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SHORT INFOS
Because Music celebrates the 50th Anniversary of Cerrone's debut album "Love In C Minor (Cerrone I)" .
A record which is one of the mots important of its time. It brought French Disco to the World and established Cerrone as the French King of Disco.
- Pressed in exclusive 2026 Apple Green Crystal Clear vinyl
- Original 1976 artwork - Digitally remastered from original tapes.

BIOG
Cerrone I
Love in C Minor (1976)
The story behind Cerrone's first album could be summarised in the libertarian atmosphere and the creative energy of the 70s, inherited from the 60s revolutions, spiritual, aesthetic or sexual. Looking back now, this record is one of the most important of its time. It helped creating the sound of an era and brought French disco to the world. It is also, and this is fundamental to understand its success, the result of a man's vision: Marc Cerrone, a free spirit inhabited by music, who ended up with a major work of art. With this album, Cerrone accumulated the main elements that make a record timeless, even bigger than its creator: the pure originality, the madness of a vision without compromise, a sense of the market and a great dose of luck too. To some extent, this is the perfect record to start a career, even though Cerrone's one already existed in an implicit way. He actually began in a rather popular band, Kongas, signed by Barclay. Between 1972 and 1974, the band was famous and made it abroad, particularly in Japan, where people loved its sound. Despite this success, probably fed up with the music and not ready to follow the orders of a label that wanted the band to sound more pop, Cerrone disbanded Kongas. He had the sound of his instrument in mind and mostly its central element: the bass drum. The idea of this first solo album came to him after a detour via selling records. Wishing to forget about the studios, he took the head of a small chain of stores, selling records imported from the States. That's when he discovered a daring new sound coming from New York: disco music. This energy inspired him to record again. He then remembered the crazy reaction of the audience when, during the Kongas' concerts, he used to hit his bass drum hard. Cerrone felt like going back into the studio but to make something different. He decided to record a sixteen minutes long track, driven by its beat, that would fit on its own on one side of a LP (during these vinyl days, musicians used to think in terms of sides…), with girls' voices simulating sex. This concept of musical and physical orgasm was recorded at Trident Studios in London (where pop stars used to record at the time… ) with Don Ray, of Kongas, man in the shadows and brilliant arranger who'd follow Cerrone during his whole career. Obviously, like always in pop music (it happened to the Beatles), record companies started by turning this weird track down, convinced that radios would never play sixteen minutes of beats and moaning. Cerrone, a born fighter, decided to trust his instinct (a mix of ego and business sense) and chose to believe that if the radios wouldn't play the track, people would dance to it in the clubs. He released the record himself, with a sexy cover a bit provocative where he wore a black bathrobe, a young short-haired girl leaning on him. Being played here and there, thanks to Cerrone's own network, the record started to work a bit in France. But luckily, things really happened in the States. Due to a mistake, a box of "Love In C Minor" albums were sent to the States via Cerrone's record shop instead of some unsold American LPs. Once in New York, the box was opened and the record with its intriguing cover was instantly loved and passed through the hands of radio and club DJs. All of a sudden, and unknown to its creator, the track that was turned down by every French label, became a hit on the New York disco scene. Casablanca, the US disco label, released a cover recorded by an ad hoc band because nobody knew Cerrone of how to find him. Once he discovered what was happening in the States, Cerrone flew to New York. He realised he had a hit, one of the biggest then, that opened the doors to every record company and especially Atlantic. He was welcome by Ahmet Ertegun, one of the main visionaries of the American music who, among other artists, signed Aretha Franklin and John Coltrane. It's believed that Ertegun understood that the French young musician, like some Atlantic artists, was about to define the sound of his time and that his work would live long after its birth date. "Love In C Minor" was the first step, adamant and successful.

Heir to French Touch, French 79 opens a radical new chapter with his fourth album, Close to the Giants. For this project, French 79 relocated his studio deep into the wilderness, standing alone against the elements from high alpine peaks to the open sea. Armed with a portable modular synthesizer, he composed the entire album in the very heart of nature.


Fueled by the raw adrenaline of the elements, French 79 translates the intensity of his emotional journeys into a raw, moving electronic language—navigating from electronica to dance and tech-house, by way of electropop and French Touch.


Far more than an album, it is an intuitive, intense, and compelling logbook of a quest for solitude and human experience, honoring the legacy of French electro pioneers through signature analog arpeggios, hazy synths, and spellbinding melodies.

BEAT'EM ALL is french hip-hop/jazz instrumental trio SHIBUUYA!'s latest LP release. A blend of nu-jazz, fusion, hip-hop and future beats, all in original compisitions from the band's keyboardist and drummer, the album goes against the polished image we usually have of jazz music to deliver a raspy, energic and groovy sound that shakes the listener instead of nurturing him. With prestigious featurings such as CHiLi GiRL aka Shinobu Kawasihma, a Tokyo-raised Shamisen (a traditional japanese guitar) player, Melbourne rapper Nelson Dialect, french virtuoso saxophonist Hugo Afettouche, or the "french problem kid of jazz" trumpetist Daoud, SHIBUUYA! pushes forward its identity with references to japanese pop-culture through anime samples, powerful hip-hop beats, progressive broken-beat grooves and crazy deliveries on all three instruments (keys, drums and bass), all of it served by an original manga-inspired cover art by the band's keyboardist and leader. A reference to the japan-popular videogame genre (Shibuya being a neighborhood of tokyo centered around fashion and pop culture), BEAT'EM ALL tries to beat the odds on what we expect from a jazz album and to make it sound more like a garage-produced LP rather than a million-dollar studio album, to make as authentic and as generational as possible, a true product of today's young jazz scene.

I SPLIT MY ORGAN IN TWOS - a sonic world where animals could speak and parents would never grow old. Music is playing beneath the trees. Creeks are flowing towards the treehouse. Bears are singing and Owls are sailing through the wind like miniature spaceships. Solitude is a chosen path of clarity. And when this world collapses, all memories will vanish. Left behind is the Sting that keeps us separated from the insane.

The debut album I SPLIT MY ORGAN IN TWOS by Munich indie project plainhead is a freak folk inspired rockrecord fusing key aspects of 00s experimental indie with 90s indie rock.
The organic soundscapes remind of yetto-be-refined the Microphones from the album It Was Hot, We Stayed in the Water (2000). Acoustic Guitars fuse with the sound of fuzz and distortion. Clarinets and pianos can be found somewhere buried beneath the noise,
while the vocals remain dry and tired in the front. The 18-track double LP features easy-listenable songs such as the single Ghost / Smoke, short playful instrumentals named after animals and long ever-evolving operas such as River and Sunsick. The album was released on Munich local DIY recording label new basement.

By Most Bands' Fifth Album, The Sound Is Pretty Set. Parameters
Established. Refinement Dissipated In Favour Of Formulaic Execution Of
What's Worked In The Past. Fair Enough. All Them Witches Take A
Harder Route. In 2017, The Nashville Four-piece Offered What Might've
Otherwise Become Their Own Template In Their Fourth Album, 'sleeping
Through The War'. Their Second For New West Records Following
2015's Mellow-vibing 'dying Surfer Meets His Maker', 'sleeping
Through The War' Brought Larger Production Values To Dug-in Heavy
Psych Blues Jamming With Oversight From Producer Dave Cobb (jason
Isbell, Sturgill Simpson). After Exploring New Ground On 2013's
'lightning At The Door' And 2012's 'our Mother Electricity' As Well As
'dying Surfer Meets His Maker', With 'sleeping Through The War' The
Band Had Arrived At Something New, Something Sprawling, And
Grander-feeling Than Anything Before It.
So Naturally, In A Year's Time They've Thrown That All To The
Appalachian Wind, Turned The Process Completely On Its Head And
Reversed Paths - Recording In A Cabin In Kingston Springs, About 20
Miles Outside Of Nashville On I-40, With Guitarist Ben Mcleod At The
Helm. The Result, Mixed By Rob Schnapf (beck, Elliott Smith, Kurt
Vile), Is The Most Intimate, Human-sounding Album All Them Witches
Have Ever Recorded And Another Redefinition Of The Band. Introducing
Keyboardist / Percussionist Jonathan Draper To The Fold With Mcleod,
Bassist / Vocalist Charles Michael Parks, Jr., And Drummer / Graphic
Artist Robby Staebler, The New Eponymous Record Isn't Self-titled By
Mistake. It's The Band Confirming And Continuing To Develop Their
Approach, In The Shuffle Of 'fishbelly 86 Onions', The Organ-laced
Groove Of 'half-tongue', The Tense Build Of 'hjtc' And The Fluid Jam In
Closer 'rob's Dream'.
From The Sustained Consonants In Parks' Vocals To Mcleod's
Commanding Slide In 'workhorse' And Drifting Melancholy At The
Outset Of 'harvest Feast', All Them Witches Are Laying Claim To The
Essential Facets Of Their Identity.
Lp Format Pressed On Red Transparent 140g Double Vinyl In A Gatefold
Sleeve.
For Fans Of The Oh Sees, Baroness, Mastadon.

Original Jazz Classics celebrates John Coltrane’s centennial with this release of his 1958 album Soultrane. Recorded at Van Gelder Studios in New Jersey, the album contains 5 cuts from the quartet featuring Coltrane alongside Red Garland (piano), Paul Chambers (bass) and Art Taylor (drums). This new edition of the album is released on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

Released in celebration of the lasting impact Sonny Rollins has had on music comes this Original Jazz Classics series edition of his 1956 Prestige album Work Time. Recorded at Van Gelder studios the album completes the quartet with players Ray Bryant (piano), George Morrow (bass) and Max Roach (drums). This new edition of the album is released on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Tip-On Jacket.

Thanks for waiting - we’re finally taking flight. Over a decade into a career that’s seen her ascend from regional club music ambassador to one of global dance music’s most recognisable figures, UNIIQU3 today announces her debut album, ‘Mass Appeal’.

Trailed by this year’s trio of singles ‘Mile High Club’, ‘Calling My Name’ and ‘Papi’, the album is an international affair that reflects UNIIQU3’s globe-trotting approach to dance music, and toasts the relationships she’s formed along the way. As ever, though, it’s her distinctive vocals and production that tie the album into a cohesive whole.

UNIIQU3 has always enjoyed a close bond with the UK, and that’s reflected here: Samurai Breaks, Sam Binga and Karma Kid contribute production, while the US’s rich club lineage is represented by Spank Rock, Leonce and Cakes Da Killa. Further afield, there are collaborations with Melbourne hit-maker Swick, Franco-Congolese duo Tshegue, Korean vocalist BÉBE YANA and Rio funk fixture Leo Justi on the aptly named ‘Jersey Baile’.

First emerging in the early 2010s, UNIIQU3 quickly became one of Jersey Club’s key names via a flurry of original music, DJ mixes and live shows - picking up support from dance music’s headliners and tastemakers alike. In 2021, she released ‘Microdosing’ and her ‘Heartbeats’ EP, a one-two punch that broke her beyond the club circuit. ‘Microdosing’ was a double first: UNIIQU3’s first record playlisted on mainstream UK radio, and the first Jersey Club track ever long-listed for a Grammy. The campaign saw UNIIQU3’s face everywhere from Times Square billboards to the front cover of DJ Mag, while the music soundtracked fashion shows from Versace and Fenty.

The years since ‘Heartbeats’ have seen UNIIQU3’s status continue to soar: touring with Tinashe, opening for Beyoncé on her Renaissance world tour, going platinum as a co-writer for Chloe and being sampled by Doechii, all while taking club music to new territories through a relentless live schedule. ‘Mass Appeal’ marks the next chapter in this extraordinary story - buckle up.

*First-ever release on vinyl
*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes
*Vinyl includes 5" x 7" postcard print

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

CASSETTE VERSION

*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

180g vinyl LP with original obi strip and liner notes reproduction, remastered and cut by Bernie Grundman, pressed and printed in Japan

Sony Japan is pleased to present Isao Suzuki's fourth album off the Three Blind Mice label, "Orangutan". The 1975 free jazz album features acclaimed saxophonist Mori Kenji and guitarist Kazumi Watanabe, and remains undiminished by the years.

Isle of Jura is proud to present the first official reissue of Esa’s self titled LP originally released in 1987. Following the 2024 reissue of iconic single 'A Muto', this full album release marks a bittersweet milestone for the label. Developed in close collaboration with the estate of the legendary producer Martin Socko Moukoko following his passing last year, this reissue stands as both a definitive archival release and a respectful tribute to his legacy in Cameroonian music.

Originally released on Atesa in 1987, Esa is a pristine encapsulation of the "Paris Makossa" phenomenon. In the mid 1980s, Cameroon’s finest musical minds migrated to Parisian studios, cross pollinating traditional rhythms with cutting edge European studio electronics and Antillean Zouk sensibilities. At the absolute center of this movement was visionary producer Martin Socko Moukoko. The album is driven by the dancefloor anthem 'A Muto', which showcases a brilliant fusion of horn heavy Makossa and slick Antillean Zouk. Across the five other expansive, spiritual tracks, the sonic template expands significantly. Striking a perfect balance between the urban, brass led grooves of Douala Makossa and the fast, driving, syncopated polyrhythms of Cameroonian Bikutsi, the LP delivers a unique rhythmic energy. These traditional backbones are seamlessly laced with Martin Socko Moukoko’s advanced studio programming, bubbling digital synthesisers, slinky slap bass, and rich, layered harmony vocals.

By bringing the full LP back into print alongside Martin Socko Moukoko’s family, Isle of Jura ensures that his musical legacy is preserved, allowing this timeless intersection of Cameroonian tradition and electronic innovation to be heard exactly as it was intended.

A 180 gram pressing in a 3mm full sleeve designed by Bradley Pinkerton.

Mario Batkovic’s music occupies a singular space between composition, performance and sonic experimentation.
Based in Bern, Switzerland, the composer, accordionist and multi-instrumentalist has developed an intensely personal musical language rooted in a radical interrogation of the accordion — its timbre, mechanics, physicality and rhythmic potential. In Batkovic’s hands, the instrument becomes something far beyond its conventional role: a source of intricate, evolving sound in which performer and machine appear to become one.
Batkovic received International critical acclaim when his eponymous debut album was released on Invada Records in 2017, with Rolling Stone listing it in the top 10 avant-garde albums of the year. ‘INTROSPECTIO’ followed, a self-questioning, self-examination of society which featured collaborations with Colin Stetson, James Holden and Clive Deamer (Radiohead / Portishead).
II sees Batkovic venture further into radical, uncompromising and experimental territory, both in the reduction and the expansion of sound. Voices overlap, rhythmic structures develop an almost mechanical force, and layers of sound evoke analogue synthesizers. Then everything falls away: near-total silence, the breath of the bellows, a single frequency. Sounds emerge that can barely be traced back to any particular instrument.
The album is built entirely around the physical relationship between one musician and one instrument. No loops, no electronic layers. Everything you hear comes from an uncompromising exploration of the instrument itself. A primal force of creation and destruction.
With credits that include music for the global hit game 'Red Dead Redemption II’, commissions for AMI Paris, Cartier Fondation, Hugo Boss, Chanel and film scores ‘Mad Heidi’ and ’Shame and Money’ his compositional work has extended into some of the most distinctive fields of contemporary culture.

2026 Repress

Yesterday's Tomorrows is Moomin's 3rd album and the first of his to be released on WOLF Music Recordings. The album see's Moomin showcasing the natural, organic sound he is known for, applying his production technique to House, as well as venturing into beatdown territory with 90s New York Hip Hop, and his uniquely Moomin take on liquid Drum & Bass.

ALOUD! is about breaking rules in order to create your own. It’s about speaking your truth unapologetically and not worrying about being judged for it. At its core, this album is meant to feel fun. There’s so much heaviness in the world right now, and sometimes people just need to dance, escape for a minute, and let themselves feel free. Honestly, I need that too.

With this project, I wanted to tap into a lighter side of myself. I wanted to make music that feels fun and accessible. This album is about letting go, being present, and allowing yourself to enjoy life without overthinking every move.



Don’t let anybody silence you or tell you who you’re supposed to be. Say what you want, move how you want, and dance your way through the hard times. Stay ALOUD. You’re allowed to live life on your own terms.

Das fünfte Studioalbum von Psychic Ills, ,Inner Journey Out", feiert sein zehnjähriges Jubiläum. Ursprünglich erschien es 2016 als erstes Album der Band seit ,One Track Mind" (2013) und gilt als Höhepunkt einer dreijährigen Odyssee des Songwritings, die die Psych-Rock-Landschaft durchquert, die Psychic Ills im Laufe ihrer Karriere geprägt haben, während sie inspirierte Ausflüge in Country, Blues, Gospel und Jazz unternahmen. ,Inner Journey Out" begann so, wie viele Alben von Psychic Ills: mit den Demos von Frontmann Tres Warren. Wie bei allen ihren Alben ist Elizabeth Harts Bass das Bindeglied, das alles zusammenhält. Eine ganze Reihe von Musikern und Sängern - darunter Hope Sandoval von Mazzy Star, die beim Duett der Lead-Single ,I Don't Mind" mitwirkt - begleiten die Band auf dieser Reise. Dies ist zudem das erste Album, auf dem der Tour-Keyboarder Brent Cordero zu hören ist; sein Spiel auf Farfisa und Wurlitzer zieht sich wie ein roter Faden durch das Album. Diese Musiker bilden den Rahmen, auf den Warren seine verträumte Gitarre und seinen Gesang legt. Eine endlose Reihe von Freunden und Gästen beteiligt sich am Geschehen und steuert Pedal-Steel-Gitarre, Blasinstrumente, Streicher und Hintergrundgesang bei, was in einem karriereprägenden Moment für die Ills gipfelt. Thematisch ist ,Inner Journey Out" eine detaillierte Erkundung des Inneren und des Äußeren sowie des Weges zwischen beiden. Das fokussierte Songwriting sorgt dafür, dass sich die stilistischen Abweichungen nahtlos in das vielseitige Ethos der Band einfügen. Die mitreißende Gospel-Psychedelia von ,Another Change" und ,Baby" sowie die abgedrehte Free-Jazz-Erkundung ,Ra Wah Wah" tragen dazu bei, ,Inner Journey Out" zu einem facettenreichen, umfassenden Albumerlebnis zu machen. Abgesehen von dieser Weite ist es auch das persönlichste Album der Psychic Ills, das verlockend auf Liebe und Verlust anspielt, dem Hörer aber keine Auflösung bietet - es stellt Fragen, gibt aber nie Antworten; es sucht, kommt aber nie zu einem endgültigen Schluss. Stell es neben andere ,Drop-out"-Symphonien wie ,Ladies and Gentlemen We Are Floating in Space" von Spiritualized, ,Pacific Ocean Blue" von Dennis Wilson und ,Born to Be With You" von Dion - und lass deine Reise beginnen.

Martini Shot is the new album from Danny Scott Lane-a catchy, nostalgic and slightly manic collection that feels a little like one drink too many. Moving between lounge, soul, indie pop and exotica, the record plays more like a mixtape than a single idea, with a distinctly '90s streak running through it.

Lane sings on seven of the album's ten songs, a departure from his largely instrumental past work, and plays drums and percussion for the first time alongside his usual synths, keyboards, guitar and bass. Longtime collaborator David Lackner contributes flute, joined by new collaborators Logan Hone on flute and Katie Jacoby on violin.

Martini Shot marks Lane's second release with Records We Release, following the well-received House of Alice. The result is loose, romantic, restless and a little unpredictable.

Martini Shot is the new album from Danny Scott Lane-a catchy, nostalgic and slightly manic collection that feels a little like one drink too many. Moving between lounge, soul, indie pop and exotica, the record plays more like a mixtape than a single idea, with a distinctly '90s streak running through it.

Lane sings on seven of the album's ten songs, a departure from his largely instrumental past work, and plays drums and percussion for the first time alongside his usual synths, keyboards, guitar and bass. Longtime collaborator David Lackner contributes flute, joined by new collaborators Logan Hone on flute and Katie Jacoby on violin.

Martini Shot marks Lane's second release with Records We Release, following the well-received House of Alice. The result is loose, romantic, restless and a little unpredictable.

On En Route, Oddisee captures the tension of motion—between where you’re from and where you’re headed, between ambition and grounding, between survival and purpose. Released at a moment when his voice was sharpening into something unmistakably his own, En Route feels like a checkpoint record: reflective, hungry, and deeply human.

Built on warm, head-nodding production and Oddisee’s signature blend of jazz-inflected beats and conversational clarity, the album balances internal dialogue with outward observation. He raps not as a distant narrator but as someone in the thick of it—touring, questioning, recalibrating—turning everyday moments into quiet revelations. Themes of independence, self-definition, and forward momentum run through the record without ever tipping into cliché; this is movement with intention, not escape.

What makes En Route endure is its honesty. There’s no forced grandeur here, just earned confidence and craft. Oddisee treats growth as a process rather than a destination, letting listeners ride alongside him as the miles stack up. The result is an album that feels lived-in and timeless—music for long drives, late nights, and anyone figuring out who they are while still on the way.

Tracklisting:

SFS World proudly presents Cytissorus, the debut solo album by SIL and also the first release from SFS World. Across eight tracks-Atlanta, Seine, False Promises, Osina, Purism, XL, Gerta, and Hader-the album explores immersive breakbeats woven with ambient textures, balancing rhythm, space, and emotion.
Rather than following typical club structures, Cytissorus unfolds as a continuous listening experience. Each track opens a different landscape, shifting fluidly between moments of tension and stillness, while maintaining a distinct sonic identity.
With Cytissorus, SIL delivers a deeply personal work-an intimate, cinematic journey that marks the start of his solo artistic voice and our label, SFS World.


Mastered:
Anton Zap

Written, produced and mixed by SIL
Artwork by Grigory Koloskov
Released by SFS World

Mit Horses In The Sky veröffentlichte Thee Silver Mt. Zion 2005 jenes Album, das von vielen Fans bis heute als kreativer Höhepunkt der Band angesehen wird und ihre Entwicklung zu einer eigenständigen, kaum kategorisierbaren Stimme zwischen Punk, Emo, Post-Classical, Klezmer und Folk eindrucksvoll festhielt. Mehr als zwei Jahrzehnte später erscheint das Werk nun als 21st-Anniversary-Vinyl-Neuauflage mit erweitertem Artwork, Gatefold-Cover, gestalteten Innenhüllen sowie dem restaurierten 12-seitigen Booklet und der originalen Vinyl-Gravur auf Seite vier. Die sechs Stücke verbinden Protestmusik mit emotionaler Dringlichkeit und reichen von zarten Momenten bis zu epischen, vielschichtigen Kompositionen. Besonders God Bless Our Dead Marines und Mountains Made Of Steam zählen bis heute zu den beliebtesten und intensivsten Songs des Ensembles und waren über Jahre hinweg zentrale Bestandteile ihrer Live-Shows. Mit seiner einzigartigen Mischung aus Hoffnung, Verzweiflung, Schönheit und Widerstandskraft überschreitet Horses In The Sky die Grenzen des Post-Rock und bleibt ein Schlüsselwerk im Katalog von Thee Silver Mt. Zion. Die Neuauflage würdigt ein Album, dessen künstlerische Kraft und politische Dringlichkeit auch heute nichts von ihrer Wirkung verloren haben.

Following the success of UNLOCKED and UNLOCKED 1.5, acclaimed rapper Denzel Curry and visionary producer Kenneth Blume fka. Kenny Beats reunite for another explosive collaboration on upcoming album ii. Featuring JPEGMAFIA, Yebba, and Westside Gunn, the project pairs boundary-pushing production with sharp lyricism. The campaign includes music videos for both focus tracks, behind-the-scenes content, exclusive interviews, and more, giving fans an inside look at the making of this highly anticipated release.

TBM’s 9th title, newly recorded by Tsuyoshi Yamamoto with renewed energy after his time training in the U.S. Featuring a lyrical touch on "Autumn Leaves", a bold and swingin’ Tsuyoshi-style take on "Wave", and the superbly tasteful "Blue Manhattan" in both performance and composition—an exquisite piano trio album.

Following his Victor debut "Maki", Masaru Imada kept up the momentum with his second album and the very first TBM release. The melancholic slow number "Nostalgia" and the light yet lyrical modal piece "Gehi Dorian" are essential listening. (Series supervised by Koki Hanawa)

Ein in sich geschlossenes, grandioses, Zeichen setzendes Monumentalmeisterwerk, 2026 neu gemastert! Die Lokalmatadore bestehen seit Anfang 1982 und sind aus Mülheims allererster Punkband "Pissrinne" hervorgegangen. "Söhne Mülheims" erschien 2010 und war das fünfte richtige Album der Lokalmatadore und etwas punkiger als der Vorgänger "Männer Rock_n_Roll" anno 2000. Enthalten sind fünfzehn lokalmatadoretypische Hymnen plus ein Bonusstück. Wieso, weshalb, warum ein Bonusstück, dürft ihr selber raten...Neben eigenen Titeln gibt es zwei Coverversionen von Buzzcocks sowie Peter and the Test Tube Babies sowie das Steigerlied als Huldigung an die Bergarbeiter. Fußballmäßig wird der lokale Club V.f.B. Speldorf geehrt und der kosmische Analphabet dürfte einmalig sein. Einmalig Lokal halt, wie so oft.

Special remarks : coloured vinyl, Orange
On his first vinyl LP release for Stasis Recordings, SubDan delivers an album that feels like an Acid Smiley Face. His sound is so rooted in the TB303 that it is the backbone to every track, and yet, he doesn’t use it as a baseline (which was the instrument’s original intention, according to Roland), but as melody, a mood, a feeling. This LP is full of retro feels combined with futuristic beats, languid atmospheres and urgent callings. SubDan uses the TB303 like no other musician I know and on this LP his creativity is on full display.

Cardinal & Nun is back on L.I.E.S. with a new 12 track double lp "SCARS"

Here we get the French artist in top form going full on heads down darkwave on this record with his song writing taking a new twist. These are catchy gothic almost synth-pop arranged tracks reminiscent of some of Sheffield's and Manchester's finest, and driving enough to move the floor peaktime at the Batcave as well. Head right to the b-side for "It Doesn't Change The World" featuring Andrew Clinco, of Drab Majesty, which is a perfect slice of down trodden bass driven shoegaze with Clinco's signature vocals stamped all over it. The title track "Scars" follows, going right into new wave pop territory as well, extremely catchy and moody vocals scattered throughout. A stunning album that works for the desolate days alone whether the moon is up or the sun is going down...beautiful and powerful.

Ghost Funk Orchestra (GFO) kehren mit ,Yours in The Ranks of Death", ihrer bisher bodenständigsten und persönlichsten Sammlung von Songs, in unseren Orbit zurück. Nachdenklich und ätherisch - auf dem fünften Album von Ghost Funk Orchestra reduziert Komponist und Mastermind Seth Applebaum die Klänge und konzeptionellen Grundlagen und schafft so für seine typischen Grooves einen klareren Rahmen, in dem sie über den Plattenteller gleiten können. Wie die Strahlen der Sommersonne, die den Morgennebel langsam auflösen, treten nun die Konturen und kristallklaren Figuren deutlicher hervor, die Ghost Funk Orchestra seit ihrem Beitritt zum Label im Jahr 2018 zum groovigen, modernen psychedelischen Soul-Jazz-Boogaloo-Rückgrat von Karma Chief Records gemacht haben. Eine treibende, poetische und funkige Form der Selbstreflexion.

On June 9, 2025, Rolling Stone Magazine - Australia captured the significance of PARKWAY DRIVE's landmark performance at the Sydney Opera House with the headline: "The AC/DC of Their Generation': Parkway Drive deliver career-defining performance at Sydney Opera House." The one-night-only event brought the Byron Bay metalcore legends into the Concert Hall for an unprecedented black-tie affair, pairing their explosive live show with the grandeur of a full symphonic orchestra. Bringing PARKWAY DRIVE's music to one of the world's most recognizable venues was an ambitious move for a band already celebrated for pushing the boundaries of live performance. Yet seeing the group's signature intensity framed by a symphony orchestra revealed a new emotional dimension to songs built for arenas and festivals. The result was both intimate and monumental-a rare collision of metal, orchestration, and occasion that transformed the Concert Hall into something entirely its own. The context of the performance only heightened its impact. Marketed as a historic black-tie celebration that would never be repeated, the event became one of the most coveted PARKWAY DRIVE shows in the band's history, selling out instantly and leaving countless fans outside the room. For those unable to witness it in person, Home - Live at the Sydney Opera House finally brings this extraordinary night to a wider audience, alongside a feature film and live album documenting this career-spanning performance. At its heart, Home is also a reflection on what "home" has meant to PARKWAY DRIVE over two decades. As their reach has expanded from Byron Bay to stages around the world, their connection to the landscapes, people, and community that shaped them has remained central. Now, that journey comes full circle at one of Australia's most iconic landmarks.

On June 9, 2025, Rolling Stone Magazine - Australia captured the significance of PARKWAY DRIVE's landmark performance at the Sydney Opera House with the headline: "The AC/DC of Their Generation': Parkway Drive deliver career-defining performance at Sydney Opera House." The one-night-only event brought the Byron Bay metalcore legends into the Concert Hall for an unprecedented black-tie affair, pairing their explosive live show with the grandeur of a full symphonic orchestra. Bringing PARKWAY DRIVE's music to one of the world's most recognizable venues was an ambitious move for a band already celebrated for pushing the boundaries of live performance. Yet seeing the group's signature intensity framed by a symphony orchestra revealed a new emotional dimension to songs built for arenas and festivals. The result was both intimate and monumental-a rare collision of metal, orchestration, and occasion that transformed the Concert Hall into something entirely its own. The context of the performance only heightened its impact. Marketed as a historic black-tie celebration that would never be repeated, the event became one of the most coveted PARKWAY DRIVE shows in the band's history, selling out instantly and leaving countless fans outside the room. For those unable to witness it in person, Home - Live at the Sydney Opera House finally brings this extraordinary night to a wider audience, alongside a feature film and live album documenting this career-spanning performance. At its heart, Home is also a reflection on what "home" has meant to PARKWAY DRIVE over two decades. As their reach has expanded from Byron Bay to stages around the world, their connection to the landscapes, people, and community that shaped them has remained central. Now, that journey comes full circle at one of Australia's most iconic landmarks.

Star Moles ist das Projekt von Emily Moales, einer Auswanderin aus New Hampshire, die in Philadelphia, Pennsylvania zu neuem Leben erwacht ist und sich dort weiterentwickelt hat. Seit sie 2017 zum ersten Mal Musik auf digitales Band aufgenommen hat, tut sie das, was jeder großartige Künstler tun sollte: Kunst schaffen, ihr Handwerk verfeinern und ihre eigene Stimme finden - in ihrem eigenen Tempo und in relativer Anonymität. In diesen Jahren hat sie viele Facetten ihrer selbst erkundet. Ihre bisherigen Veröffentlichungen (sieben Alben in voller Länge, mehrere EPs und unzählige Singles) waren oft fantastisch und konzeptionell geprägt und ließen sich von Literatur und Mythologie inspirieren. Das war für sie als Teenagerin im verschlafenen New England und als junge Erwachsene inmitten der bedrückenden Angst vor einer globalen Pandemie eine notwendige Flucht aus dem Alltag. Jetzt ist sie 27 und geht immer noch nicht besonders oft aus, und hat hochkonzeptionelle Kunst gegen große Wirkung eingetauscht. Sie fühlt sich dazu hingezogen, Musik zu machen, die so klingt wie die Musik, die sie liebt, und über ihr Leben im wunderschönen Philadelphia zu singen. Zudem bleibt sie fest im aktuellen weltgeschichtlichen Moment verwurzelt und spricht Themen wie religiösen Fanatismus, den ökologischen Kollaps und den unverhohlenen Aufstieg des Faschismus in Amerika an. Ihr überragendes fünftes Studioalbum heißt "Highway to Hell". AC/DC, da könnt ihr euch verdammt noch mal ein Beispiel daran nehmen. Einfach gesagt: Dieses Album ist ein bedeutendes Statement, das die Ankunft eines einzigartigen Talents signalisiert, das reif für den Durchbruch ist. Moales ist eine der Hauptakteurinnen in einem jungen, hungrigen Team unglaublich produktiver Künstler, die in der stets pulsierenden Musikszene in Philadelphia noch unter dem Radar fliegen, aber dabei sind aufzusteigen. ,Highway to Hell" wurde von Kevin Basko (Rubber Band Gun) produziert und enthält wichtige Beiträge von Mitgliedern des Kreativkollektivs ,Emily and Kevin's Historic NJ Recordings", darunter Sam Sullivan (Gitarre) und Jem Seidel (Schlagzeug).

2026 Repress

Astral Projection were pioneers on the Goatrance scene and have been storming the dancefloors for more than 20 years with their uplifting melodic and hypnotic music signature! Now we are delighted to announce; their EP "Let There Be Light" with 2 new tracks of the masters and remixes by Filteria and Morphic Resonance; repressed on vinyl.

First you can hear Astral's rework of the sublime "Filtertraces" track by Filteria. Giving it their so special spiraling recipe, Avi and Lior gave it a trippy and panoramic touch!

Second Filteria returns the favor with his own version of the fantastic "Let There Be Light" track by Astral Projection. The production upgrade and filteria-esque melodies do wonders to the goatrance anthem and on the dancefloors where it's played!

Then, Morphic Resonance, shows the full extent of his skills as he embarks you on a sci-fi rollercoaster ride with his remake of Astral Projection's "Enlightened Evolution". Expect massive melodies and the usual explosion of energy from the Catalan artist!

Last but not least, Astral Projection have remixed their own "Another World" track from the 1999 eponymous album. Yet no doubt the Israeli duo is stunningly sharp as it managed to give it exhilarating new twists as well as a splendid production!

This incredible collaboration shows once again goatrance music is a blessing and we hope it will enlighten your path!

featuring the original 10-track album

GERDie Chopi Timbila zählt zu den großen Orchestertraditionen Afrikas und ist tief in der Kultur der Chopi im mosambikanischen Distrikt Zavala verwurzelt. Ihre charakteristischen Mwenje-Holzxylophone sind in sieben gleichmäßigen Tonabständen gestimmt und erzeugen eine mikrotonale Klangwelt, die sich deutlich von westlichen Tonsystemen unterscheidet. Die Ensembles vereinen Musiker verschiedener Generationen und Erfahrungsstufen, während jährlich neue Kompositionen entstehen, die Gemeinschaft, Geschichte und das Leben der Vatxopi widerspiegeln. 2008 wurde die Tradition von der UNESCO als Immaterielles Kulturerbe anerkannt und gilt bis heute als eine der komplexesten und schönsten musikalischen Ausdrucksformen Mosambiks. Mit Ecos Do Legado (Echoes Of The Legacy) ehren die Brüder von Timbila Ta Venancio, allesamt Söhne des legendären Timbila-Meisters Venancio Mbande, das Lebenswerk ihres Vaters und die kulturelle Bedeutung der Chopi-Musik. Die 2026 im Studio Bom Dia in der Provinz Inhambane entstandene Aufnahme interpretiert Mbandes Erbe neu und bewahrt zugleich dessen Geist und Tradition. Die zehn Stücke folgen der überlieferten Reihenfolge einer klassischen Timbila-Aufführung und entfalten eine zusammenhängende musikalische Erzählung. Ecos Do Legado ist damit zugleich Hommage, kulturelles Dokument und eindrucksvoller Beweis für die lebendige Zukunft dieser einzigartigen Tradition.[ENG]The Chopi Timbila is one of Africa's great orchestral traditions, deeply rooted in the culture of the Chopi people of Zavala, Mozambique. Its distinctive mwenje wood xylophones are tuned in seven equidistant pitches, creating a microtonal sound world markedly different from Western musical systems. Timbila ensembles bring together performers of different ages and skill levels, with new compositions created each year to reflect community life, history, and tradition. Recognized by UNESCO as Intangible Cultural Heritage in 2008, the tradition remains one of Mozambique's most celebrated and sophisticated musical forms. On Ecos Do Legado (Echoes Of The Legacy), Timbila Ta Venancio honors the legacy of revered timbila master Venancio Mbande through the work of his sons, who perform and reinterpret his enduring musical vision. Recorded in 2026 at Studio Bom Dia in Inhambane Province, the album serves as both a tribute to Mbande and a celebration of Chopi cultural heritage. The ten pieces follow the traditional sequence of a timbila performance, unfolding as an interconnected musical narrative. Ecos Do Legado stands as a powerful testament to a living tradition whose cultural significance continues to resonate across generations.

Die neueste 45er vom Co-Sänger und Schlagzeuger von Indications liegt voll in seinem Element, bietet aber eine schöne neue Palette an Klängen. Die Gitarre im Intro erinnert ein wenig an Filmmusik im Morricone-Stil, ähnlich wie etwas, das man auf dem Soundtrack zu ,Postales" hätte hören können - was Sinn macht, da auf beiden Alben der legendäre Gitarrist Tommy Brenneck zu hören ist. Uptempo, eingängig, rau _ frisch und doch klassisch. Genau das, was du auf einer frischen 7er für die Plattenteller willst. Die B-Seite trifft genau das, wofür Mr. Frazer bekannt ist _ die langsame und tiefe Süße. ,Let Your Love Grow" besticht durch eindringliches Cembalo, kraftvolles Schlagzeug, ein Klavier, das Rza gutheißen würde, und einen Refrain, der einfach nicht aufhört. Schnapp dir gleich zwei Exemplare.

Die neueste 45er vom Co-Sänger und Schlagzeuger von Indications liegt voll in seinem Element, bietet aber eine schöne neue Palette an Klängen. Die Gitarre im Intro erinnert ein wenig an Filmmusik im Morricone-Stil, ähnlich wie etwas, das man auf dem Soundtrack zu ,Postales" hätte hören können - was Sinn macht, da auf beiden Alben der legendäre Gitarrist Tommy Brenneck zu hören ist. Uptempo, eingängig, rau _ frisch und doch klassisch. Genau das, was du auf einer frischen 7er für die Plattenteller willst. Die B-Seite trifft genau das, wofür Mr. Frazer bekannt ist _ die langsame und tiefe Süße. ,Let Your Love Grow" besticht durch eindringliches Cembalo, kraftvolles Schlagzeug, ein Klavier, das Rza gutheißen würde, und einen Refrain, der einfach nicht aufhört. Schnapp dir gleich zwei Exemplare.

Die Chopi Timbila zählt zu den großen Orchestertraditionen Afrikas und ist tief in der Kultur der Chopi im mosambikanischen Distrikt Zavala verwurzelt. Ihre charakteristischen Mwenje-Holzxylophone sind in sieben gleichmäßigen Tonabständen gestimmt und erzeugen eine mikrotonale Klangwelt, die sich deutlich von westlichen Tonsystemen unterscheidet. Die Ensembles vereinen Musiker verschiedener Generationen und Erfahrungsstufen, während jährlich neue Kompositionen entstehen, die Gemeinschaft, Geschichte und das Leben der Vatxopi widerspiegeln. 2008 wurde die Tradition von der UNESCO als Immaterielles Kulturerbe anerkannt und gilt bis heute als eine der komplexesten und schönsten musikalischen Ausdrucksformen Mosambiks. Mit Ecos Do Legado (Echoes Of The Legacy) ehren die Brüder von Timbila Ta Venancio, allesamt Söhne des legendären Timbila-Meisters Venancio Mbande, das Lebenswerk ihres Vaters und die kulturelle Bedeutung der Chopi-Musik. Die 2026 im Studio Bom Dia in der Provinz Inhambane entstandene Aufnahme interpretiert Mbandes Erbe neu und bewahrt zugleich dessen Geist und Tradition. Die zehn Stücke folgen der überlieferten Reihenfolge einer klassischen Timbila-Aufführung und entfalten eine zusammenhängende musikalische Erzählung. Ecos Do Legado ist damit zugleich Hommage, kulturelles Dokument und eindrucksvoller Beweis für die lebendige Zukunft dieser einzigartigen Tradition. ENGThe Chopi Timbila is one of Africa's great orchestral traditions, deeply rooted in the culture of the Chopi people of Zavala, Mozambique. Its distinctive mwenje wood xylophones are tuned in seven equidistant pitches, creating a microtonal sound world markedly different from Western musical systems. Timbila ensembles bring together performers of different ages and skill levels, with new compositions created each year to reflect community life, history, and tradition. Recognized by UNESCO as Intangible Cultural Heritage in 2008, the tradition remains one of Mozambique's most celebrated and sophisticated musical forms. On Ecos Do Legado (Echoes Of The Legacy), Timbila Ta Venancio honors the legacy of revered timbila master Venancio Mbande through the work of his sons, who perform and reinterpret his enduring musical vision. Recorded in 2026 at Studio Bom Dia in Inhambane Province, the album serves as both a tribute to Mbande and a celebration of Chopi cultural heritage. The ten pieces follow the traditional sequence of a timbila performance, unfolding as an interconnected musical narrative. Ecos Do Legado stands as a powerful testament to a living tradition whose cultural significance continues to resonate across generations.

Transcendental dreamstates and techno synthscapes projecting from 1992 into the future.

Written and recorded shortly before his departure from Psychick Warriors Ov Gaia, Dream Night Dance Music is the visionary first album from Robbert Heijnen under his celebrated alias, Exquisite Corpse. Exploring ritualistic rhythms and organic synth sculpting with a delicacy far beyond most techno released in 1992, the seductive atmospheres and rolling sequences of Dream Night Dance Music reach well beyond pure dancefloor functionality to become an immersive experience for introspection and extroversion alike.

Belgian label KK Records originally released Dream Night Dance Music as a single LP and CD, long-since out of print and highly sought after by the notoriously enthusiastic PWOG / Heijnen fanbase. This expanded reissue on Forever Records spreads the release across two 12"s, adding the track 'What A Life' originally released on the Reassembling Reality single, recorded during the same sessions as Dream Night Dance Music. In addition, the limited vinyl edition comes with a bonus 10" featuring previously unreleased tracks 'Calling' and 'Sure'.

Praise for Dream Night Dance Music:

"The Dream Night Dance Music CD is… electronic opium… The soft, analogue synth sounds and arrangements strongly recall minimal music (Glass/Reich). Music that never ends, constantly winding new loops and coils around the listener's vulnerable inner self." Fritz, Trust Zine, 1992.

"The sound is very trance-like and hypnotic, yet remains highly danceable and never gets boring… It is sure to appeal to night owls, cyberpunx, and neon-light junkies alike." Spex, 1992.

"Heynen strikes a compelling balance between a multitude of rhythms, melodies, and timbres. Permeated by an almost swaying groove, the music reflects influences ranging from the early "minimal music" of composer Steve Reich and the electronic architecture of pioneers Kraftwerk to various non-Western, mystical traditions without ever resorting to mere imitation." Corné Evers, Oor, 1992.

Transcendental dreamstates and techno synthscapes projecting from 1992 into the future.

Written and recorded shortly before his departure from Psychick Warriors Ov Gaia, Dream Night Dance Music is the visionary first album from Robbert Heijnen under his celebrated alias, Exquisite Corpse. Exploring ritualistic rhythms and organic synth sculpting with a delicacy far beyond most techno released in 1992, the seductive atmospheres and rolling sequences of Dream Night Dance Music reach well beyond pure dancefloor functionality to become an immersive experience for introspection and extroversion alike.

Belgian label KK Records originally released Dream Night Dance Music as a single LP and CD, long-since out of print and highly sought after by the notoriously enthusiastic PWOG / Heijnen fanbase. This expanded reissue on Forever Records spreads the release across two 12"s, adding the track 'What A Life' originally released on the Reassembling Reality single, recorded during the same sessions as Dream Night Dance Music. In addition, the limited vinyl edition comes with a bonus 10" featuring previously unreleased tracks 'Calling' and 'Sure'.

Praise for Dream Night Dance Music:

"The Dream Night Dance Music CD is… electronic opium… The soft, analogue synth sounds and arrangements strongly recall minimal music (Glass/Reich). Music that never ends, constantly winding new loops and coils around the listener's vulnerable inner self." Fritz, Trust Zine, 1992.

"The sound is very trance-like and hypnotic, yet remains highly danceable and never gets boring… It is sure to appeal to night owls, cyberpunx, and neon-light junkies alike." Spex, 1992.

"Heynen strikes a compelling balance between a multitude of rhythms, melodies, and timbres. Permeated by an almost swaying groove, the music reflects influences ranging from the early "minimal music" of composer Steve Reich and the electronic architecture of pioneers Kraftwerk to various non-Western, mystical traditions without ever resorting to mere imitation." Corné Evers, Oor, 1992.

Original Jazz Classics celebrates Miles Davis’ centennial with the release of Steamin' with the Miles Davis Quintet. Released on Prestige in 1961 as one of four albums recorded in 1956 at Van Gelder studios, Steamin’ features Davis with his first great quintet of John Coltrane, Paul Chambers, Red Garland and Philly Joe Jones. This new edition of the album is released on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Tip-On Jacket.