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Puerta Negra presents “Metafísica”, the third chapter in the project’s subversive and revolutionary sonic vision. Moving again through the outer edges of EBM, industrial funk, and mutant electronics, the new EP channels the raw physicality of contemporary American body music, aligned with acts such as High-Functioning Flesh or Spike Hellis, alongside the fractured futurism of late-’80s Cabaret Voltaire and its mutant new beat mutations. The result is tense, hypnotic, and deeply confrontational. At the center of the record are the stripped-down, unfiltered vocals of María Aguirre, moving through broken, hallucinogenic rhythms that continuously destabilize and reconstruct the groove. Mechanical yet visceral, cold yet intensely human, the tracks unfold like transmissions from a collapsing future. With “Metafísica”, Puerta Negra continues to push its singular language forward: radical avant-garde body music for the most restless corners of the underground — perfectly suited to ignite a revolution. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

'Where the Smoke Goes captures the conscious and unconscious of Johnny Coley in duet between 2020-2024 AD. Alabama-born, Marseille-based artist Turner Williams Jr. wraps a selection of his dear friend Johnny’s penultimate compositions in arresting tone poems.
'The music buzzes and hums with distant trains, trembling strings, and lapping water, haloing our protagonist in a humid glow as he considers whether horses can live to 70 years old, cigarettes potent enough to knock you on your ass, and orchids facing the wrath of winter storms.
'This work began in the first Covid spring, as Johnny's advancing multiple sclerosis gave way to a permanent domestic confinement and a final period of prolific creativity. Johnny braved the toxic gales of social media to share his thriving poetry and visual art practice and to keep in touch with friends like Turner, who had recently moved abroad. For the first time, Johnny recorded himself, sending Turner fresh poems, day and night.
'Taking cues from late era Coil and the operas of Robert Ashley, Turner approached these recordings both as language and pure sound, arranging accompanying mosaics that emerge as much from Johnny’s unseen text as his mercurial drawl. Tracks draw from Turner’s solo practice as well as sessions including Henry Birdsey of Old Saw, members of the French underground (Manoir Molle, Loto Retina, Mona Assayag) and close Birmingham collaborators (Jasper Lee, Jimmy Griffin, Ladonna Smith). The voice is parsed and played as an instrument and each poem becomes a score.
'There is Johnny’s poetry and Johnny’s voice. These are two independent yet interwoven instruments. For Turner, Johnny's vocabulary, cadence, and timbre carry all of the contradictions that he writes about. His work is a dialogue of rich contradictions. "He plays with Southern American vernacular speech in his poetry while embodying it with his speech, creating a zone of emotional frisson. He loved combining opposites. Rough yet soft was one of his favourite descriptors", Turner recalls, "That was Johnny. ” Upon hearing the completed record, Johnny likened it to "a beautiful wood box, that when you open it there are fabrics shot through with silk threads and sharp fall woods smells - supporting and decorating the poems that fall out of them. ”
'This record captures something unconscious, atmospheric, and gives it unexpected materiality. Smoke that you can feel like grass under your feet. Stars that you can touch like a lover. Meeting for the final time in the summer or 2025, the time for words had passed so they just held hands and listened to the album opener Stargazer in silence as Johnny drifted off to sleep.'

Suicide Squeeze is thrilled to announce a reissue of Holy Wave's Freaks of Nurture! Freaks is a hauntingly hypnotic journey through auditory lands of melodic bliss and passively happy psych rock hallucinatory dreams. Holy Wave is a band of multi-instrumentalists from El Paso, TX. Since moving to Austin in 2008, they have cemented themselves as a unique national and international touring circuit force. After perennial performances at Levitation (Austin Psych Fest) and countless tours and festival appearances in the USA, Europe, Latin America, and Africa, Holy Wave is poised to continue expanding into new spaces and places worldwide. With the recent release of their latest album, Five of Cups, this is the perfect time to revisit this crucial LP.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

Originally released by Panjabi MC in 1998 and propelled to worldwide success in 2002, “Mundian To Bach Ke” is widely recognized as one of the most influential Punjabi tracks ever recorded. Featuring the unmistakable vocals of Labh Janjua, the record fused traditional Punjabi bhangra with contemporary hip-hop production, creating a groundbreaking crossover sound that resonated with audiences across continents. Today, it remains a cultural landmark that helped introduce Punjabi music to international audiences and paved the way for the worldwide rise of South Asian artists.
Now, Spanish electronic music heavyweight Dario Nuñez joins forces with Afro House tastemaker Juany Bravo to breathe new life into this timeless anthem. The remix transforms the iconic vocal hook and instantly recognizable melodies into a high-energy Afro House and tribal-infused club weapon, blending modern production with the infectious spirit that made the original a worldwide phenomenon.
Also included on side A is the new remix by Benin-born, Brooklyn-raised DJ and producer, Amémé. Celebrated for his "AMÉMÉ House" sound, he blends deep house, tech, and ancestral African tribal percussions. The remix bridges two very distinct styles, classic South Asian bhangra and modern, spiritual Afro-house energy, all with Panjabi MC's personal blessing.
On side B the classic original version alongside the remix featuring Jay-Z !

2026 Repress

Das Debütalbum des amerikanischen Lo-Fi/Darkwave Künstlers John Maus aus dem Jahr 2006 ist endlich wieder auf LP erhältlich.

Consolidated, the political dance/industrial music band from the early 90ties joined again for a studio session in San Francisco last summer, resulting in a new album. 'We're Already There'. The first release on Consolidated's own label 'The End Of Records'. What else to expect, the new recordings are an innovating mix of industrial, to hip-hop, to rock and funk with mixtures of live instruments and electronics. Topped with left political activism and politically radical lyrics address issues such as America, Covid and ecocide with song The Flood, demand *'Free Music, Stop America'* with Musica Sin Frontieras & welcome guest vocalist GRETA THUNBERG on the track The 'ol Mass Extinction Blues. The album starts in 'traditional Consolidatedgroove' with the song 'Capitalism A.F.', a mix of beats, industrial sounds and hiphop. Followed by funkypop songs, danceable industrial jams, techno beats, reggae and blues influences plus a remarkable noise track. Main musicians are Adam Sherburne (guitar/vocals) and Mark Pistel (synths/beats) backed by Lynn Farmer (Meat Beat Manifesto) on drums, who replaces the original drummer Phil Steir. The complete album is recorded, mixed and mastered by Mark Pistel at 'Room 5' in San Francisco. The cover shows art paintings from Ayelet Hay (front) and William Kendall (back). On 'We're Already There' Consolidated plays more music than ever. "I have zero interest in being in a band, especially my own_" "I had to develop a different way to be involved with music for aesthetic and mental health reasons_" "FREE MUSIC! is not to the detriment of artists, it's literally the end of artists-as anyone perceives them in the last 500 years" -Adam Sherburne - Consolidated are known for their live performances, in which a microphone is passed among audience members to discuss, rebut, argue or elaborate on song topics. Consolidated: Adam Sherburne & Mark Pistel.

Das erste Soloalbum von Brian Sella von The Front Bottoms! Produziert von Emperor X. ,Sellas erstes Soloalbum wirkt viel mehr wie ein Twee-Indie-Album, das in seiner Blütezeit auf einer anderen Seite von Tumblr zweifellos für Furore gesorgt hätte." - Atwood Magazine ,Jeder Track strotzt nur so vor Persönlichkeit." - The Aquarian Während The Front Bottoms weiterhin Alben aufnehmen und auf Tour gehen, hat Sella sich auch selbstständig gemacht, um die Dinge frisch zu halten. ,Ich habe im Laufe der Jahre verschiedene Hobbys ausprobiert", erklärt er. ,Aber letztendlich kehre ich immer wieder zum Songwriting und zum Geschichtenerzählen zurück. Es ist einfach etwas, das ich tun muss, und ich muss neue Wege finden, es zu tun." Textlich bewegt sich das Album geografisch durch die Welt, mit Anspielungen auf einen amerikanischen Hai in einem australischen Fluss sowie Songs, die nach South Dakota und Wichita, Kansas, benannt sind. Sella hat schon früher Songs nach Orten benannt (Rhode Island, Santa Monica und West Virginia fallen einem da ein), aber diese neuen Songs fühlen sich eher wie innere Landschaften an, metaphorische Orte für das, was in Sellas Kopf vor sich geht. Klanglich zeichnen sich viele der Songs durch ambientartige Klangflüsse aus, die parallel zu den Stimm- und Gitarrenflüssen der vermischten Instrumente verlaufen; sich wiederholende Klavier- und Gitarrenmelodien spielen miteinander, Bläsersätze schwellen an und eben ab, es gibt sogar ein Flügelhorn, das sich an die Ränder des Jazz schmiegt. Sella bleibt da draußen und sucht nach neuen Strömungen und Buchten in diesem Klangfluss, der Hai auf der Jagd, mit einem Teufel, der seine Flosse umklammert. Mach dich bereit, dich einhüllen zu lassen!

GoldFord’s soul music is rooted in truth. His raw, unvarnished songs are a balance of introspection and catharsis, grappling with heartbreak, healing, and the quiet revelations that come with growth. After spending a decade in corporate America, the St. Louis native (now based in Los Angeles) turned to music as a means of survival following a devastating personal loss. “I was more afraid of dying with regret than I was of failing,” he says of his decision to finally choose the path at 30, a choice that set his entire trajectory in motion.

That initial fearlessness has since fueled extraordinary momentum. With over 4 million monthly listeners on Spotify, GoldFord has rapidly become one of the most compelling emerging voices in contemporary music. His breakout EP, Orange Blossoms (Oct 2024), has surpassed 100M streams, and his latest project, Space of the Heart (Sept 2025), has already generated 90.8M streams, 2.7M saves, and over 153,000 pieces of user-generated content across TikTok and Instagram. The standout track “Easy Does It” has reached 43.5M streams and continues to accelerate with more than 250K new weekly discoveries on Spotify.

GoldFord is stepping into a more luminous and soulful era as he prepares to unveil his next body of work. Defined by the warmth and light of his latest single, Only You Do, the music remains a dedicated exploration of mental wellness, restoration, and the profound power of human connection. From its opening chords, this new project serves as both a continuation and an elevation of his journey toward healing.

The night before Ella Fitzgerald walked into Konserthuset in Stockholm and recorded what became The Stockholm Concert,1966, the Pablo Records live album now considered among the essential documents of her late career, she played two concerts at Falkoner Theatre in Copenhagen. Ella is backed by the Duke Ellington Orchestra and the Jimmy Jones Trio.

Like many other Black American jazz musicians of her era, Denmark felt like home to Ella. It was a country where they found a degree of respect that the United States too often denied them.

Australian black metal force, Faustian, have been referred to as a super group of the Antipodean extreme metal scene; the members of this formidable three-piece having set their demons loose with the likes of Werewolves, The Berzerker, The Amenta, The Antichrist Imperium, Psycroptic, Abramelin and more. However, when confronted with the atmospheric, majestic inferno that is the sound of Faustian, whatever else its creators may have achieved is inconsequential - nothing else matters beyond experiencing the firestorm they unleash in this particular incarnation to its fullest enticing, exhilarating, unnerving extent. With a new deal signed with Apocalyptic Witchcraft, the band are now prepared to unveil their latest collection of unholy hymns. Following in the scorched earth wake of 2023s We Come As Angels, Faustian present Parable Of The Sewer_ From the first, breathless assault of 'I Curse You', with its storm torn atmosphere, dramatic darkness and furious speed, to the warped denouement of 'The Rot Shall Inherit The Earth', a sickly melodious foretelling of putrefaction and degradation, Parable Of The Sewer careers through fear-filled twilight and tenebrous realms of profane secrets. A combination of powerfully evocative lyrics and soul scarring music creates an unequivocal, yet irresistible invitation to damnation. From the indefatigable velocity of the wicked 'Cephalophore' to the precision guitar patterns and chanted revelations of 'Immaculate', the cruel, haunting and surely damned 'We Do Not Use Names Here' to the cold menace of 'Tenements (Only The Wicked Walk In Circles), steeped in the sweat and stench of terror, every moment of Parable Of The Sewer is a masterful expression of black metal art. Sinister and insidious, overwhelming and darkly glorious, walking the edge of a sacrificial blade between repulsion and temptation, Parable Of The Sewer is music at its most potent and dangerous.

American trumpeter Chet Baker was a major innovator in cool jazz, leading him to be nicknamed “the prince of cool”. He earned much attention and praise through the Fifties, partic- ularly for albums featuring his vocals. This included his 1954 album Chet Baker Sings and its follow-up Chet Baker Sings Again in 1985. The latter he released on the Dutch jazz label Timeless Records. He recorded the album with bassist Ricardo Del Fra, drummer John Engels and pianist Michel Graillier.

Songs, interpretiert von Memphis Slim, Sonny Boy Williamson, Big Bill Broonzy und anderen. Als United Artists 1959 ,Blues in the Mississippi Night" endlich veröffentlichte - nachdem man das Album jahrelang als ,zu kontrovers" eingestuft hatte -, erhielten die mitwirkenden Künstler Pseudonyme, um ihre Familien zu schützen. Das war der Preis dafür, dass sie die brutale, ungeschönte Wahrheit aussprachen. Heute wissen wir, dass ,Natchez, Sib & Leroy" die legendären Bluesmusiker Big Bill Broonzy, Memphis Slim und Sonny Boy Williamson waren. 1947 nahm Alan Lomax die drei Giganten mit einem Presto-Disc-Aufnahmegerät in den Decca Studios in New York City auf, nachdem sie im Rahmen seiner ,Midnight Special"-Konzertreihe in der nahegelegenen Town Hall aufgetreten waren. Lomax bat sie, ein paar Songs zu spielen und über ,den Blues" zu sprechen, und ermutigte sie, offen über die Ungerechtigkeiten des Lebens der Schwarzen in Amerika zu reden. Das Ergebnis war ,Blues in the Mississippi Night", eine bahnbrechende Aufnahme ihrer Songs und Geschichten, die die Ursprünge der Musik in Blut, Schweiß und Tränen der Afroamerikaner aufzeigt, die im Mississippi-Delta unter den Ausbeutungsbedingungen der Jim-Crow-Gesetze lebten. Einfach gesagt: Die Aufnahmen sind atemberaubend in ihrer brutalen Ehrlichkeit und ihrer fesselnden Meisterschaft. Heute hat das Lomax-Archiv die Originalbänder dieser historischen Aufnahme digital remastert, um sie zum ersten Mal seit 1959 wieder auf Vinyl zu veröffentlichen. Im Paket enthalten ist ein 20-seitiges Deluxe-Booklet mit einer vollständigen Transkription der gesamten Aufnahme sowie brandneuen Liner Notes von Anna Lomax Wood und einer Einleitung des renommierten Schlagzeugers und Produzenten Steve Jordan (Rolling Stones, John Mayer). ,Ich fordere jeden, der das Leben und die Wahrheit liebt, auf, sich diese Aufnahme anzuhören", sagt Jordan. Wenn man sich die Texte und die Musik darin anhört, wird das schnell klar. Dies ist eine unverzichtbare Aufnahme - ein Eckpfeiler in der Plattensammlung jedes Blues-Fans und ein unbestreitbarer Teil der amerikanischen Geschichte.

Obwohl Shelly Manne (1920-1984) oft auf seine Rolle in der West-Coast-Jazzszene reduziert wird, war
er tatsächlich einer der vielseitigsten amerikanischen Schlagzeuger. In seiner Karriere arbeitete er mit nahezu allen Größen des Jazz unterschiedlichster Stilrichtungen von Swing über Bebop bis hin zur Avantgarde
zusammen und war sogar auf Alben von Tom Waits und Frank Zappa zu hören. Etwas von dieser Flexibilität
zeigt er auch auf dem 1962 aufgenommenen Album “2-3-4”, das seinen Titel der Tatsache verdankt, dass
Manne sich hier im Duo, Trio und Quartett präsentiert. Dabei kommt es unter anderem zu einer Reunion
mit zwei Musikern, mit denen er zu Beginn seiner Karriere in den 1940er Jahren in New York zusammengespielt hatte: dem Tenorsaxofonisten Coleman Hawkins und dem Pianisten Hank Jones. Neben fantasievoll
interpretierten bekannten Standards präsentieren die Musiker auch zwei lakonisch betitelte Originale: “The
Sick of Us” und “Me and Some Drums”.

A real cult favorite of the American psychedelic underground, Three blends hypnotic guitars, immersive atmospheres, and deeply melodic songwriting into a rich, transportive listening experience. Drawing from neo-psychedelia, space rock, and dream pop traditions, the album has become a sought-after modern psych classic with enduring appeal among collectors and fans of expansive, guitar-driven music. Originally released in 2012, Three by Flavor Crystals has steadily become a cult favorite within the modern psychedelic underground. Blending hypnotic guitars, immersive atmospheres, motorik rhythms, and deeply melodic songwriting, the album moves seamlessly between neopsychedelia, dream pop, and space rock. With its warm production, shimmering textures, and expansive mood, Three creates a rich and transportive listening experience that continues to resonate far beyond its original release. Over the years, the album has developed a devoted following among collectors and fans of atmospheric, guitar-driven music, earning recognition as an essential modern psych title. This vinyl reissue reintroduces a sought-after underground classic with strong crossover appeal across psychedelic, indie, and dream pop audiences, offering excellent long-term catalogue value for retailers and distributors alike. Recommended For Fans Of The Brian Jonestown Massacre, Spiritualized, Spacemen 3, Mazzy Star, The Black Angels.

A beloved cult classic of late-'90s indie pop, Beverley Atonale captures The Ladybug Transistor at their most elegant and timeless. Blending baroque pop arrangements, warm analog textures, jangly guitars, and lush vocal harmonies, the album has become a cornerstone release for fans of sophisticated, melody-driven indie. Long sought after by collectors, this vinyl reissue brings back an essential title from the American indie underground - a record whose cinematic songwriting and vintage pop sensibility continue to resonate decades after its original release. With enduring collector demand, strong catalogue value, and broad appeal among fans of Elephant 6-inspired indie pop, Beverley Atonale stands as an essential addition to any indie-focused catalogue and a timeless rediscovery for a new generation of listeners. Recommended For Fans Of The Essex Green, Belle and Sebastian, Broadcast, Stereolab, The Olivia Tremor Control.

L'Oriole is the meeting point between violinist and composer Clara Lévy and sound artist Stéphane Clor. Combining violin, violoncello piccolo and a unique orchestra of resonators and transducers, the duo explores birdsong, resonance and the transformative power of sound. Acoustic instruments are projected into cymbals, drum skins, aluminium cans and other resonant objects, creating rich layers of colour, texture and spatial depth. Inspired by the work of Olivier Messiaen and his fascination with birds, L'Oriole unfolds as a journey through imagined birdsongs, suspended sonic landscapes and raw bursts of acoustic energy.

A restless soul with a wide-open heart, Johnny Delaware was born in South Dakota, but he spent his 20s on the road, drifting between Nashville, Albuquerque, and Austin before landing in Charleston, SC, where he recorded his 2013 debut, Secret Wave. The album earned glowing reviews, with the Charleston City Paper declaring Delaware their Songwriter of the Year, but before he could record a follow-up, another local project he helped co-found, Susto, began taking off. Over the course of the next decade, the band would become one of the most critically acclaimed names in indie roots music, garnering raves from Rolling Stone and Spin and touring with the likes of The Lumineers, Band of Horses, and The Head and the Heart. In 2022, Delaware finally released his sophomore effort, Energy of Light, which he recorded after moving to Mexico City, and two years later, he followed it up with Para Llevar, which Glide Magazine hailed as “a swirl of indie rock, Americana and psychedelic folk.”

On his newest collection, On God’s Time, Delaware returns to the sounds he grew up on in South Dakota, crafting a lush, cinematic meditation on mortality and meaning that’s firmly rooted in the spiritual realm of the cosmic drifter. Produced by Delaware, the album reckons with death as a means of appreciating life, exploring love and loss and gratitude and regret through the eyes of a host of larger-than-life characters all navigating their way through a world of tragic beauty and infinite wonder.

Sleater-Kinney feiern das 30-jährige Jubiläum ihres zweiten Albums ,Call the Doctor" mit einer neuen Vinyl-Ausgabe auf "Northern Light"-farbenem Vinyl. Sleater-Kinney ist eine gefeierte amerikanische Rockband, die 1994 in Olympia, Washington, gegründet wurde. Die Kernbesetzung der Band besteht aus Corin Tucker (Gesang und Gitarre), Carrie Brownstein (Gitarre und Gesang) und Janet Weiss (Schlagzeug). Sleater-Kinney waren bekannt für ihre feministische, linksgerichtete Politik und waren ein fester Bestandteil der Riot-Grrrl- und Indie-Rock-Szene im pazifischen Nordwesten. Call the Doctor ist Sleater-Kinneys zweites Studioalbum. Es wurde von John Goodmanson produziert und ursprünglich am 25. März 1996 bei Chainsaw Records veröffentlicht. Das Album wird oft als Sleater-Kinneys erstes richtiges Album angesehen, da Tucker und die Co-Sängerin und Gitarristin Carrie Brownstein zum Zeitpunkt der Aufnahmen ihre früheren Bands, Heavens to Betsy und Excuse 17, verlassen hatten. Die Besetzung bestand aus Corin Tucker (Gesang, Gitarre), Carrie Brownstein (Gitarre, Gesang) und Lora Macfarlane (Schlagzeug, Gesang). Call the Doctor landete 1996 auf Platz drei der ,Pazz & Jop"-Kritikerumfrage von The Village Voice. 2010 wurde das Album von der Redaktion des Rolling Stone auf Platz 49 der Liste der 100 besten Alben der Neunziger gewählt. ,Sleater-Kinney ist Amerikas beste Rockband" - Greil Marcus, Time (2001). ,Tauscht Sexarbeiterinnen-Rollenspiele, Puppenteile, Gender-Bending und andere gängige Female-Rock-Klischees gegen Geschichten vom alltäglichen Kampf ... Sleater-Kinney beweist, dass Punk immer noch neue Wege bietet, Nein zu sagen" - Johnny Ray Huston, SPIN

Early Days (2016-2019) is a new collection of previously unreleased songs from Mauri Tapia a.k.a Los Retros. From a young age, Tapia has been a prolific songwriter, spending his teenage years writing and recording song after song. Influenced by soft rock and left-field South American pop, Early Days (2016-2019) captures the sound of this formative era Streaming everywhere today, Early Days consisting of 15 tracks, recorded from Mauri's parents' living room using nothing more than an old four-track recorder, that only existed in low quality online, now mastered, sequenced, and physically released for the first time. It was during these sessions that Los Retros created the song "Someone to Spend Time With", now certified Gold. Early Days comes with a companion visual for "Without You", edited by close friend and collaborator Ross Harris from found footage of early Los Retros tour stops. Check out Los Retros proper debut "Odisea" released simultaneously too. FFO soul, bedroom pop, indie, modern jazz, downtempo, soft rock, Mac DeMarco, Thee Sacred Souls, Skinshape, Men I Trust, Too Slow To Disco

Deluxe 12" Tip-On (pasted card) Gatefold Edition (Limited Edition)

A new solo album from Seu Jorge reveals his 'other side' on this new solo album featuring Beck and Maria Rita. Produced by Mario Caldato Jr. (Beastie Boys), the album moves between jazz and bossa nova and is the result of a 16-year musical journey.
Seu Jorge is ready to present to the world the most ambitious project of his international career. After 16 years in the making, “The Other Side” finally arrives on streaming platforms in May. A departure from the soul and samba that defined his solo career, the new album is a sophisticated orchestral celebration of Brazilian music, moving between jazz and bossa nova.

The seed for this meeting between the Brazilian soul and orchestral sophistication was planted by a longtime friend and admirer: the legendary producer Mario Caldato Jr., known for his work with the Beastie Boys and Jack Johnson. The partnership, however, goes back further. “It’s not often that you find a voice and talent as vibrant and powerful as Seu Jorge’s. That’s what I felt in 1999, when I met him in Los Angeles,” recalls Caldato. “Since then, our friendship and admiration have only grown, allowing us to create music together with total freedom.”

The spark for “The Other Side” came from a moment of pure sensitivity. “This album was born when I recorded Jorge playing a simple version of ‘Girl You Move Me,’ by the band Cane and Able, on a nylon-string guitar. The performance was very sensitive and dynamic, which moved me deeply,” says the producer.

It was then that Caldato had the idea to invite multi-instrumentalist and arranger Miguel Atwood-Ferguson to orchestrate that demo. The partnership, which began in 2009, blossomed organically. “I shared some ideas with Miguel, and he understood perfectly, creating a beautiful arrangement that elevated the song to a much more luxurious and sophisticated dimension. That experience planted the seed for this orchestral adventure. "

With his characteristically deep, velvety voice, Seu Jorge guides the listener through a repertoire that revives gems of MPB. The artist cites as references the catalog of the German label ECM Records and the arrangements of Claus Ogerman, a conductor who worked with Tom Jobim and João Gilberto.

Recorded in stages between 2009 and 2018, the album is a true work of musical
craftsmanship, created with calm and friendship. The live rhythmic foundations were
provided by Seu Jorge’s band. “Jorge has a lot of confidence in and pride for his musicians, allowing them to express themselves freely. Each one brings a special flavor to every song; this was their album too, ” notes Caldato Jr.

“It was a week of pure joy for me and for all of us, recording and capturing that magical spirit and vibe,” adds the producer, who saw the work come together with arrangements by Miguel Atwood-Ferguson. “When it came time for mixing, everything felt very natural. The album revealed itself and came together magnificently. For me, it’s a timeless album.”

The album features covers of songs such as “Crença” by Milton Nascimento (from his 1969 debut album); “Caboclo” by Arthur Verocai, in a version with psychedelic guitars; and, of course, “Girl You Move Me” by the Canadian band Cane & Able, which inspired the project. Among the tracks featuring guest artists, “Vento de Maio” by Márcio Borges (a hit with Lô Borges and Elis Regina) features an intense duet with Maria Rita. Another major collaboration is with American singer Beck, a self-proclaimed fan of Brazilian music and Grammy winner. Together, they perform “River Man” by the revered British singer Nick Drake.

Odisea is the new album, actually the real debut from Los Retros, out in April on Stones Throw. It draws inspiration from 1980s Japanese City Pop, and marks a new creative chapter from Mauri Tapia shaped by growth, reflection, and renewed purpose. It's been a journey since Tapia first captured hearts with the lo-fi magic of "Someone To Spend Time With", recorded at the age of 17 on a humble four-track in his parents' living room. Now 25, the Oxnard native has stepped into an entirely new season of life - he married his high school sweetheart, became a father to two daughters, and embraced spiritual faith. Earlier this year, he revisited his start with Early Days (2016-2019), a compilation of unreleased music from Mauri's teen years. "Jazz fusion has become my favorite genre and greatest inspiration of all time," Mauri says. "I made this album for the version of me that first fell in love with music. It's my full-circle moment - a sonic hat tip to my beginnings - as well as a nod to the forefathers of jazz fusion and city pop for leaving us with great music." Through it all, he's kept the same DIY spirit, writing and recording every note himself, only now in a home studio of his own. On Odisea, Tapia blends neon-lit City Pop with the melodic sensibility of Latin American soft rock. Mauri's deep love for 70s and 80s jazz fusion records anchors the album, yet Tapia filters those influences through a modern lens. Odisea features two Japanese vocalists, - Hikari and HITOMITOI. Also check out Los Retros new compilation "Early Days" released simultaneously. RIYL soul, bedroom pop, indie, modern jazz, downtempo, soft rock, Mac DeMarco, Thee Sacred Souls, Skinshape, Men I Trust

Known for his signature positive vibes and the triple-platinum single “GOOD TIME,” country star Niko Moon digs into his own origin story on his new 15-track album, ROOTS. Following his 2025 tropical album AMERICAN PALM, ROOTS shifts the scenery to the verdant hills of Georgia where Moon grew up, balancing his trademark optimism with unprecedented transparency about his journey. On the track “AMERICAN DREAMIN’,” he reflects on a lean childhood moving between trailers and motels, inspired by the resilient optimism of his truck-driver dad and waitress mom. He fast-forwards to his current life in Nashville on the ballad “RICH MAN,” celebrating his wife and two children as his true source of wealth, while tracks like “GET COUNTRY” deliver a trap-beat party anthem designed for pure escapism. The album's centerpiece, “GEORGIA (ROOTS),” interpolates the classic "Georgia on My Mind" to celebrate his home state with a feature from his own daughter. Beyond the music, Moon channels his pay-it-forward mentality into his Happy Cowboy Foundation, which provides affordable therapy, proving that his signature smile isn't from a lack of hardship, but a conscious choice to spread encouragement.

AMERICA!' wurde von Gabriel Roth live bei Penrose Recorders eingespielt und baut auf den klassischen Mambo-Klängen auf, für die die Band bekannt geworden ist – eine Mischung aus Latin Soul, Boogaloo und Salsa, wobei sie ihren kubanischen Wurzeln treu bleiben. Auf ihrem vierten Studioalbum präsentiert die Band eine All-Star-Besetzung neuer Sängerinnen, darunter Mariam Elhajli und Carolina Oliveros (von Combo Chimbita). Elhajli und Oliveros schöpfen beide aus der rohen Energie von Celia und La Lupe, richten den Blick jedoch auf etwas Intimeres: Themen wie Verlust, Umbrüche und die Last der Einwanderererfahrung.

Futurismo are thrilled to present Give Thanks, the long out of press 1984 hardcore classic by Articles Of Faith. Produced by Bob Mould, and newly remastered directly from the original tapes, this powerhouse of a record is now coming on both LP and CD after being unavailable for decades. Originally released in 1984, the debut LP Give Thanks by Chicago hardcore legends Articles Of Faith, is proof a hardcore record can be both political and poetic. Fuelled by rage, introspection and a musical progression that could be seen as a blueprint for what would later become known as post-hardcore, this album ticks every box you want from a record of the era: intense, emotive, scathing, unpredictable, all topped off by the masterful production of Bob Mould (Hüsker Dü/Sugar). Give Thanks is perhaps overlooked in many top ten’s of the genre, but leaving the bands debut LP off that list would be a mistake. A demonstration in raw emotion and political angst, Give Thanks harnesses a sound that could have only happened during the Reagan era. Hardcore was of course a musical explosion built upon aggression and discontent, yet Give Thanks forcefully fuses this concept of raw power with a multitude of musical influences at a time when some of their contemporaries perhaps seemed to tread water. Whilst the principles and sonics harnessed on AOF’s debut album may have had more in common with the sounds coming out of Washington D.C., this record has an authentic Chicago savvy running through it, effortlessly projecting a street level tone whilst simultaneously aiming to show the possibilities of what a hardcore record could be. In retrospect, AOF’s debut was a hardcore album ahead of it’s time, perhaps the reason it’s fervent themes and artistry still feel so fresh and relevant. Whether that’s due to Vic Bondi’s gravelly tones geared to critique the societal regime at play, or the considered guitar work aimed to both blast and texturize, or the intense drums rhythms inspired by jazz and dub, there is a depth to the final album that feels like a band testing their parameters, one listen to ‘Every Man For Himself’ and you know you are listening to something special. Familiarity and originality rarely crossover, but in this case they coexist to leave us with a forward thinking punk record that is more interested in shouting it’s emotions from the street, than it is screaming into a vacuum.

A true American hardcore record, and a must for fans of Minor Threat, Dead Kennedy’s, Bad Brains and Fugazi.

Gloss laminated digipak CD & Limited edition pink & white colour vinyl.

Hailing from Sheffield, MAU MAUS were one of the pioneering hardcore punk bands of the early to mid 80s, releasing a string of classic singles and an album for Pax/Rebellion at the time. They returned reborn in 2021, with new singer Danny, and with 10 songs recorded through lockdown which were released on Boss Tuneage as "The Enemy Within" 12" - the first official MAU MAUS new release in over 30 years! That release mixed 5 brand new songs with 5 re-recordings of classic 80s tracks, and it showed that the 21st century MAU MAUS had not lost any of their energy, bite and anger over the years and subsequently the release sold out within a couple of months and the band went on to show they were blistering live as well across numerous gigs and tours. Now, Boss Tuneage is delighted to announce the long awaited follow up to "The Enemy Within" and the bands full length album "THE BATTLE SCARS OF HUMAN DEBRIS" which features 13 slices of raging hardcore punk which feels as relevant for 2026 as it would have done in 1986!! The band have tours/gigs planned around the world to coincide with this album and it's great to put a new MAU MAUS album out to the world!

The Hillmen is a bluegrass super-group of including future Byrd Chris Hillman, country music legends Vern and Rex Gosdin, and banjoist Don Parmley. The Hillmen is the seminal bluegrass LP recorded by a super-group of players including mandolin prodigy (and future Byrd) Chris Hillman, country music legends Vern and Rex Gosdin, and banjoist Don Parmley. Recorded in 1963-'64, these recordings would not see official release until 1970 as an 11-track LP. The Hillmen displays their unique takes on Bob Dylan, Pete Seeger, Woody Guthrie and Maybelle Carter, alongside several original songs by the Gosdin Brothers. The original 11-track album is now enhanced with 6 bonus tracks and will recreate the original artwork by Dean Torrance of Jan & Dean fame. Produced by Byrds manager Jim Dickson, all of the tracks were mixed from the original 3-track tapes in 1970 by engineer Dave Hassinger (Rolling Stones, Jefferson Airplane, Jackson 5). This new expanded release is a must-have for fans of bluegrass music and is a true treasure of Americana. For fans of the Nitty Gritty Dirt Band, Billy Strings, Nickel Creek and The Del McCoury Band Includes the original album artwork designed by Dean Torrance (of Jan & Dean fame) with album liner notes by Chris Hillman. Includes six bonus tracks not on the original 1970 LP Has not been available re-released on vinyl in many decades

Back- to- back albums Smiling with No Teeth (2021) and Struggler (2023) were released to critical acclaim, cementing him as one of the most distinct and innovative artists to have risen from the Australia scene in recent years. Now, at 27, he readies himself to release his third album, REDSTAR WU & THE WORLDWIDE SCOURGE.

Sophie Zelmani started out in 1995 with the impressive self-titled debut album. The Swedish singer began making home recordings at the age of 14, and after sending her demos to three different companies, she signed a record deal with Sony Music in Sweden.

This album introduced the world to Zelmani’s soothing vocals and beautiful songwriting, and it quickly took the world by storm. The album sold 200,000 copies in Europe and the Asia-Pacific region alone. Zelmani also gained recognition in America, with her music featuring in series such as Buffy the Vampire Slayer and Dawson's Creek.

Sophie Zelmani, featuring the album cover of the original Scandinavian release, is available as a limited edition of 1000 individually numbered copies on blue vinyl and includes an insert.

The small print:
• Due to rights restrictions, this item is only available in the MOV store to European customers.

The Dark is the second album by American heavy metal giants Metal Church and was released in 1986. Since their inception, Metal Church have released 13 albums so far and are still going strong.

The Dark is considered an essential album by thrash metal afficionados worldwide. It was dedicated to the late Metallica bassist Cliff Burton, who sadly passed away nine days prior to release of The Dark.

The album itself talks of somber themes like assassination, death, and the struggles of life. It was produced by Mark Dodson, who is best known for producing albums by Anthrax and Suicidal Tendencies. it features fan favourites “Ton Of Bricks” and “Over My Dead Body”.

The Dark is available on black vinyl and includes an insert.

Clap Your Hands Say Yeah is the eponymous debut studio album by Clap Your Hands Say Yeah, the musical project of American singer, songwriter, and multi-instrumentalist Alec Ounsworth, active since the early 2000s in and out of Philadelphia. Produced and mixed by Adam Lasus, the album and the band rose to fame after buzz and attention built up on various MP3 blogs and a very positive ("9.0/10") review from influential music website Pitchfork. The album cover was created from a drawing by artist Dasha Shishkin and was designed, colored and lettered by group member Robbie Guertin.

Marble Vinyl. Clap Your Hands Say Yeah is the eponymous debut studio album by Clap Your Hands Say Yeah, the musical project of American singer, songwriter, and multi-instrumentalist Alec Ounsworth, active since the early 2000s in and out of Philadelphia. Produced and mixed by Adam Lasus, the album and the band rose to fame after buzz and attention built up on various MP3 blogs and a very positive ("9.0/10") review from influential music website Pitchfork. The album cover was created from a drawing by artist Dasha Shishkin and was designed, colored and lettered by group member Robbie Guertin.

American hard rock band Alcatrazz once featured legendary musicians like singer Graham Bonnet as well as guitarists Yngwie Malmsteen and Steve Vai. With their current line-up of guitarist Joe Stump, keyboard player Jimmy Waldo, bassist Gary Shea, drummer Mark Benquechea and new singer Giles Lavery, Alcatrazz re-recorded nine songs of their back catalogue. In addition to well-known numbers like “Hiroshima Mon Amour”, “Island In The Sun” and their biggest hit “God Blessed Video”, »Prior Convictions« also features two brand-new numbers, “Transylvanian Requiem” and “Stand And Wait Your Turn”. The release embodies how Alcatrazz sound today. Guitarist extraordinaire Joe Stump can barely hide his excitement: “Something old is something new and these new versions of some of the old Alcatrazz classics are killer and 100% metal.” “The new line-up is firing on all cylinders,” enthuses keyboardist Jimmy Waldo, while his colleague on bass, Gary Shea”, adds: “My prior convictions have always remained true, step up and rock hard. »Prior Convictions« continues the Alcatrazz saga with a 21st century twist of classic songs and new music.“ Although »Prior Convictions« is not a new studio album, it’s a clear sign that Alcatrazz are continuing the legacy, giving new fans the chance to get familiar with a whole bunch of bona fide hard rock classics from the eighties. Old fans, on the other hand, will quickly learn that the new line-up is every bit as potent as past incarnations of the band. »Prior Convictions« was originally issued exclusively on CD in 2025 via Brave Words Records. Thanks to High Roller Records, it’s now also out on high-quality vinyl.

CROWD welcomes Gina Demarchi with 'Other Side', a driving 4-track EP that adds a new voice to the label's growing roster. Born and raised in Buenos Aires, Gina Demarchi has spent the last nine years refining her signature hypnotic blend of tribal-infused grooves, rolling percussion and emotionally charged energy, showcasing a sound rooted in 2000s techno and dubbed chords. As a resident at the event series Fungi and founder of her own label Seduction, she has built a strong reputation through performances all across South America, Europe, Australia, Asia and beyond. Opening track 'Never Enough' immediately sets the tone. Powered by a tom-driven bassline, huge open hats and uplifting chord melodies, it moves with a propulsive forward energy that plants the listener firmly on the dancefloor from the first bar. Next up on the A-side is 'I'm In Love', where endlessly echoing warm chords churn above a pulsing low end while marching claps and driving percussion lock the track into pure peak-time territory, serving as a reliable anchor for any uncompromising techno set. The title track 'Other Side' leans deeper and groovier, combining a gliding bassline with swinging chord stabs and crisp percussion that give full focus to the track's powerful low-end movement. Sitting somewhere between hypnotic and relentless, it is perhaps the clearest expression of what makes Gina Demarchi's sound so compelling. Closing cut 'Lonely' strips things back but lands with maximum impact: fast-paced chord repetitions, tight closed hats and sub-heavy drums generate a sense of momentum, creating a track that feels explosive and intense without relying on excessive speed. With 'Other Side', Gina Demarchi delivers a high-impact debut that reflects both the raw spirit of her unmistakable sound and the identity of the CROWD universe. The 11th release of the label is another statement from a label that has consistently refused to follow trends, instead carving out a singular identity rooted in raw energy. Join us for a high energy release party on July 5th 2026 al Le Sucre in Lyon!

Life In Patterns welcomes Amsterdam-based live act and producer VNTM for his debut appearance on the label with “Ostbahn”, a five-track EP arriving on vinyl and digital formats on 24 July 2026. For VNTM, Ostbahn marks a departure from his usual creative process. While most of his productions are conceived and developed within the familiarity of his studio, every track on this release originated elsewhere — each one tied to a specific place, encounter, or moment beyond its walls. These external sparks became the foundation for a collection that feels both deeply personal and unmistakably geared towards the dance floor. Across the EP, VNTM explores the intersection of emotional depth and physical intensity. Dark, immersive pads and melancholic atmospheres are woven into powerful techno frameworks, driven by heavy low frequencies, tightly locked grooves, and a precise sense of movement. The result is a body of work that balances introspection with impact, equally suited to peak-time systems and solitary listening. Based in Amsterdam, VNTM has established himself as one of techno's most distinctive live performers, appearing at major festivals and clubs worldwide with a hardware-focused setup dedicated entirely to his own productions. His sound combines harmonic exploration and narrative-driven composition with distorted percussion, futuristic sound design, and a constant embrace of emerging synthesizer technologies. Beyond his performances, VNTM is the driving force behind the acclaimed Mindscape events at Amsterdam's Lofi, where he has hosted artists including Len Faki, Kangding Ray, Sterac, Âme, Recondite, Polygonia, Luigi Tozzi, Vril, and JakoJako. Recent highlights include his debut on the Awakenings Festival Mainstage, an all-night-long live set at Lofi Amsterdam, and a sold-out debut performance at Refuge in New York City. With “Ostbahn”, VNTM delivers a compelling first chapter on Life In Patterns — a release shaped by experiences beyond the studio, translated into hypnotic, emotionally charged techno built for deep immersion and maximum physicality.

Sam Shure debuts on Rekids with the ‘Belinda’ EP. The Berlin-based DJ and producer is joined by Deer Jade for one of its three tracks.

Berlin’s Sam Shure arrives on Rekids 3rd July 2026 with the ‘Belinda’ EP, a three-tracker including a collaboration with Swiss French DJ and producer and I AM YOU label boss Deer Jade. Since his debut release in 2016, Shure has been backed by a long list of supporters, including Pete Tong and Âme, racking up over 66 million streams via music on the likes of HABITAT and Cercle, as well as releasing Tomorrowland’s CORE label’s best-selling track.

Sam Shure’s ‘Belinda’ EP opens with the title track, where a robust, organic rhythm playfully underpins the fidgety, bit crushed sounds and stabs above, all while the titular vocal is evenly dotted throughout the arrangement. Shure then teams up with Innervisions, Diynamic and Kompakt artist Deer Jade for the aptly named ‘String Theory’, a strong and steady groove shot through with uplifting strings and synth work. Closing the offering, Sam Shure returns solo with ‘No Time To Play’, squelchy sequences winding through rich melodies that steadily build the pressure for a strobe-lit dancefloor adventure.

Reissue of the debut album by Laghonia, one of the most important bands of Peruvian rock. Originally released in 1960, "Glue" will be cherished by lovers of Latin American rock, pop and psychedelia as practiced by other similar classic bands such as Traffic Sound, We All Together, Black Sugar and Telegraph Avenue. After four brilliant singles, in 1969 the Peruvian band New Juggler Sound, formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samané (bass), Carlos Salom (organ) and Manuel Cornejo (drums), changed their name to Laghonia and released their debut LP "Glue" on the MAG label. The album included those previously released tracks, which were very influenced by the British rock scene of those years, to which they added fiery guitars bursting with fuzz and wah-wah, the ever present and hypnotic Hammond organ sound and Latin American percussion and rhythms. The result was a wonderful mix of mid-60s British beatmelodies, Jimmy Hendrix's intense rock, Cream's heavy blues and Santana's Latin rock. "Glue" is regarded as one of the key albums of Latin American psych and garage rock and is an essential record for any fan of those genres. Deluxe edition: 180g vinyl LP in tip-on jacket and insert with liner notes.

2026 Repress

Native Call explores the roots of ancient Latin America, weaving five hypnotic tracks inspired by the myths and mysticism of the Maya civilisation. Each piece is a fragment of Maoh's universe; a world where past and present collide, evoking sacred rituals, celestial beliefs, and the hidden lore of a lost era.

Deep rhythms and haunting atmospheres guide the listener through a soundscape where ancient traditions meet contemporary electronic expression.