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Der Titel des siebten Studioalbums der kalifornischen Punkrocker bezieht sich auf Mike Ness" doppelte musikalische Heimat. Der Songwriter und Sänger von Social Distortion huldigt auf "Hard Times And Nursery Rhymes" sowohl dem düsteren Amerika eines Hank Williams wie auch dem bluesigen Herumstolzieren der Rolling Stones etwa während der "Exile-On-Mainstreet"-Ära. Altbekannte Einflüsse, die hier jedoch in den Vordergrund treten: "Hard Times And Nursery Rhymes" ist das rockigste und gleichzeitig beseelteste Album der Gruppe, die weltweit über vier Millionen Alben verkaufte. Dennoch finden Fans den typischen Punkrock-Roar in jedem Stück wieder: vom Opener "California (Hustle and Flow)" bis zum düster-rockenden Hank-Williams-Cover "Alone and Forsaken". Aber auch Springsteen- und Tom-Petty-Fans dürften diesen Sound mögen. "Hard Times And Nursery Rhymes" ist das erste Album der Band nach "Sex, Love And Rock "n" Roll" aus dem Jahr 2004. Für Fans von Gaslight Anthem, Rancid, Bad Religion, Tom Petty, Bruce Springsteen und Tiger Army. Die 2LP hat zwei Bonus-Tracks.

White Vinyl Repress

Oliver Dollar, Stefan Braatz and legendary Osunlade have created another stomping Pearl for the Dancefloor. Housemusic at it´s best.

Originally released in 1990 by Happy Mondays, Pills ‘n’ Thrills and Bellyaches captured the chaotic, euphoric spirit of the Madchester movement, blending indie rock, acid house rhythms and funk grooves into a sound that helped reshape British alternative music. Featuring era-defining tracks such as “Step On” and “Kinky Afro,” the record became both a commercial breakthrough and a cultural snapshot of a generation fuelled by dance culture and Northern nightlife.

More than three decades later, its grooves, attitude and genre-blurring production still resonate strongly with contemporary audiences, influencing modern indie and electronic artists alike.

1LP Red Edition. All original audio remastered from Factory Records master tapes. Includes original album and brand new liner notes by James Brown.

5 x LP
60-page hardback book
Black vinyl
Printed labels
Printed inners
Slipcase
A2 poster
Slipmat

Originally released in 1990 by Happy Mondays, Pills ‘n’ Thrills and Bellyaches captured the chaotic, euphoric spirit of the Madchester movement, blending indie rock, acid house rhythms and funk grooves into a sound that helped reshape British alternative music. Featuring era-defining tracks such as “Step On” and “Kinky Afro,” the record became both a commercial breakthrough and a cultural snapshot of a generation fuelled by dance culture and Northern nightlife.

More than three decades later, its grooves, attitude and genre-blurring production still resonate strongly with contemporary audiences, influencing modern indie and electronic artists alike.

5LP Edition. All original audio remastered from Factory Records master tapes. Includes original album, Hallelujah + Madchester Rave On, Baby Big Head Bootleg Album (Live at Elland Road, 1991), classic and new remixes, 60-page hardback book with brand new essays from James Brown and Central Station designers, fold-out A2 tour poster and Madchester slipmat.

,been thinking bout confession", das dritte Studioalbum der Musikerin und Produzentin Frances Chang, ist eine synthlastige, experimentelle Pop-Erkundung des Selbst und der unermesslichen, unbekannten Tiefen, die es birgt. Das Album, das größtenteils auf einem hundert Jahre alten Stutzflügel komponiert wurde, bettet die unbändigen Emotionen von Changs DIY-Wurzeln in eine komplexe und poetische Klanglandschaft ein, die orchestrale Arrangements mit eigenwilligen, fast skulpturalen, elektronischen und analogen Elementen verwebt, bei der die durchscheinende Stimme der Sängerin die eigenwillige Instrumentierung leitet. Durch eine sich stetig steigernde Poesie führt uns Chang durch eine chaotische Architektur, ein Kerzenlicht fest umklammert, das zugleich selbsttäuschend und schonungslos transparent ist. Auch wenn ,Been Thinking About Confession" klanglich der außerirdischen Schönheit von Björk und der retrofuturistischen Verträumtheit von Broadcast verpflichtet ist, nennt Chang auch eher unerwartete Einflüsse wie Chet Baker, Dionne Warwick und Burt Bacharach, die das emotionale Rückgrat des Albums bilden. Chang hat ihre übliche Gitarre größtenteils beiseitegelassen und diese 11 Songs am Klavier geschrieben, einem Instrument, das sie als ,die weibliche Wurzel meiner Psyche" bezeichnet. Die unheimliche Verschmelzung von unkonventionell eingesetzten Federhall-Effekten, älteren Kompressoren und Röhrenvorverstärkern vor einem eindeutig zeitgenössischen digitalen Hintergrund sorgt für ein Hörerlebnis, das sich gleichzeitig über Vergangenheit, Gegenwart und Zukunft auszudehnen scheint. Für Fans von Cate Le Bon, June McDoom, Cindy Lee, ML Buch, Bill Callahan, Joanne Robertson

Music Evolution is the second and last album by the all-star jazz/hip-hop/R&B fusion project Buckshot LeFonque. Led by none other than jazz saxophonist Branford Marsalis and DJ Premier, the project was named after Buckshot La Funke, a one-time pseudonym used by alto sax legend Cannonball Adderley for contractual reasons.

The album features guest performances by rapper Guru, Matrix actor Laurence Fishburne, and the highly regarded session musician David Sanborn. While his brother Wynton holds conservative views regarding jazz, Branford is quite the opposite. On Music Evolution, he effortlessly embraces and fuses hip-hop, R&B, and rock into a sonic explosion infused with the joy of playing. The track "Another Day", featuring the soulful voice of Frank McComb, was especially popular in the Netherlands, reaching number 4 in the Dutch singles chart.

Music Evolution is available as a limited edition of 1000 copies on pink vinyl and includes an insert.

Berlin, 2026. Manchmal braucht es Zeit, bis eine Band findet, was sie wirklich sagen will. R.O.S.A. haben diese Zeit nicht gebraucht. Die Berliner Hardcore-Punk-Band - bestehend aus Hassan (Gesang), Til (Schlagzeug), Jörg (Gitarre) und Max (Bass), allesamt Veteranen von Patsy O'Hara, Empty Vision, Tackleberry und Ratfeast - meldeten sich 2025 mit drei Digitalsingles zurück und wussten von Anfang an, wohin die Reise geht. No Peace for You umfasst elf neue sowie neu eingespielte Songs, u.a. rerecordete Versionen der drei E:P: Songs - Cold Moon, Black Noise und Ugly Boys. Die Grundkoordinaten der Band? Dunkel, hallend, direkt, mit einer metallischen Kante, für Fans von GAG, Gulch oder anderen Chainpunk-Wahnsinnigen. Die Neuaufnahmen sind kein Nachschärfen des Alten, sondern eine Standortbestimmung: So klingt die Band jetzt, mit einem Album hinter sich statt einem Demo vor sich.

Trotz vielen modernen Strömungen in den letzten 30 Jahren, sind es doch die traditionellen Spielarten des Heavy Metal, die den Motor am Laufen halten und auf die junge und alte Fans immer wieder zurückgreifen.
Diese Box repräsentiert drei Alben aus den „goldenen Achtzigern“, während die LP von OBLIVION beweist, dass es im Underground auch in den Neunzigern Musik jenseits von Grunge und Crossover gab. Die US-Metal-Legende GRIFFIN ist die bekannteste Band in dieser Box. Ihre beiden Alben auf dem Steamhammer Label (in den USA auf Shrapnel) gelten heute als Klassiker und man tritt sogar noch sporadisch auf, unter andere, beim Keep It True Festival. Enthalten ist das zweite Album „Protectors Of The Lair“ als Doppel-LP mit einem neuen Remix, aber auch mit dem Original als Remaster. HAMMER´S RULE gehören zu den besten Underground US-Metal Bands. In Deutschland wurden deren EP und LP zusammengeschnitten und man konnte das Werk der Gruppe nicht vollständig erwerben. Golden Core haben das nun gelöst, in dem der LP eine zusätzliche 7“ Single beiliegt. Somit hat man „Show No Mercy“ zusammen mit „After The Bomb“ endlich komplett und das auch noch remastert. Hammer´s Rule fallen durch einen melodischen, aber harten und teils epischen Stil, sowie durch eine der besten Rhythmusgruppen im US-Metal auf. SQUADRON aus Deutschland wurden erst kürzlich „entdeckt“ und gelten seitdem als eine der besten unsigned Bands des German Metal der Achtziger.
Es ist zudem die erste Band von Drummer Klaus Sperling, der in Folge mit Primal Fear, Sinner oder Nitrogods bekannt wurde. Squadron habe zwei professionell klingende Demos aufgenommen, die hier nun erstmals restauriert und gemastert vorliegen.

Fans und Presse sind sich einig: Hätte diese Band ein Album bei den damals einschlägigen Labels veröffentlicht, wären sie heute bekannt wie Running Wild oder Helloween. OBLIVION haben in den Neunzigern eine CD in Eigenregie veröffentlicht – ganz schlechte Zeiten für einen kreativen, aber dennoch traditionellen Heavy Metal-Stil. „Reflections“ wurde nach und nach zur Rarität und zu einem Sammlerobjekt, aber die Rufe nach einer Vinylausgabe wurden lauter. Golden Core haben reagiert und dieses versteckte Kleinod auf LP veröffentlicht

Westside Cowboy aus Manchester zählen aktuell zu den spannendsten neuen Indie-/Alternative-Bands
Großbritanniens. Das Quartett, das sich vor drei Jahren in Manchester formierte und kürzlich bei Island
Records UK unterschrieben hat, veröffentlicht am 21. August sein Debütalbum It Goes On.
Mit der neuen Single „Kick Stones (The Boys)“ liefert die Band einen ersten Vorgeschmack auf ihren
mitreißenden Sound zwischen euphorischem Indie-Rock und emotionaler Intensität. Gemeinsam mit Produzent Loren Humphrey (Geese, Cameron Winter, Wunderhorse) entstanden elf Songs, die die Verwirrung,
Verzweiflung und Hoffnung des Erwachsenwerdens einfangen.
Westside Cowboy konnten bereits mehrere ausverkaufte Headline-Shows spielen, darunter im Scala in
London und im Gorilla in Manchester. Im Anschluss tourte die Band als Support von Geese durch Großbritannien und Europa, bevor sie im Herbst mit einer eigenen UK- und Europa-Tour unterwegs sein wird. It
Goes On ist das eindrucksvolle Debüt einer Band, die man jetzt auf dem Radar haben sollte.

Der Soundtrack zu „Empire Records“ (1995), der bisher noch nie auf schwarzem Standard-Vinyl erschienen
ist, fängt den Indie-Spirit des Films mit einer sorgfältig zusammengestellten Mischung aus Alternative-Rock
und Pop der 90er Jahre ein. Mit Titeln von Gin Blossoms, The Cranberries und Toad the Wet Sprocket
bietet diese bei Kultfans beliebte Zusammenstellung einen nostalgischen Einblick in den prägenden Sound
dieser Ära.

Back on vinyl, We're Already There is Mazarin's cult-favorite 2005 masterpiece. Pressed on rusty red vinyl and housed in a deluxe gatefold sleeve, this essential reissue brings renewed attention to one of the most overlooked and rewarding psychedelic indie albums of the 2000s. Originally released in 2005, We're Already There is the acclaimed second album by Mazarin, the project led by Quentin Stoltzfus. Blending lush psychedelic textures, melodic indie rock, and intricate studio craftsmanship, the album occupies a unique space between dream pop, chamber pop, and neo-psychedelia, earning a devoted following among fans of adventurous independent music. Widely regarded as the band's defining statement, We're Already There showcases richly layered arrangements, warm analog production, and timeless songwriting that continues to resonate two decades after its original release. Long sought after on vinyl, the album remains a hidden gem of the mid-2000s indie landscape. This reissue is presented on rusty red vinyl and housed in a gatefold sleeve, offering the definitive vinyl edition of a modern cult favorite. Combining strong collector appeal with enduring musical relevance, We're Already There is an essential catalogue title for retailers serving indie, psychedelic, and alternative music audiences.

A long-overdue return to one of the most singular moments in Nurse With Wound's sprawling discography. Originally issued in 1994, Rock 'n' Roll Station marked a turning point - the album where Steven Stapleton's decades-long engagement with collage, musique concrète, and the outer limits of post-industrial sound first met the hypnotic, rhythm-driven studio sensibility of Colin Potter. What began as a request to rework some of the more percussive sections of 1992's Thunder Perfect Mind mutated, under Potter's hand, into something else entirely: an hour of swivelling grooves, warped exotica, and looping psychedelia, channelling the ghosts of Pérez Prado, Graham Bond, Joe Meek, and Jacques Berrocal into the most rhythm-conscious work the group had ever made. Three decades on, it remains one of the most beloved entries in the NWW catalogue. Issued by United Dirter as a limited LP, this new VIP edition reframes the album through four extended remixes and reworkings, each running close to or beyond ten minutes - a deep re-engagement with the source material by the extended Nurse With Wound family. Joining the usual suspects of Colin Potter, Matt Waldron, Andrew Liles, and Diarmuid MacDiarmada is an unexpected and historically significant presence: Jean-Jacques Birgé, the French composer, filmmaker, and co-founder of Un Drame Musical Instantané, whose GRRR imprint (founded 1975) famously appeared on the original Nurse With Wound List nearly half a century ago. A quiet circle, closing. The LP arrives as forerunner to a more ambitious project still to come: The Iron Lung Gives Way To The Surgical Stocking, a 5CD set due later in 2026, of which these reworks offer a first glimpse. Housed in striking new full-colour artwork by Babs Santini - Stapleton's longstanding visual alter ego. 500 ww copies in black & orange vinyl. Genre/Style: Electronic / Dark Ambient / Experimental / Drone

Ein Album, das der Blütezeit der 90er Jahre entsprungen zu sein scheint. Subtil grungy, alternativ, voller Melancholie und Gelassenheit in den Gesangslinien. Mit »Glue« zeigen Daily Thompson vor allem, dass sie nicht nur meisterhafte Musiker sind, sondern auch ein tiefes Gespür für Atmosphäre und Emotion haben, vor allem aber für Songwriting.

Ein Ausnahme-Album, das zwischen Melancholie und purer musikalischer Freude den Hörer mitnimmt auf eine Reise vom Nordwesten Amerikas in den Nordwesten Dortmunds. Trotz aller musikalischen Vorbilder wird jedoch die bandeigene DNA niemals vergessen.

Die auf orangefarbenem Vinyl erhältliche LP von Marcus 5 dokumentiert erstmals offiziell remasterte Archivaufnahmen einer slowenischen Band, deren Ursprung in den frühen Achtzigern liegt. Die LP versammelt neun Stücke, die zwischen 1982 und 1985 aufgenommen wurden und nun in 24-bit/48kHz-Downloads sowie als physische Pressung vorliegen. Die Veröffentlichung bringt frühe Demos und seltene Studioaufnahmen in eine kohärente Edition und richtet sich an Sammler und Freunde der regionalen Alternativszene. Musikalisch verbindet Marcus 5 alternative Funkelemente mit einem ausgeprägten Rhythmusfundament, zugleich sind Anklänge an New-Romantic- und Coldwave-Ästhetik spürbar. Charakteristisch für die Gruppe waren prägnante Basslinien, synkopierte Gitarren und eine ausgeprägte Bühnenpräsenz, die der Band in Ljubljana schnell lokale Aufmerksamkeit brachte. Diese stilistische Mischung sowie die knappen, melodisch orientierten Arrangements zeichnen den Sound aus und geben dem Material eine eigenständige Spur in der damaligen Szene. Die Credits nennen Vinci Vogue AnPlovar als Sänger, Borut KrPisnik und Zvone Kukec an den Gitarren, Jani Hace am Bass sowie Friderik Vargazon an Schlagzeug und Xylophon; sämtliche Stücke entstanden unter dem Bandnamen Marcus 5. Für die Neuauflage zeichnet Mastering-Ingenieur Simon Pensek (Studio Siska, 2025) verantwortlich; das Artwork stammt von Zvone Kukec, Fotografie von JoPe Suhadolnik. Die Edition erschien auf Matrix Music Arhiv und präsentiert damit ein wichtiges Dokument der slowenischen Alternativmusik aus den frühen Achtzigern. Orangen farbige Vinyl LP

Mit beunruhigenden Rhythmen, melancholischen Keyboardklängen und ergreifenden Chören ist „Polaar“ ein mitreißendes Album, das ebenso verstört wie es fasziniert, ebenso beruhigt wie es beunruhigt.

Their follow up to the acclaimed ‘Anda Jaleo’. A document of Josephine Foster's magical partnership with Victor Herrero breathing new life into timeless traditional melodies, drawing from the Spanish-folk traditions of Castile, the Basque, Santander and the Costa Brava. ‘Perlas’ is debonair, contemporary and redolent of that old seductive charge.” The Wire. Elemental themes of love bind the collection together, with a melancholy joy that casts a shadow of desire and loss. “The alt-folk fixture returns to more traditional material.” Pitchfork.

A live recording of “Las Canciones”; a visceral celebration of the persistence of popular anonymous song based on the work of legendary socialist poet Federico García Lorca, a Granada born literary pioneer. Featuring songs from his 1931 collection of mysteriously beautiful flamenco tunes. A poetically rich collection created by Foster and Herrero for their acoustic band, formed while living in the Grenadine Sierra. “Foster’s vocals, met by husband Herrero’s frantic and raw gypsy-band orchestration, demonstrates the sense of urgency in the music’s message well and carries ‘Anda Jaleo’ to an elevated state.” The Line Of Best Fit... “The alt-folk fixture returns to more traditional material.” Pitchfork.

“Windborne” originally released in 2018 was the debut album from young Norwegian power-trio Kanaan. With components
from jazz, fusion and post-rock they have created six extended pieces of blazing freeform psychedelia. While the band is rooted in the same spirit that gave birth to Mahavishnu Orchestra and The Eleventh House in the 1970s, there's a distinctive modern flavour to Kanaan's sonic endeavors. Their Scandinavian genealogy is apparent as well - their intricate song structures seems to be branching off the same stem as Motorpsycho, Papir and Jaga Jazzist. And no doubt the young band has the chops to carry on the pedigree! Opening track ”A. Hausenbecken” feels like a sudden blast of refreshing nordic air, with it's rolling guitar leads and growling Fender Rhodes. But Kanaan aren't afraid to get deep and heavy – the B-side dives into straight-up Sabbath territory, with ”Act Upon The Mundane World” and ”The Groke”, before ending the album with the abstract, free-flowing title track ”Windborne”. From the first note to the last the band keeps high levels of energy and creativity, and although freeform, they never sacrifice focus or direction. Ask Vatn Strøm - guitars
Ingvald André Vassbø – drums Eskild Myrvoll – bass Rhodes on "A. Hausenbecken" by Vegard Lien Bjerkan.

Having recorded with UFO, Babe Ruth, Cozy Powell's Hammer, Paice Ashton Lord and on countless chart hits for RAK Records as Mickey Most's studio session guitarist, Bernie was a founding member of Whitesnake. in just four years, Whitesnake became firmly established as one of the very biggest British rock bands, racking up multiple chart singles and albums.After leaving Whitesnake in 1982, Bernie Marsden was almost constantly writing, recording or touring. Although a revered guitarist of exquisite touch, which mercifully is preserved for us to enjoy on hundreds of studio recordings, it was on stage where his charisma and wit was best enjoyed.

Jetzt auch als "Translucent Purple Vinyl" LP erhältlich. ,been thinking bout confession", das dritte Studioalbum der Musikerin und Produzentin Frances Chang, ist eine synthlastige, experimentelle Pop-Erkundung des Selbst und der unermesslichen, unbekannten Tiefen, die es birgt. Das Album, das größtenteils auf einem hundert Jahre alten Stutzflügel komponiert wurde, bettet die unbändigen Emotionen von Changs DIY-Wurzeln in eine komplexe und poetische Klanglandschaft ein, die orchestrale Arrangements mit eigenwilligen, fast skulpturalen, elektronischen und analogen Elementen verwebt, bei der die durchscheinende Stimme der Sängerin die eigenwillige Instrumentierung leitet. Durch eine sich stetig steigernde Poesie führt uns Chang durch eine chaotische Architektur, ein Kerzenlicht fest umklammert, das zugleich selbsttäuschend und schonungslos transparent ist. Auch wenn ,Been Thinking About Confession" klanglich der außerirdischen Schönheit von Björk und der retrofuturistischen Verträumtheit von Broadcast verpflichtet ist, nennt Chang auch eher unerwartete Einflüsse wie Chet Baker, Dionne Warwick und Burt Bacharach, die das emotionale Rückgrat des Albums bilden. Chang hat ihre übliche Gitarre größtenteils beiseitegelassen und diese 11 Songs am Klavier geschrieben, einem Instrument, das sie als ,die weibliche Wurzel meiner Psyche" bezeichnet. Die unheimliche Verschmelzung von unkonventionell eingesetzten Federhall-Effekten, älteren Kompressoren und Röhrenvorverstärkern vor einem eindeutig zeitgenössischen digitalen Hintergrund sorgt für ein Hörerlebnis, das sich gleichzeitig über Vergangenheit, Gegenwart und Zukunft auszudehnen scheint. Für Fans von Cate Le Bon, June McDoom, Cindy Lee, ML Buch, Bill Callahan, Joanne Robertson

¡Hola amigos! ¡Dieciséis guarniciones de chile picante, peyote loco y tequila helado! ¡Hermoso!
If there's one thing I'm good at it's finding records. It doesn't matter where in the world I am, I find records, the best records, the rarest records. And always in Mint condition. I have a knack for it. One place I like to hunt for records is South of the Border, in Mexico. You can find great records there, way out in those pequeños pueblos del desierto. Another great thing you can find is cactus.
Mexico is famous for cactus. You got your Ariocarpus, your Turbinicarpus, your Mammillaria. You got cactus of all kinds, big and small. Little ones like Eplithelantha, psychedelic ones like the peyote Lophophora, and rare ones like Aztekium. But my favourite is Mammillaria humboldtii. Now this one is very hard to find. The villagers over in Hidalgo know where it is, and they go high up in the mountains to look for it.

Now these guys, they take their time. But when they come down from those mountains, they bring back the most beautiful specimens. I really mean it, they're beautiful. They're like clumps of fluffy white golf balls, and they have these cute little pink flowers. Beautiful I tell ya. I pay precio alto for a good specimen of Mammillaria humboldtii.

"Black & 'Pearlescent Transcendent Future'"-farbiges Vinyl. Light in the Attic präsentiert die lang erwartete Neuauflage von ,Synthesizing: Ten Ragas to a Disco Beat", dem revolutionären Album von 1982 vom Komponisten und Musiker Charanjit Singh. Er hat klassische indische Ragas mit den damals modernsten Roland-Synthesizern und Drumcomputern kombiniert und so ein elektronisches Meisterwerk geschaffen, das seiner Zeit weit voraus war. Bei den Live-Aufnahmen in den HMV-Studios in Mumbai verband Singh die Vergangenheit mit der Zukunft - er mischte die alte indische Tradition der Ragas (ein melodisches Gerüst, ähnlich einer Tonleiter, aus dem Musiker improvisieren oder komponieren können) mit pulsierenden elektronischen Dance-Beats. Das Album wurde ohne großes Aufsehen veröffentlicht, geriet in Vergessenheit und Singh zog sich aus dem Musikgeschäft zurück, um sich auf private Konzerte zu konzentrieren, aber damit fängt die Geschichte erst richtig an...

Light in the Attic präsentiert die lang erwartete Neuauflage von ,Synthesizing: Ten Ragas to a Disco Beat", dem revolutionären Album von 1982 vom Komponisten und Musiker Charanjit Singh. Er hat klassische indische Ragas mit den damals modernsten Roland-Synthesizern und Drumcomputern kombiniert und so ein elektronisches Meisterwerk geschaffen, das seiner Zeit weit voraus war. Bei den Live-Aufnahmen in den HMV-Studios in Mumbai verband Singh die Vergangenheit mit der Zukunft - er mischte die alte indische Tradition der Ragas (ein melodisches Gerüst, ähnlich einer Tonleiter, aus dem Musiker improvisieren oder komponieren können) mit pulsierenden elektronischen Dance-Beats. Das Album wurde ohne großes Aufsehen veröffentlicht, geriet in Vergessenheit und Singh zog sich aus dem Musikgeschäft zurück, um sich auf private Konzerte zu konzentrieren, aber damit fängt die Geschichte erst richtig an...

Sofía Viola and Chancha Vía Circuito unite on Oro en Ti, a deeply spiritual collaboration shaped by their shared roots in the southern suburbs of Buenos Aires. Blending Latin American folk traditions with hypnotic percussion, ambient textures, and Eastern influences, the album explores themes of nature, faith, humanity, and inner connection through a warm, meditative lens. Chancha Vía Circuito brings significant international profile to the project, built through years of globally acclaimed DJ sets, nearly 200 million cumulative streams across DSPs, and strong physical sales over the past decade. His work has been championed by outlets including Resident Advisor, Pitchfork, Billboard, The Guardian, NPR, and The Fader.

Since emerging from the Buenos Aires underground,Sofía Viola has built a strong reputation across Latin America and Europe through her singular songwriting and live performances, earning selections to major international showcase festivals including IMESUR, Circulart, FIMPRO, BIME Pro, and MAPAS. Oro en Ti captures the chemistry between both artists through devotional songwriting and richly textured production, offering an emotionally resonant and transportive listening experience that feels both timeless and deeply connected to the present moment.

The second volume of Surplus Enjoyment...
This one taking in some fan favourites from the SWAG vaults.
Three cuts from 2001 in previously unreleased and re-mastered form.

One limited, clear vinyl press.

Featuring Robert Roth, the visionary songwriter and frontman behind Truly, alongside Hiro Yamamoto, co-founder of Soundgarden, and Mark Pickerel, founding drummer of Screaming Trees, Twilight Curtains captures the collaboration of three influential figures from Seattle's underground music scene. Gathering rare, unreleased and alternate recordings from 1991-1997, this long-overlooked collection documents the band's most creative years and is available on vinyl for the first time ever. Originally released in 2000 as a CD-only collection, Twilight Curtains gathers rare, unreleased and alternate recordings captured between 1991 and 1997, documenting the band during its most creative and exploratory period. More than simply another Seattle group, Truly forged a singular sound that blended heavy psychedelic rock, grunge-era intensity, damaged pop and expansive melodic textures. Featuring the contributions of three key figures from the Pacific Northwest underground, this collection offers a fascinating glimpse into the band's evolution through alternate versions, lost recordings and previously unavailable material. An essential companion to Fast Stories_ From Kid Coma and Feeling You Up, Twilight Curtains finally makes this missing piece of the Truly catalogue available on vinyl.

Michaela Turcerová’s compositions unfold in slow motion. The saxophonist and composer’s glacial music zeroes in on the granularities of each note as it rings, soaking in every subtle shift in texture and pitch.

Šumum exemplifies this patient approach to writing music, branching out from themes of loss and togetherness into an intricate tapestry of introspective sound. These four pieces invite deep collaboration between performers, who together shape the music through the shared process of listening and interpreting Turcerová’s relatively open scores. And while these works often grow from long, stretched-out tones, they also foreground forward direction: no note stays in one place, no melody is without action. Instead, Šumum chronicles how the tiniest shifts can lead to major transformation.

Šumum builds from Turcerová’s longheld interests in place and minimalism. Many of the composer’s works explore perception: how a room can shape the music we hear, and how repetition alters a melody. Like the music of Éliane Radigue, Šumum embraces the rainbow of colors that appear when close listening with the wave-like flow of looped melodic and rhythmic patterns. All the album’s pieces observe the subtle changes that happen as music grows.

Group communication yields the constant evolution that defines Šumum. The album feels like a conversation, with each instrumentalist swapping phrases or trading places when the moment feels right. “Straty” builds from a series of strongly accented drones that appear as quickly as they fade away; underneath them is a perpetual rhythm that drives the color of each long held note, from melancholy into radiance and back again. With “Vlny,” pitch eventually disappears, leaving a delicate rhythm, and with “Masy,” a matrix of brassy tones link together and eventually burst. No matter where the music goes, one thing remains true: Šumum invites close listening, and in the process, reveals the beauty of continual motion.

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

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


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

Scum rock low-lives Louse return with their Sophomore LP, Buyer’s Remorse - an unrefined but levelled-up dip back into the murk, keeping it in the family one more time on Riot Season records (a label which now, fittingly, features genre luminaries Brainbombs).
More cohesive, more negative but no less disgusting than debut record Creep Call, the band have further enhanced their pummelling, single-riff ritual M.O. with even more strop-razor guitars, crank-fuelled slide-bass, strangled sax and sinister missives from the void.
Buyer’s Remorse includes unspeakable meditations on an unmatched litany of losers, including: inept hitmen/serial killers, snuff-flick refund naivety, disturbing fellatio lessons, burying yourself alive to escape the law (“you’ll never get me in the slammer”) and having a damn good time being chopped into luncheon (take a ride on the meat slide!)
Snubbed from all but the best festivals, Louse continue to eke out a steady stream of shows, with highlights such as glorious sweat-boxes in our beloved Torino, Monza and beyond in the EU with BRAK, being the first band to play Mickey Zogg’s Basement in Bristol with Beau Wanzer and multiple distinguished appearances at Café Oto with legend and fellow RS label-mate Shit & Shine.
Right-thinking taste-makers have decreed that Louse “exist in an alternate reality where The Fall and The Birthday Party are one and the same band”, and that their songs are “all at once unsettling, loose, filthy, untamed, distorted and fucked up, but most of all rocking, creative and unique”.
Buyer’s Remorse is no exception, having been wrangled into perfection by long-time collaborator James Atkinson (The Stationhouse Studio) and none other than Rectal Hygienics’ Matt Ibarra (STR Mastering) this is truly scum rock at its finest - all at once punishing, ugly and brutal; but listen to that groove (oh my!)
Louse are
The Captain - Vocals, Septic Pete - Guitar, The King of Sting - Guitar , Uncle Brutus - Guitar Mister P. - Drums, Dieta Di Patate - Slide Bass

Classic Me First And The Gimme Gimmes reissued: The Gimmes roll into town for a 12-song shootout with Country & Western. These Blue-State bandits are gonna show Kenny Chesney how it's really done. But now the demanding bunch are back, and this time, it's country that gets a kicking. More C&W-styled numbers are easy targets, be it the ever popular "(Ghost) Riders in the Sky," which here gallops straight into hardcore, "Desperado," which will never escape this incendiary melodic punk rock arrangement, and "On the Road Again," which is delivered up in a similar sizzling style. "Jolene," having already suffered the indignities of a goth make-over, is now manhandled by the Gimmes, who storm Dollyland with utter abandon and a barrage of guitars and battering drums, all the better to keep their man -- hmm, shades of Brokeback Mountain. "Annie's Song" is dragged off of John Denver's country roads, and dumped center stage in the middle of a rock concert, which is just where it belongs. Hank Williams' "I'm So Lonesome I Could Cry" gets even more inspired treatment, including a bagpipe! Even a seemingly straightforward punk do-over like "Goodbye Earl" provides some scintillating moments, from the Rancid meets the Clash styling to the bright harmonies and soaring lead guitar licks. The musicianship really shines through on this set, the guitars blaze, the bass becomes assaultive, and the rolling drums sound like the thunder of mortar in the distance, while the production is equally notable. But hey, the Gimmes can play country, too -- well almost -- the first half of "Much Too Young (To Feel This Damn Old)" boasts some fine fingerpickin' guitar, although the country styling keeps sliding into surf: hey, your roots are showing, guys. Now this is country music everyone can enjoy, gimme more! The 20th anniversary edition comes in a yellowish, more brown Mustard colored vinyl.

Scowl haben sich schnell einen Namen als eine der ausdrucksstärksten und fleißigsten Bands der Rockwelt gemacht. Auf ,Psychic Dance Routine" erweitern Scowl weiterhin die Grenzen ihres Sounds und ihrer künstlerischen Präsenz und bewegen sich nun irgendwo zwischen Hardcore und Alternative. Die Höhepunkte und Herausforderungen des Auftritts - sei es im Studio, auf Tour oder im Leben selbst - wurden zu einem wiederkehrenden Thema auf dieser EP mit fünf Titeln.

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

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

A decade after its original release, Be Nothing. still stands as the breakout record that launched Boston Manor from the UK underground onto the global alternative scene. Blending emo vulnerability, pop-punk energy, and sharp post-hardcore intensity, the album became a defining release of the 2010s with fan-favorite tracks like “Lead Feet,” “Burn You Up,” and the massive “Halo.” Now, this 10 Year Anniversary Edition celebrates the legacy of Be Nothing. with newly recorded acoustic versions of the band’s biggest songs, reimagining the album’s most emotional moments with a raw, stripped-back approach. Equal parts nostalgic and refreshed, it’s a tribute to the record that changed everything for Boston Manor while showcasing how timeless these songs have become.

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

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

Rising from Belmont University dorm rooms to #1 Alternative hits and arena stages, the band continues to push their genre-blurring ethos forward--this time with a bold, kaleidoscopic sound that spans 80s- inflected rock ("Miracle," "Win or Go Home"), arena-ready alt-pop ("Maybe the Best Is Now"), soulful introspection ("As The Crow"), and even a tongue-in-cheek pop-country turn ("Gravel Roads").

Originally released in 1989 as an early milestone for the label, this landmark session teams the legendary alto saxophonist - then at the absolute peak of his powers at age 57 - with the incomparable Tommy Flanagan Trio . A titan of the genre for over 60 years, Woods masterfully combined a lush, beautiful tone with a complete command of the bebop vocabulary. Backed by veteran pianist Tommy Flanagan, former Oscar Peterson Trio bassist George Mraz, and a young, up-and-coming Kenny Washington on drums, the quartet delivers a timeless set of acoustic jazz that sounds as vital and vibrant today as it did nearly four decades ago.

Released worldwide in 2001 as Twilight, the album introduced boa's distinctive blend of atmospheric alt-rock, melodic intensity, and emotional depth. It gained worldwide recognition through "Duvet," featured as the opening theme to cult Japanese anime Serial Experiments Lain, and has since found renewed global attention through a recent viral resurgence. The album explores themes of identity, longing, and connection, balancing introspective lyricism with driving guitars and immersive arrangements. This limited edition celebrates a landmark release that continues to resonate with both longtime fans and a new generation of listeners

Born at the turning point between apartheid and democratic South Africa, the Xitsonga bubblegum-disco duo Chibuku embodies the energy of a time of change,as Nelson Mandela was released from prison and kwaito began to emerge. Althoughthey did not achieve the fame of figures such as Paul Ndlovu or Penny Penny, their only album Maxambe (1992) is now considered a precious time capsule, a raw disco treasure rediscovered by lovers of forgotten music. Behind the project is Dr Joe Shirimani, a guitarist, singer, composer and producer of genius from Tzaneen and Soshanguve, recognised as one of the major architects of South African disco and bubblegum. Long overlooked, Maxambe nevertheless bears witnessto an era and a social perspective: migration ("Lekomfere"), debt and economics ("Xikweleti"), and family relationships ("Mhamazala"). The music is festive in appearance, but deeply rooted in the reality of its time. Released on Tusk/Diamond Music, an iconic label of the 1980s and 1990s bought out by Gallo Record Company, Chibuku is now emerging as a diamond rediscovered from the archives of South African disco. Its name, borrowed from a millet beer popular in several southern African countries, sums up the spirit of the group: popular, sincere and deeply rooted in local culture.

Nearly 15 years have passed since the original version of this LP was released (the first iteration as a 4X12" LMTD set back in 2012), and it has truly aged like fine wine! This release features five timeless cuts from the mind and soul of cv313 and a truly mesmerizing otherwordly dub of the illusive radius project, mixed and recorded near the heart of Detroit! (with nearly all of the tracks making their debut on wax) This entire project has been beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. You can just drop the needle and close your eyes for a near 20 minutes of fathomless sonic depth, massaging your brain and mind, a deep dive into an immersive analogue world. A new addition to this newly minted vinyl iteration of the "Altering Illusions" series now includes cv313's blistering analogue assault on the darkest radius bit in the interpolation tapes series. Expect sub-harmonic deep space exploration in some seriously out-there electronic quadrants, some of the deepest techno reductions ever captured to tape!

Thoughts:
"Altering Illusions Chapter One cv313 is every bit as strong and essential as the debut cv313 album it supplements and acts as a nexus between cv313 material old and new.It is quite unlike anything cv313 has released before or since, a beautiful hybrid of cv313 textures, dense, whirring drones from Alva Noto’s Xerrox series of ambient albums and Thomas Koner’s panoramic soundscapes." -IGLOO MAGAZINE

a A1. cv313 “isis” original mix 10:47

c B1. radius “interpolation tapes” cv313 rewire 20:06

e C2. cv313 “irradiate dub” 5:58
reduced 20:24

a A1. cv313 “isis” original mix 10:47

c B1. radius “interpolation tapes” cv313 rewire 20:06

e C2. cv313 “irradiate dub” 5:58
[reduced] 20:24

[a] A1. cv313 “isis” [original mix] 10:47

[c] B1. radius “interpolation tapes” [cv313 rewire] 20:06

[e] C2. cv313 “irradiate [dub]” 5:58
[reduced] 20:24

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