its most expressive, expansive, and timely. “We’re living in an era of mass uncertainty,” says CEREMONY vocalist Ross Farrar. “In punk, I don’t see how you can’t respond. It’s taken over our lives in so many different ways — economically, politically, spiritually. We want people to wake up and get into what’s happening.”  Ferociously alert, Tell Me Your Dream reunites CEREMONY — Farrar, guitarist-keyboardist Anthony Anzaldo, guitarist Andy Nelson, bassist Justin Davis and drummer Jake Casarotti — with producer John Reis for ten songs of searing breadth. That means everything from bristling hardcore to moody post-punk — all while taking fundamental inspiration from Discharge, Crass, and other anarcho-punk troupes that first helped certain members of CEREMONY find their own political voices back when they were teenagers. The result is a culmination of the band’s 21 years together, if not some kind of riddle: CEREMONY knows how to make a return-to-form sound like evolution — and vice versa.

This limited vinyl edition of Brain Invaders offers another chance to experience the album in
its most iconic format. Faithful to the original release, it features high-quality pressing andpackaging, making it a must-have for collectors and fans alike. Part of Be the Change, a project conceived and developed by Rude Cares to raise awareness about climate change and environmental sustainability within the music
community, this exclusive eco-friendly variant is more than just a vinyl release. Created in collaboration with artists who share this vision, each edition supports a more sustainable future: a donation is made to Green Future Project for every release, and 100 new trees are planted to fully offset the project's residual environmental footprint. A timeless album with the same energy and impact that made it a fan favorite, Brain
Invaders remains an essential addition to any punk rock vinyl collection—now with a positive
impact beyond the music.

For more than 35 years, Larry Goldings, Peter Bernstein, and Bill Stewart have set the standard for the modern jazz organ trio, forging a musical connection that continues to deepen with time. On Rhombus, the celebrated trio returns with a vibrant new collection that pairs striking originals by Goldings and Bernstein with unexpected and inspired interpretations of music by Keith Jarrett, Wayne Shorter, Abdullah Ibrahim, Randy Weston, Thelonious Monk, and Irving Berlin. Recorded after a month-long tour and fueled by the trio's extraordinary chemistry, many of the performances were captured on first takes. They reveal the spontaneity, trust, and joyful collaboration that have defined their music for decades. Goldings' orchestral Hammond B-3, Bernstein's lyrical guitar, and Stewart's unmistakable rhythmic voice unite in performances that are conversational, adventurous, and soulfu

In December 2025, I performed alongside Asmus Tietchens and Jetzmann at the final Hörbar Ausklang Festival. This cassette was produced for that occasion. It contains preliminary studies for my live modular synthesiser performance.

The tape wasn't sold on the night, and its release ended up being postponed until now. At one point I had almost forgotten that I had even produced it. Now it's finally here—but what does that change?

Side A features a 24-minute piece titled Aber Was Ändert Das? (What Does That Change?)
Aber Was ändert Das? – Two oscillators coupled via a comparator and routed through a filter bank form the foundation of this piece. Eight filters within the bank are modulated by a synchronised octal triangle wave. Over time, the modulation gradually unfolds like an abanico (fan), shifting into different patterns. The impulses slowly dissolve into noise. A looping voice tape is added to the texture, and the piece concludes with a melody of comb-filtered sine tones.

Side B presents several variations and adjustments of a self-generative patch.

Quantitative Unbestimmbarkeit I-V (Quantitative Indeterminacy I–IV) – At the core of these pieces is a source of uncertainty and three function generators programmed in mutual feedback. The tonal material is derived from a wave-folded sine wave, a noise source, and a pinged state-variable filter. This type of self-generative patch is commonly known as a Krell patch.

The edition is limited to 50 copies. Release day will be the August 7th, 2026.

The title Miszellen Band is derived from the term Miszelle (plural: Miszellen), which refers to a short informative text or brief scholarly essay, often published in academic journals or collected volumes under a "Miscellanea" section. The word originates from the Latin miscella, meaning "mixed things". Such texts typically explore highly specific subjects without the scope or depth of a full-length study. They often consist of etymological notes, addenda to previously published work, concise discussions, or small discoveries from archives.