Search:al x

Magyar Posse’s third album Random Avenger out on vinyl for the first time ever in July via Svart Records Looking back, it was the golden age of Magyar Posse. The album Kings of Time had received a tremendous response from both critics and music lovers. The band was touring intensely in Finland and abroad. By now, the band was a well-oiled machine, ready to capture the successor to their celebrated second album. The band decided to follow a different path compared to the creation of Kings of Time: they would record their third album alongside the well-known, slightly eccentric engineer and producer Jani Viitanen. The recognizable Magyar Posse style was present in the pieces of Random Avenger, but something was slightly different. The new music was more rhythm-based, more riff-based and in places more joyous than the dynamic minor key avalanche of Kings of Time. Consciously or unconsciously, the band members saw that they had travelled the Slavic melancholy road as far as possible with the previous album. The success of Kings of Time felt like a positive push, not an extra pressure on their shoulders. It was only natural to strike again while the iron was hot. Many of the pieces had been already developed by the time Kings of Time was released, which eased the production of Random Avenger. After the meticulous but relatively swift mixing and mastering process, the band members were satisfied with the result. The only component that made some of them blush was the cover art – graphic designer Tom Backström had glaringly used photos of empty stages in forgotten community centres and the like. The beauty or the ugliness is once again in the eye of the beholder. Right after its release, Random Avenger got a very positive response, but not as overwhelming as Kings of Time – which was to be expected, as the previous Magyar Posse album had probably been the most universally praised Finnish album of the whole decade. Mikko Elo, musician / journalist, Pori, Finland, March 1st 2026

Magyar Posse’s third album Random Avenger out on vinyl for the first time ever in July via Svart Records Looking back, it was the golden age of Magyar Posse. The album Kings of Time had received a tremendous response from both critics and music lovers. The band was touring intensely in Finland and abroad. By now, the band was a well-oiled machine, ready to capture the successor to their celebrated second album. The band decided to follow a different path compared to the creation of Kings of Time: they would record their third album alongside the well-known, slightly eccentric engineer and producer Jani Viitanen. The recognizable Magyar Posse style was present in the pieces of Random Avenger, but something was slightly different. The new music was more rhythm-based, more riff-based and in places more joyous than the dynamic minor key avalanche of Kings of Time. Consciously or unconsciously, the band members saw that they had travelled the Slavic melancholy road as far as possible with the previous album. The success of Kings of Time felt like a positive push, not an extra pressure on their shoulders. It was only natural to strike again while the iron was hot. Many of the pieces had been already developed by the time Kings of Time was released, which eased the production of Random Avenger. After the meticulous but relatively swift mixing and mastering process, the band members were satisfied with the result. The only component that made some of them blush was the cover art – graphic designer Tom Backström had glaringly used photos of empty stages in forgotten community centres and the like. The beauty or the ugliness is once again in the eye of the beholder. Right after its release, Random Avenger got a very positive response, but not as overwhelming as Kings of Time – which was to be expected, as the previous Magyar Posse album had probably been the most universally praised Finnish album of the whole decade. Mikko Elo, musician / journalist, Pori, Finland, March 1st 2026

Mr Bongo presents a reissue of the 1619 Bad Ass Band’s self-titled album, originally released in 1976 on the ultra-rare tax-scam imprint TSG Records. Formed by Khalid Abdul Shalid, the record was the only album released by the group, and has since become a mythical, highly sought-after prize for collectors and DJs, ranking among the most coveted albums on the 1970s rare soul scene.

This New Jersey soul-funk gem captures the raw energy of mid-‘70s underground funk and soul. Its journey began in relative obscurity having been released on TSG, one of several US “tax-scam” labels operating at the time. These labels exploited loopholes in the tax system by inflating production costs to create write-offs against their tax bills, meaning commercial success was never the objective. Records were often pressed in extremely limited quantities, with little to no promotion or distribution and in many cases, artists were unaware their music had even been released. While this led to the 1619 Bad Ass Band’s album slipping into obscurity upon release, it later cemented its status as a holy grail for diggers and DJs. Unfortunately, like many releases of its kind, it also meant the band never received the recognition they deserved at the time.

Musically, the album is a unique listen with a varied palette that will appeal to fans of a broad range of tastes. From the luscious, dreamy ballad ‘Rain’, which will melt even the stoniest of hearts, to the raw, drum-heavy funk of ‘Love To Love’, it showcases the group’s depth and versatility. Highlights include the string-laden, floaty stepper ‘Just From You’, and ‘Nothing Can Stop My Loving You’, with its spacey synth lines, which will be a joy for modern soul fans. Elsewhere, ‘Step Out’ opens with a heavy drum break (later sampled on Latyrx’s ‘Interlude’ from their 1997 debut) before unfolding into a brilliant male-female vocal exchange.

Every track on here is a winner and it’s criminal that the band never received the publicity or credit they deserved when it was first released. Alongside the TSG Records release in 1976, the album was later released again in 1978 with alternate cover art on another tax-scam label, Graham International. Both versions have since become highly collectable and over time, the album has steadily gained the recognition it always deserved. This reissue by Mr Bongo offers a wider audience the chance to experience a truly special record, one that stands as a testament to the overlooked brilliance of the era’s underground soul and funk scene.

In the wake of the release of Swedish post-rock luminaries OH HIROSHIMA's 6th studio album And The Dead Tree Gives no Shelter, Pelagic is reissueing OH's Oscillation (2019) and Myriad (2022) on vinyl. Myriad captures OH HIROSHIMA at their most focused and ambitious. The album moves between crushing despair and fleeting moments of catharsis weaving heart-wrenching melodies into towering walls of noise and explosive crescendos. The incorporation of trumpet, cello and trombone adds new dimensions to the band's sound, resulting in a record that resonates far beyond the post-rock scene and highlights the band's continued artistic evolution. Following the departure of bassist Simon Forsberg in early 2021, OH HIROSHIMA were reduced to a duo _ a shift that challenged the band to rethink and expand their creative approach. While Myriad remains firmly rooted in post-rock, brothers Jakob Hemström and Oskar Nilsson use the album as an opportunity to push beyond the genre's familiar boundaries, drawing from a far broader musical palette than ever before. To get a sense of what the album has to offer, watch the music video for "Humane". Guitarist & vocalist Jakob Hemström comments: "Humane might be the most direct and intense song we've created as a band. For us it marks a somewhat new direction that we wanted to explore and we're very proud of how it turned out. We felt right away that this was the first song of the new album we wanted our listeners to hear. The lyrics revolve around themes of human hubris and the video was filmed, directed and edited by our drummer, Oskar." Recorded by Kristian Karlsson (pg.lost, Cult of Luna) and once again mixed and mastered by Magnus Lindberg of Cult of Luna, Myriad blends soaring melodies with immense emotional weight and dynamic intensity and stands as a compelling testament to the band's continued evolution. Classic black or rosé (Dead Flamingo) vinyl available. FOR FANS OF Alcest Mogwai God Is an Astronaut Karnivool pg.lost

In the wake of the release of Swedish post-rock luminaries OH HIROSHIMA's 6th studio album And The Dead Tree Gives no Shelter, Pelagic is reissueing OH's Oscillation (2019) and Myriad (2022) on vinyl. Myriad captures OH HIROSHIMA at their most focused and ambitious. The album moves between crushing despair and fleeting moments of catharsis weaving heart-wrenching melodies into towering walls of noise and explosive crescendos. The incorporation of trumpet, cello and trombone adds new dimensions to the band's sound, resulting in a record that resonates far beyond the post-rock scene and highlights the band's continued artistic evolution. Following the departure of bassist Simon Forsberg in early 2021, OH HIROSHIMA were reduced to a duo _ a shift that challenged the band to rethink and expand their creative approach. While Myriad remains firmly rooted in post-rock, brothers Jakob Hemström and Oskar Nilsson use the album as an opportunity to push beyond the genre's familiar boundaries, drawing from a far broader musical palette than ever before. To get a sense of what the album has to offer, watch the music video for "Humane". Guitarist & vocalist Jakob Hemström comments: "Humane might be the most direct and intense song we've created as a band. For us it marks a somewhat new direction that we wanted to explore and we're very proud of how it turned out. We felt right away that this was the first song of the new album we wanted our listeners to hear. The lyrics revolve around themes of human hubris and the video was filmed, directed and edited by our drummer, Oskar." Recorded by Kristian Karlsson (pg.lost, Cult of Luna) and once again mixed and mastered by Magnus Lindberg of Cult of Luna, Myriad blends soaring melodies with immense emotional weight and dynamic intensity and stands as a compelling testament to the band's continued evolution. Classic black or rosé (Dead Flamingo) vinyl available. FOR FANS OF Alcest Mogwai God Is an Astronaut Karnivool pg.lost

To mark its 10th Anniversary,
discover Awa Ly's Album "Five And A Feather" (Including one previously unreleased track) On Vinyl For The First Time !

One night, Awa had a dream.

The atmosphere was enchanted, almost mystical, enveloped in a setting that summoned the moon, the Earth, and the elements. An ancestral blend of Native American and African cultures, a shamanic being was there, speaking in an unknown language, narrating stories both real and imagined. She received these tales from others, made them her own, absorbed them, shared their joy, and soothed their harbored pain or sadness.

Upon waking, the shamanic narrator had vanished, but her presence was still palpable; Awa made her the storyteller of this new album: Five and a Feather.

Five, like all things counted by fives: the senses, the oceans, the lines of a musical staff, the fingers on a hand. And feather, the magical element that connects them-the very one Awa used to write and compose the ten tracks of this new album where, under the brush of SainaSix, she becomes the first Black woman immortalized in Mucha's Art Nouveau aesthetic.

Ballaké Sissoko's kora, Paco Sery's senza, Greg Cohen's double bass, Faada Freddy's vocals, the steel guitar, or the erhu (Chinese violin) are all elements that illuminate the shamanic storyteller's tales.

Produced alongside the duo Jean Lamoot and Pascal Danae (winners of the 2015 Victoires de la Musique in the World Music category with their band Rivière Noire), Five and a Feather faithfully captures the warm atmosphere of live-recorded sessions where instruments answer and interlock with one another, creating the perfect showcase for the album's principal instrument: Awa's voice.
Words that she delicately places or lets fall onto the notes like tears of joy or sadness, flowing from that source called love.

An album written, composed, and recorded like fine lace, starry with details that only reveal themselves to those who know how to seek them out.

"Motorway City" is a superb, driving-based collection of library music. The tracks on this album were all written between the mid-60s and the early 80s to hymn car travel, back when the petrol-operated motor car was seen as the transport mode of the future, when motorways were new and thrilling. It was car travel’s golden age.
The tracks are highly collectable rarities from the libraries of De Wolfe, Chappell and Hudson. It has been compiled by Bob Stanley of Saint Etienne who has also written the informative sleevenotes. It stretches from mod movers to proto-ambient, something for every car journey.

Library music soundtracked the many short films that extolled the virtues of TopTray restaurant at Watford Gap or the comfortable leather seats in an Alpine Sunbeam. These tunes illuminated the joys of motor travel, and were given titles such as ‘Fast Lane’, ‘Super City’ and ‘Clearway’.
Many of these tracks seem time specific. The sun peeks over the horizon for Basil Kirchin’s ‘Through New Territory’; Reg Tilsley’s ‘Hold The Road’ is so bright at midday that you’ll need to wear shades to stop the sun getting in your eyes; John Fiddy’s ‘City Skyline’ has to be seen (and heard) at dusk.

Ex-Soft Machine Karl Jenkins provides the tense ‘Wheeling’, and Peter Reno’s thunderous ‘Convoy’ shifts the mood up a gear. Maybe you should risk nudging the speed up, 80-plus, to the soundtrack of Alan Hawkshaw’s ‘Fuel Injection’ or Simon Park’s mellow-but-dynamic ‘Big Road’.
Beautifully packaged in a gatefold sleeve, "Motorway City" could be the soundtrack to your summer holiday.

Remastered Edition of "Pyramid", orginally released in 1978 by iconic Progressive Rock Band The Alan Parsons Project, comprised of Engineer/ Producer Alan Parsons and Songwriter, Musician and Manager Eric Woolfson. 180gm heavyweight Classic Black Vinyl LP, featuring a half speed remaster by Miles Showell at Abbey Road Studios. Printed insert contains a sleevenote featuring quotes from Alan Parsons.

“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine

With their ever-mutating brand of jazz-and-country-laced punk, Opus Kink have always cut a singular figure in a saturated landscape. Making their name with incendiary, cult-like live shows, the band - formed in Brighton (UK) in 2017 — has developed a sound as elusive as it is recognisable. Underscored by a formidable horn section and ragged, sardonic delivery, the band bear passing resemblance to post-punk and no-wave acts like The Pop Group, Birthday Party and Lounge Lizards, but it’s the weaving of older, more traditional influences - choral, folk, country, Latin, Weimar cabaret, cruise-ship-crooning - into the fabric of their music that sets them apart. Their highly anticipated debut album 'The Sweet Goodbye' is set for release on 31st July 2026 via So Recordings and follows a series of EPs and singles which have earned acclaim from NME, DORK, DIY, CLASH, SO YOUNG, BBC Radio 1 and playlisting on BBC Radio 6 Music. The album is produced by Grammy award-winning producer and mixer Craig Silvey (Arcade Fire, Florence & The Machine, Baxter Dury, REM, Kronos Quartet, Sam Fender), with album track 'The Head Tree' featuring The New Eves (No.1 Independent album in 2025). Opus Kink brings their alluring live show to audiences around the UK and Europe later this year, including a headline show at London's 2,300-cap venue o2 Kentish Town Forum, while the Summer sees them supporting The Libertines at Rochester Castle, Kent. TRACKLISTING A1. Come Over, Do Me Wrong A2. Will It Come For You? A3. I'm A Pretty Showboy A4. The Sweet Goodbye A5. Peckham Nocturne B1. I Have To Shine My Sunday Shoes B2. The Head Tree (ft. The New Eves) B3. 448C (The Colour of Love) B4. Crucify! B5. Oh, Irony QUOTES - ?"Horn-fuelled filth-funk, where punk and jazz combine in grimy circumstances." - NME - "One of the UK’s most exciting new bands?...A raucous, intense blast of guitar pop...as equally anxiety-inducing as it is sublime." - C?LASH - "Barnstorming, infectious" - Steve Lamacq, BBC 6 Music - "One of the most enjoyable genre fusions I've ever seen." - Nels Hylton, BBC Radio 1 - "(Their) ferocious live performances have earned them a reputation as? one of the best live bands in the country?." - So Young

With their ever-mutating brand of jazz-and-country-laced punk, Opus Kink have always cut a singular figure in a saturated landscape. Making their name with incendiary, cult-like live shows, the band - formed in Brighton (UK) in 2017 — has developed a sound as elusive as it is recognisable. Underscored by a formidable horn section and ragged, sardonic delivery, the band bear passing resemblance to post-punk and no-wave acts like The Pop Group, Birthday Party and Lounge Lizards, but it’s the weaving of older, more traditional influences - choral, folk, country, Latin, Weimar cabaret, cruise-ship-crooning - into the fabric of their music that sets them apart. Their highly anticipated debut album 'The Sweet Goodbye' is set for release on 31st July 2026 via So Recordings and follows a series of EPs and singles which have earned acclaim from NME, DORK, DIY, CLASH, SO YOUNG, BBC Radio 1 and playlisting on BBC Radio 6 Music. The album is produced by Grammy award-winning producer and mixer Craig Silvey (Arcade Fire, Florence & The Machine, Baxter Dury, REM, Kronos Quartet, Sam Fender), with album track 'The Head Tree' featuring The New Eves (No.1 Independent album in 2025). Opus Kink brings their alluring live show to audiences around the UK and Europe later this year, including a headline show at London's 2,300-cap venue o2 Kentish Town Forum, while the Summer sees them supporting The Libertines at Rochester Castle, Kent."Horn-fuelled filth-funk, where punk and jazz combine in grimy circumstances." - NME - "One of the UK’s most exciting new bands?...A raucous, intense blast of guitar pop...as equally anxiety-inducing as it is sublime." - C?LASH - "Barnstorming, infectious" - Steve Lamacq, BBC 6 Music - "One of the most enjoyable genre fusions I've ever seen." - Nels Hylton, BBC Radio 1 - "(Their) ferocious live performances have earned them a reputation as? one of the best live bands in the country?." - So Young

2026 marks a historic chapter in his musical journey as Ross prepares for the release of his twelfth studio album, Set In Stone, slated to drop in July 2026. The highly anticipated album rollout was ignited by the Top 10 radio single "Minks In Miami," an opulent track featuring French Montana and Max B. To further commemorate his enduring legacy, Ross is currently celebrating the twentieth anniversary of his debut number-one album, Port of Miami. Honoring the milestone, he is embarking on a grand 17-city orchestra tour, performing his timeless classics alongside the soaring live instrumentation of the Renaissance Orchestra and the powerful vocals of the Sainted Trap Choir. In addition to the new album Rick Ross' also released his 3rd book "Renaissance Of A Boss."

The Body"s landmark record Master, We Perish, originally released in 2013, found the acclaimed duo at a crossroads in their career. Recorded just before the duo of drummer Lee Buford and guitarist/vocalist Chip King were leaving their longtime home of Providence for Portland and released in between their breakthrough albums All the Waters of the Earth Turn to Blood and Christs, Redeemers, Master expanded on the duo"s love of layered worldbuilding with more precision and a stronger emphasis on percussive samples than ever before. The seeds of the duo"s celebrated collaborative inclination are evident as the album features Assembly of Light Choir leader Chrissy Wolpert, choir member Reba Mitchell, Otesanek vocalist Leslie Weitz, and guitarist David Lifrieri. With the expanded edition, the album"s striking cover painting by Providence mainstay Manifester aka Matt Brinkman (Mindflayer, Forcefield) is finally rendered in its original form. Master, We Perish is expanded with rare bonus tracks from The Body"s early days, taken from a pair of rare 7" singles Cop Killer/Dead Cops as well as a split with Get Killed. These storied singles mark the first time the band truly pushed the boundaries of sound in the studio and on record. It also marks the beginning of The Body"s practice of wielding the studio as a veritable weapon to translate their gargantuan sound with deeper impact on LP. The results are not only pushing the capacity of the album format but are sonically riveting. The bonus material was recorded at Machines with Magnets. The band described them economically: "NASTY."

The Body"s landmark record Master, We Perish, originally released in 2013, found the acclaimed duo at a crossroads in their career. Recorded just before the duo of drummer Lee Buford and guitarist/vocalist Chip King were leaving their longtime home of Providence for Portland and released in between their breakthrough albums All the Waters of the Earth Turn to Blood and Christs, Redeemers, Master expanded on the duo"s love of layered worldbuilding with more precision and a stronger emphasis on percussive samples than ever before. The seeds of the duo"s celebrated collaborative inclination are evident as the album features Assembly of Light Choir leader Chrissy Wolpert, choir member Reba Mitchell, Otesanek vocalist Leslie Weitz, and guitarist David Lifrieri. With the expanded edition, the album"s striking cover painting by Providence mainstay Manifester aka Matt Brinkman (Mindflayer, Forcefield) is finally rendered in its original form. Master, We Perish is expanded with rare bonus tracks from The Body"s early days, taken from a pair of rare 7" singles Cop Killer/Dead Cops as well as a split with Get Killed. These storied singles mark the first time the band truly pushed the boundaries of sound in the studio and on record. It also marks the beginning of The Body"s practice of wielding the studio as a veritable weapon to translate their gargantuan sound with deeper impact on LP. The results are not only pushing the capacity of the album format but are sonically riveting. The bonus material was recorded at Machines with Magnets. The band described them economically: "NASTY."

Originally released in 1987, this album featured the Cramps live on 30 August 1986 at the Galaxy Club, Auckland, New Zealand.
The album catches the lightning-in-a-bottle live magic of Lux Interior (vocals), Poison Ivy (guitar), Candy Del Mar (bass) and Nick Knox (drums).
Ace first reissued the 11-track album in 2013 on our Big Beat imprint on red vinyl. We now put that version back into the market.

Brighton's MOODY GOODS are the lates addition to Boss Tuneage family, but all members of course are not new to us, having all been members previously of ROUGH GUTTS who we put out the "Parts I & II" 12"EP back in 2022! Now streamlined to a 4 piece, MOODY GOODS is an evolution and with their debut "SOUTHERN LIGHTS" have delivered an amazing debut album! Full of power, energy but also light and shade, this is not just a collection of 10 brilliant songs, its a proper crafted ALBUM in the true sense of the word! Recorded under the watchful eye of Dave Draper at The Old Cider Press studio, the production on this album is epic and makes the songs come alive! This is taking the raw energy of ROUGH GUTTS and just taking things up a few notches more, you don't want to miss this!

Originally released in 2006, Alive marked an important chapter in the career of Kate Ryan, further establishing her as one of Europe's leading dance-pop artists of the 2000s. Following the international success of earlier hits such as “Désenchantée”, “Libertine” and “The Promise You Made”, Alive showcased a more mature and contemporary pop sound, combining energetic eurodance productions with melodic pop songwriting and multilingual performances that became a trademark of Kate Ryan’s style.

The album features the Eurovision hit single "Je t'Adore", the song with which Kate Ryan represented Belgium at the Eurovision Song Contest 2006. Although the song narrowly missed qualification for the final, it became a well-beloved track among fans across Europe. Alongside the Eurovision hit “Je t’Adore”, the album features the singles “Alive” and “All For You”, complemented by the standout tracks “How Many Times”, “Driving Away”, “Wonderland” and “That Kiss I Miss”. Many consider the album to be the strongest release of Kate Ryan.

To celebrate the 20th anniversary of Alive, this release brings forward an expanded edition containing four French versions and three extended bonus versions, highlighting the multilingual approach that helped define Kate Ryan’s unique crossover appeal across Europe. Blending euphoric dance-pop, emotional melodies and unmistakable early-2000s club energy, Alive remains an essential release in the discography of one of Belgium’s most successful international pop artists.

Alive (Expanded) is available as a 20th anniversary edition of 1000 individually numbered copies on green vinyl and includes an insert with liner notes by Kate Ryan.

"Nach der Veröffentlichung ihres von der Kritik gefeierten Debütalbums ""From The New World"" im Jahr 2024, das gesellschaftlichen Zusammenbruch, Überleben und Menschlichkeit durch eine fiktive postapokalyptische Linse beleuchtet, haben Allt ihr zweites Album ""Ataraxia"" angekündigt.

""Ataraxia"" markiert eine neue Phase in der Entwicklung der Band: Das Album ist in der Realität verankert und schöpft direkt aus dem Leben der Bandmitglieder, wie persönlichen Tragödien, Beziehungen, Erschöpfung, Sehnsucht, Rückfällen, Klarheit und den Momenten dazwischen. Die Songs fungieren als Fragmente von Erinnerungen und Gemütszuständen und bilden eine Anthologie der Reise hin zur Stille. Das Album stellt ""Ataraxia"" als einen Ort der Sehnsucht dar: Es ist kein Endpunkt, sondern ein Zustand, dem man sich nähert, den man für einen Moment bewohnt und oft wieder verliert.

Musikalisch entwickeln Allt ihren charakteristischen Sound des modernen Progressive Metalcore weiter und legen dabei größeren Wert auf emotionalen Raum und Zurückhaltung. Die Aggression bleibt bestehen, steht nun aber in direktem Dialog mit Verletzlichkeit. Das Ergebnis ist Allts bisher intimstes, menschlichstes und ehrlichstes Werk. ""Mit 'Ataraxia' wollten wir aus dem Ort heraus schreiben, an dem wir tatsächlich leben. Diese Songs sind Fragmente und Nacherzählungen unserer eigenen Erfahrungen, der Last, die wir getragen haben, der Dinge, die wir gesehen und getan haben, und dessen, womit wir auf unserem eigenen Weg zur Reife als Menschen und zur Suche nach Frieden und Stille in unserem Leben konfrontiert waren. Bei 'Ataraxia' geht es darum, zu lernen, in allem, was sich in deinem Leben entfaltet, präsent zu bleiben.""

Allt ist eine 2020 gegründete Progressive-Metalcore-Band aus Karlskoga, Schweden. Bekannt für ihr audiovisuelles Storytelling und ihren innovativen Ansatz im Metalcore, spiegelt der Name Allt - was auf Schwedisch ""alles"" bedeutet - die Philosophie der Band wider: sich niemals auf Genregrenzen beschränke"

ABOUT WORLD WITHOUT GOD: Alongside the band's early '90's counterparts 'World Without God', Convulse's first proper full-length, helped pave the way for a new generation of death-metal extremity. ABOUT CONVULSE REISSUES 2026: Finland's CONVULSE present the official 2026 Remastered, Reissues of their classic titles "World Without God", "Reflections" & the new demo compilation "From Resuscitation to Reincarnation - The Early Years" All three remastered titles are streaming now & pre-orders are out July 31, 2026 on LP/CD/CS formats. Convulse original member Rami Jämsä comments on the reissues: "I am very grateful for the Relapse Records from all these three classy Convulse reissues. "World without God" (1991) is our best known debut album with full of rotten old school death metal notes. But don't miss our hidden gem "Reflections" (1994), which is our second album and will be released first time ever on vinyl format. Death 'n roll album "Reflections" comes to home on Relapse Records after 30 years with a brand new layout and a brilliant remastered sound. Third release will be "From Resuscitation to Reincarnation" which presents Convulse's transformation from the straightforward death metal band to more diverse death&rock band. It includes our first demotape "Resuscitation of Evilness" (1990) and "Lost Equilibrium" EP (1992)." All 3 Convulse titles were Remastered by Jaakko Viitalähde/Virtalähde Mastering (Oranssi Pazuzu, Havukruunu).

About From Resuscitation to Reincarnation - The Early Years: "From Resuscitation to Reincarnation - The Early Years" presents Convulse's transformation from the straightforward death metal band to the more diverse death & rock band. It includes CONVULSE's first demotape "Resuscitation of Evilness" (1990) and the "Lost Equilibrium" EP (1992). ABOUT CONVULSE REISSUES 2026: Finland's CONVULSE present the official 2026 Remastered, Reissues of their classic titles "World Without God", "Reflections" & the new demo compilation "From Resuscitation to Reincarnation - The Early Years" All three remastered titles are streaming now & pre-orders are out July 31, 2026 on LP/CD/CS formats. Convulse original member Rami Jämsä comments on the reissues: "I am very grateful for the Relapse Records from all these three classy Convulse reissues. "World without God" (1991) is our best known debut album with full of rotten old school death metal notes. But don't miss our hidden gem "Reflections" (1994), which is our second album and will be released first time ever on vinyl format. Death 'n roll album "Reflections" comes to home on Relapse Records after 30 years with a brand new layout and a brilliant remastered sound. Third release will be "From Resuscitation to Reincarnation" which presents Convulse's transformation from the straightforward death metal band to more diverse death&rock band. It includes our first demotape "Resuscitation of Evilness" (1990) and "Lost Equilibrium" EP (1992)." All 3 Convulse titles were Remastered by Jaakko Viitalähde/Virtalähde Mastering (Oranssi Pazuzu, Havukruunu).

Iconic return with “II”, a second album that doesn’t just continue the band’s journey — it defines it. Where their debut introduced the chemistry between five world-class musicians, II sharpens that vision into a clearer, heavier, and more confident sonic identity, delivering a sound that is more powerful, more direct, and unmistakably rock. At the heart of the album lies the electrifying guitar partnership of Joel Hoekstra and Michael Sweet, delivering a masterclass in soaring melodies, blazing solos, and muscular riffs that perfectly balance technical brilliance with pure hard-rock attitude. Beneath them, the rhythm section of Tommy Aldridge and Marco Mendoza drives the record with thunderous authority, creating a groove that is both massive and relentless. The album kicks off with “Cry No More”, a high-octane opener that immediately sets the tone — an energetic slice of hard rock packed with driving riffs, explosive drums, and a chorus built to stick. On the other side of the emotional spectrum, “Tears Keep On Falling” showcases the band’s dynamic range, unfolding as an electrifying power ballad where melody, atmosphere, and intensity come together in dramatic fashion. Towering above it all is Nathan James, whose performance on II is nothing short of extraordinary — powerful, soulful, and commanding, elevating every track with unmistakable presence. With bigger riffs, deeper grooves, and a stronger sense of identity, II captures Iconic at full force: a band no longer introducing itself but fully owning its sound.

In the wake of the release of Swedish post-rock luminaries OH HIROSHIMA's 6th studio album And The Dead Tree Gives no Shelter, Pelagic is reissueing OH's Oscillation (2019) and Myriad (2022) on vinyl. Oscillation marks a significant step forward for OH HIROSHIMA. On their third studio album, the Swedish band further refines its distinctive blend of atmospheric post-rock, weaving together shimmering guitar lines, weightless vocals and understated electronic elements into seven richly textured soundscapes. Balancing intimacy with grandeur, Oscillation unfolds like a lucid dream_at once delicate, expansive and quietly captivating. OH HIROSHIMA began with Resistance Is Futile, a largely instrumental post-rock debut that already hinted at their atmospheric sensibilities, with only subtle early traces of vocals. On In Silence We Yearn, the band's identity became more defined, with vocals taking on a more central role and their sound expanding into emotionally driven, shoegaze-tinged post-rock. With Oscillation, they refined this approach into more complex, denser song structures, balancing clarity and abstraction while deepening their cinematic atmosphere. To get a sense of what the album has to offer, watch the music video for "Darkroom Aesthetics". Recorded by Kristian Karlsson (pg.lost, Cult of Luna) and mixed and mastered by Magnus Lindberg of Cult of Luna, Oscillation unfolds in vast, immersive soundscapes where fragile melodies drift through reverb-drenched space before building into powerful, cathartic waves of sound. FOR FANS OF Alcest Mogwai God Is an Astronaut Karnivool pg.lost Classic black or white 2LP available!

In the wake of the release of Swedish post-rock luminaries OH HIROSHIMA's 6th studio album And The Dead Tree Gives no Shelter, Pelagic is reissueing OH's Oscillation (2019) and Myriad (2022) on vinyl. Oscillation marks a significant step forward for OH HIROSHIMA. On their third studio album, the Swedish band further refines its distinctive blend of atmospheric post-rock, weaving together shimmering guitar lines, weightless vocals and understated electronic elements into seven richly textured soundscapes. Balancing intimacy with grandeur, Oscillation unfolds like a lucid dream_at once delicate, expansive and quietly captivating. OH HIROSHIMA began with Resistance Is Futile, a largely instrumental post-rock debut that already hinted at their atmospheric sensibilities, with only subtle early traces of vocals. On In Silence We Yearn, the band's identity became more defined, with vocals taking on a more central role and their sound expanding into emotionally driven, shoegaze-tinged post-rock. With Oscillation, they refined this approach into more complex, denser song structures, balancing clarity and abstraction while deepening their cinematic atmosphere. To get a sense of what the album has to offer, watch the music video for "Darkroom Aesthetics". Recorded by Kristian Karlsson (pg.lost, Cult of Luna) and mixed and mastered by Magnus Lindberg of Cult of Luna, Oscillation unfolds in vast, immersive soundscapes where fragile melodies drift through reverb-drenched space before building into powerful, cathartic waves of sound. FOR FANS OF Alcest Mogwai God Is an Astronaut Karnivool pg.lost Classic black or white 2LP available!

Das 1981 erstmals erschienene Album „Give the People What They Want“ setzte den Erfolg der Kinks
aus den frühen 80er-Jahren mit ihrem direkten, gitarrenlastigen Sound und pointierten, zeitgenössischen
Themen fort. Als eines ihrer erfolgreichsten Alben in den USA enthält es herausragende Titel wie „Destroyer“, „Better Things“ und „Around the Dial“. Diese Edition von 2026 wurde von den Originalquellen
neu gemastert und bietet verbesserte Klarheit, Definition und Ausgewogenheit, wobei der Charakter und
die Energie der Originalmixe erhalten blieben.
Das 1979 erstmals veröffentlichte Album „Low Budget“ markierte mit seinem härteren, stadiontauglichen
Sound einen Wendepunkt in der späten Karriere der Kinks. Es avancierte zu einem der stärksten US-Alben
der Band und gilt bis heute als eines der prägendsten Alben ihrer späten 70er-Jahre.
Diese Edition von 2026 wurde von den Originalquellen neu gemastert und bietet verbesserte Klarheit, Ausgewogenheit und Dynamik, ohne den Charakter des Originalmixes zu beeinträchtigen. Titel wie „(Wish I
Could Fly Like) Superman“, „Catch Me Now I’m Falling“ und der Titelsong profitieren von einer detaillierteren und fokussierteren Wiedergabe.

Das 1981 erstmals erschienene Album „Give the People What They Want“ setzte den Erfolg der Kinks
aus den frühen 80er-Jahren mit ihrem direkten, gitarrenlastigen Sound und pointierten, zeitgenössischen
Themen fort. Als eines ihrer erfolgreichsten Alben in den USA enthält es herausragende Titel wie „Destroyer“, „Better Things“ und „Around the Dial“. Diese Edition von 2026 wurde von den Originalquellen
neu gemastert und bietet verbesserte Klarheit, Definition und Ausgewogenheit, wobei der Charakter und
die Energie der Originalmixe erhalten blieben.
Das 1979 erstmals veröffentlichte Album „Low Budget“ markierte mit seinem härteren, stadiontauglichen
Sound einen Wendepunkt in der späten Karriere der Kinks. Es avancierte zu einem der stärksten US-Alben
der Band und gilt bis heute als eines der prägendsten Alben ihrer späten 70er-Jahre.
Diese Edition von 2026 wurde von den Originalquellen neu gemastert und bietet verbesserte Klarheit, Ausgewogenheit und Dynamik, ohne den Charakter des Originalmixes zu beeinträchtigen. Titel wie „(Wish I
Could Fly Like) Superman“, „Catch Me Now I’m Falling“ und der Titelsong profitieren von einer detaillierteren und fokussierteren Wiedergabe.

Those albums that never age, that never cease to surprise with their innovative freshness-listen after listen-defying the years that go by. Released in 2016, Heimat's debut album is one of those records you love knowing is there on the shelf or on the turntable, like a reassuring talisman. To mark it's 10th anniversary, and such an awaited repress, we decided to honor this landmark album as it deserves: with a powerful remaster by Tioma Tchoulanov (UVB76, NzeNze) featuring enhanced dynamics, and an ultra-limited edition on blue splatter vinyl.

What a beautiful object this is, celebrating-alongside Armelle and Olivier Demeaux-ten years spent exploring the outer limits of music, in France and abroad, from SMAC venues to squats and other joyful initiatives. Their deeply sincere music loses none of it's naive tension; the emphasis is there, yet it remains restrained, contained, almost nervous, without any show of. Here, then, is something to make this fantastic album, a subtle milestone in a teeming musical landscape. A fine achievement indeed!

Delivering four precise, direct techno weapons with expertise and personality in abundance, Efdemin arrives on Dekmantel with Mirror Phase.

Phillip Sollmann has been an enduring source of inspiration and originality within the techno scene since he rose to prominence in the early 00s. As Efdemin he's found a sweet spot between warmly melodic expression and constantly curious textures, holding true to techno's original MO as a bittersweet soul music while delivering his own distinct take on the tradition. After last year's more introspective LP POLY he makes his Dekmantel debut with a sharp, incisive bundle of workouts that champion unfiltered techno of the highest calibre. In Sollmann's own words, it's a loving tribute to the original Detroit architects of the sound.

"All four tracks are based on studio jams using mainly analogue gear, and were done pretty quickly," he explains. "They all nod to the roots of my idea of techno, which is very much informed by the Detroit-Berlin legacy we all benefit greatly from in many ways. In a way, this EP is a deep bow to this."

The sense of tribute behind the music manifests explicitly on opening track 'Mirror Phase', which features a fully cleared sample of DJ Minx's sultry spoken word intro to Kevin Saunderson's 1997 entry into the seminal X-Mix series — a formative release for Sollmann on his journey into electronic music.

With adventurous synth lines and tweaked samples rubbing up against chiseled 909 drums and a generous serving of emotive machine soul, Mirror Phase EP is a perfectly-formed slice of techno done properly — classic, timeless, futuristic and eternal in equal measure.

BABON is a psychedelic instrumental band from Indonesia, formed in 2023 by Wahyudi T. Raupp, Rayi Raditia, and guitarist Rori Jiwa Putra. Their music blends traditional Indonesian genres such as Keroncong and Dangdut with global influences like Middle Eastern grooves, Latin rhythms, Spaghetti Western motifs, and Afro-funk, creating a sound they call "Tropical Desert" music. Their debut album, Tropical Desert, follows the 2024 release of the singles "Desert Rose" and "TNT" on London-based label Batov Records. Beyond their genre-bending sound, BABON is deeply rooted in environmental advocacy, using instrumental music and visual storytelling to address ecological issues. They are currently producing a live session featuring four tracks from the album, set against cinematic footage highlighting Indonesia's natural landscapes and environmental challenges.

BABON's distinctive sound has earned them strong international recognition, with radio play from major stations including BBC Radio 3 and Soho Radio (UK), RBB Radioeins and Byte FM (Germany), CBC Radio One (Canada), Triple R and 2SER (Australia), and WYEP and KALX (USA). Their 7-inch vinyl release was nearly sold out, further signaling their growing global appeal. The album's cover and packaging were created by Indonesian retro surrealist Christian Candra, contributing to the band's cohesive artistic vision. BABON is represented worldwide by PR and radio agency Only Good Stuff, helping to amplify their message and music to audiences across the globe.

With Tarabesque, his powerful new album, Firas Zreik delivers his boldest and most visionary work to date. Fearlessly placing the kanun—the shimmering Mediterranean harp—at the center of a jazz quartet, a hybrid ensemble, and an Arab Takht ensemble, Zreik reimagines the instrument as both a rhythmic engine and melodic force. He builds a world of Maqam-driven melodies woven through rich harmonic and modal landscapes that feel fresh, organic, and defiantly new.

Based in New York City, Zreik is a Palestinian composer and kanunist who recently received Grammy recognition as a songwriter and performer on Residente's award-winning album Las Letras Ya No Importan, and composed The Art of Kanun, a film music album commissioned by Universal Music Production France. He is an official showcase artist at WOMEX 2022, a MacDowell Fellow, and has performed at Lincoln Center, Joe's Pub, and The Jazz Gallery.

With Tarabesque, Zreik signals the emergence of a new musical language—merging Tarab, the ecstatic listening state central to Arab musical traditions, with global influences to create a sound timeless, urgent, and entirely his own.

Feel the poison in your veins… “The Venom In The Mouth Of God” is Combichrist at their most expansive and most honest, a record that tears open the gap between who we are and who we perform ourselves to be, and leaves it bleeding. Andy LaPlegua has been one of industrial metal's defining forces since the early 2000s, fusing EBM brutality with hard rock muscle in a way few acts have managed to replicate. This new album plays like a descent and a reckoning in one. The opening run from "ODR" through "Born Deströyer" lands like a controlled demolition: dense, mechanized, merciless. Mid-album the mood shifts and stretches, with "Each Scar A Vision" and "The Way We Want To Be Seen" pulling at something more psychological - the masks we wear, the versions of ourselves we construct for others. "Demons Wanna Be Summoned" features King 810, the Michigan-bred rap-metal outfit known for their confrontational intensity - a collaboration that fits the album's relentless atmosphere like a blade in a wound.

Feel the poison in your veins… “The Venom In The Mouth Of God” is Combichrist at their most expansive and most honest, a record that tears open the gap between who we are and who we perform ourselves to be, and leaves it bleeding. Andy LaPlegua has been one of industrial metal's defining forces since the early 2000s, fusing EBM brutality with hard rock muscle in a way few acts have managed to replicate. This new album plays like a descent and a reckoning in one. The opening run from "ODR" through "Born Deströyer" lands like a controlled demolition: dense, mechanized, merciless. Mid-album the mood shifts and stretches, with "Each Scar A Vision" and "The Way We Want To Be Seen" pulling at something more psychological - the masks we wear, the versions of ourselves we construct for others. "Demons Wanna Be Summoned" features King 810, the Michigan-bred rap-metal outfit known for their confrontational intensity - a collaboration that fits the album's relentless atmosphere like a blade in a wound.

Zum ersten Mal seit der Originalpressung wieder auf Vinyl erhältlich - in einer neuen Obi-Edition, das Vinyl kommt in Schwarz-Weiß-Splatter-Optik. ,Sensorimotor" (2017) ist vielleicht Lusines einladendstes Album, mit der Single ,Just a Cloud" und weiteren Titeln. Seit seinen frühen Veröffentlichungen als Lusine bilden McIlwains elektronische Experimente eine der vielfältigsten Diskografien der letzten anderthalb Jahrzehnte. Die Grenzen zwischen Techno, Electro-Pop und experimenteller Komposition mühelos verwischend, sind die Arrangements des in Seattle ansässigen Produzenten sorgfältig konstruiert, aber auch voller Emotion und Seele. ,Sensorimotor ist ein Album, das seinem Namensgeber alle Ehre macht, gleichermaßen sensorisch und motorisch orientiert - und ein Werk, das ebenso auf intimen Texturen wie auf kühnen Rhythmen basiert." - KEXP

Back on Swamp Green coloured vinyl! The album that broke Teenage Bottlerocket to the punk rock masses, They Came From The Shadows burst onto the scene in 2009, like a runaway train on greased rails. Featured in Alternative Press as a "Band You Need To Know," the album became a punk rock classic, with hits like "Skate or Die" and "Bigger Than Kiss." The most rocking thing to come out of Wyoming since, well... ever, Teenage Bottlerocket have taken pleasure in showing everyone just how potent and exhilarating that fresh, gimmick-free punk rock can be. On their debut Fat Wreck Chords release (third full-length), They Came From the Shadows is comprised of 14 straight forward punk rock gems, laced with the unforgettable melodies that have become the calling card of TBR. In the tradition of the Ramones (leather jackets and all), TBR brought an unrelenting barrage of fast-paced anthems that will no doubt serve as the soundtrack for a generation. Produced by Jason Livermore at the Blasting Room (Rise Against, Descendents) Features hit singles "Skate Or Die" (bands #1 song) and "Bigger Than Kiss" For fans of Ramones, Screeching Weasel, Descendents, The Queers, The Lillingtons

Nachdem Taake seit über drei Jahrzehnten die Balance zwischen Tradition und Innovation hält, bleibt die Band kompromisslos unabhängig und erweitert zugleich kontinuierlich ihre eigenen kreativen Grenzen. Diese unbeirrbare Vision findet auf dem neunten Studioalbum *En Skog av Nidstang* einen neuen Ausdruck. Die vergangenen Jahre zunehmender Isolation - losgelöst von zeitgenössischen Trends und weitgehend unbeeinflusst von anderer Musik - haben den kreativen Antrieb des Songwriters Hoest nur noch verstärkt. Das Ergebnis sind vier ausladende Kompositionen, die sich auf natürliche Weise aus der inspirierten Geisteshaltung entwickeln, die bereits hinter dem von der Kritik gefeierten Album *Et Hav av Avstand* aus dem Jahr 2023 stand. Die Aufnahmen zu "En Skog av Nidstang" wurden südlich von Bergen in den moosbedeckten Wäldern rund um die Insel Borgoy abgeschlossen. In jener Landschaft, die einst vom vom Schicksal gezeichneten norwegischen Maler Lars Hertervig dargestellt wurde, suchte Taake bewusst die konzentrierte Abgeschiedenheit der Umgebung. Dabei verließ sich die Band weniger auf moderne Technologie oder übermäßigen Studioaufwand als vielmehr auf Intuition, Rückzug, Kreativität und die meisterhafte Beherrschung der grundlegenden Werkzeuge ihres Handwerks. Und das Ergebnis klingt unverkennbar nach Taake: Rücksichtslose, rasende Riffs treffen auf düstere Schwermut, eisige Melodien entstehen aus roher Intensität, und Momente trostloser Reflexion gehen nahtlos in ungezügelte Aggression über. Das Resultat ist ein Album, das die anhaltende Kraft einer kompromisslosen künstlerischen Vision feiert - der Beweis dafür, dass Taake auch nach 33 Jahren nichts von seiner Vitalität, Eigenständigkeit und Relevanz eingebüßt hat.

Nachdem Taake seit über drei Jahrzehnten die Balance zwischen Tradition und Innovation hält, bleibt die Band kompromisslos unabhängig und erweitert zugleich kontinuierlich ihre eigenen kreativen Grenzen. Diese unbeirrbare Vision findet auf dem neunten Studioalbum *En Skog av Nidstang* einen neuen Ausdruck. Die vergangenen Jahre zunehmender Isolation - losgelöst von zeitgenössischen Trends und weitgehend unbeeinflusst von anderer Musik - haben den kreativen Antrieb des Songwriters Hoest nur noch verstärkt. Das Ergebnis sind vier ausladende Kompositionen, die sich auf natürliche Weise aus der inspirierten Geisteshaltung entwickeln, die bereits hinter dem von der Kritik gefeierten Album *Et Hav av Avstand* aus dem Jahr 2023 stand. Die Aufnahmen zu "En Skog av Nidstang" wurden südlich von Bergen in den moosbedeckten Wäldern rund um die Insel Borgoy abgeschlossen. In jener Landschaft, die einst vom vom Schicksal gezeichneten norwegischen Maler Lars Hertervig dargestellt wurde, suchte Taake bewusst die konzentrierte Abgeschiedenheit der Umgebung. Dabei verließ sich die Band weniger auf moderne Technologie oder übermäßigen Studioaufwand als vielmehr auf Intuition, Rückzug, Kreativität und die meisterhafte Beherrschung der grundlegenden Werkzeuge ihres Handwerks. Und das Ergebnis klingt unverkennbar nach Taake: Rücksichtslose, rasende Riffs treffen auf düstere Schwermut, eisige Melodien entstehen aus roher Intensität, und Momente trostloser Reflexion gehen nahtlos in ungezügelte Aggression über. Das Resultat ist ein Album, das die anhaltende Kraft einer kompromisslosen künstlerischen Vision feiert - der Beweis dafür, dass Taake auch nach 33 Jahren nichts von seiner Vitalität, Eigenständigkeit und Relevanz eingebüßt hat.

White Vinyl. Having balanced tradition and innovation for over three decades, Taake remains fiercely independent while continually pushing its own creative boundaries. That uncompromising vision finds new expression on the ninth full-length album, En Skog av Nidstang. Past years of increasing isolation, detached from contemporary trends and largely removed from the influence of other music, the creative drive of songwriter Hoest has only intensified, resulting in four expansive compositions that flow naturally from the inspired mindset behind 2023's critically acclaimed Et Hav av Avstand. The recordings for En Skog av Nidstang were completed south of Bergen, in the moss-covered forests around the island of Borgoy. In the surroundings depicted by the ill-fated Norwegian painter Lars Hertervig, Taake embraced the focused seclusion of the landscape, relying less on modern technology or studio excess, but on intuition, confinement, creativity, and a mastery of the rudimentary tools of the trade. And it sounds unmistakably like Taake. Reckless thrashing riffs mix with brooding gloom, chilling melodies emerge from violent intensity, and moments of desolate reflection give way to untamed aggression. The result is an album that celebrates the enduring power of an unyielding artistic vision; proof that, after 33 years, Taake remains as vital, distinctive and relevant as ever.

White Vinyl. Having balanced tradition and innovation for over three decades, Taake remains fiercely independent while continually pushing its own creative boundaries. That uncompromising vision finds new expression on the ninth full-length album, En Skog av Nidstang. Past years of increasing isolation, detached from contemporary trends and largely removed from the influence of other music, the creative drive of songwriter Hoest has only intensified, resulting in four expansive compositions that flow naturally from the inspired mindset behind 2023's critically acclaimed Et Hav av Avstand. The recordings for En Skog av Nidstang were completed south of Bergen, in the moss-covered forests around the island of Borgoy. In the surroundings depicted by the ill-fated Norwegian painter Lars Hertervig, Taake embraced the focused seclusion of the landscape, relying less on modern technology or studio excess, but on intuition, confinement, creativity, and a mastery of the rudimentary tools of the trade. And it sounds unmistakably like Taake. Reckless thrashing riffs mix with brooding gloom, chilling melodies emerge from violent intensity, and moments of desolate reflection give way to untamed aggression. The result is an album that celebrates the enduring power of an unyielding artistic vision; proof that, after 33 years, Taake remains as vital, distinctive and relevant as ever.

Classic early ’80s dancehall from one of the genre’s most distinctive voices. Reggae Feelings captures Anthony Johnson at his peak, backed by the legendary Roots Radics Band and produced by Jah Thomas at Channel One and mixed at King Tubby’s.
Originally released in the early 1980s, this album stands at the crossroads of roots reggae and emerging dancehall, pairing heavyweight rhythms with Johnson’s melodic, street wise vocal style. The Roots Radics’ stripped down, driving grooves — overseen by rhythm architects Errol “Flabba” Holt and Lincoln “Style” Scott — provide the perfect foundation for timeless cuts such as “Fussing & Fighting,” “Reggae Feelings,” and “Dread Locks.”
A key sound system album that helped define the mid period dancehall sound, Reggae Feelings remains as powerful today as it was on release — rough, raw and deeply authentic Jamaican music.This edition is pressed on 180 gram heavyweight vinyl and features extensive sleeve notes, making it essential for reggae collectors, sound system devotees and fans of classic Channel One productions.
Essential listening for fans of:
• Roots Radics Band
• Jah Thomas productions
• Early dancehall & Channel One sound
• Classic Burning Sounds releases

The Alan Parsons Project"s critically acclaimed, multi-million selling album "I Robot" (1977), is reissued in this 2LP 180gm heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios, November 2024 on a customised Neumann VMS 80 lathe at half speed using high-resolution archive transfers that were made from Eric Woolfson"s rarely played mint condition duplicate masters. The album was a worldwide hit selling in excess of two million copies, achieving platinum and gold status in numerous countries including the USA, Germany, Australia and Canada.

Time stands stunningly still on The Final Painting, the dreamy, elegiac final album from legendary underground singer-songwriter/poet/painter Ed Askew. The Final Painting not only defies the curse of sequels and the ten-year gap between the two DeCicca/Askew productions, it"s also a wonderous variation on the intimacy of the self-portrait, an expression from the twilight of one of the most unique artists to emerge in last half of the 20th century. The Final Painting reinvites For the World contributors Sharon Van Etten, Eve Searls, and Canaan Faulkner and new guests Bill Callahan, William Tyler, Ryan Jewell, Dustin Laurenzi, and Fulvio Sigurta. In their last conversation, just days before Ed passed in January 2025, he and Jerry agreed to: a) use the painting left on the easel of Ed"s now-empty apartment and b) call the album The Final Painting.