quête:an 2

Over the course of 2025 IARC will be celebrating their eleventh year of existence by revisiting some of the most celebrated (and hard to find) entries in their decade of releases. These LP packages will be presented with new liner notes, new insert booklets, and the fresh 2025 redesign of their iconic obi and dome logo. They will also be at a price point intended to help make it easier for stores to stock and sell these essential pieces of their catalog.

After touring the globe all year playing sold out shows opening for Djo, Post Animal give their new album the deluxe treatment, titling it the Iron Expansion Pack. The Expansion Packincludes two previously unreleased songs “Leave Overjoyed” and “Something Drive” which were recorded during the initial Iron sessions.

Iron finds Post Animal reconnecting with founding member Joe Keery (Djo, Stranger Things)and getting back to their roots with all original members writing, singing and performing on the album. Iron marks the first time that all original 6 members entered the studio together in nearly a decade. The product of a few straight weeks together, Iron not only finds them reunited with Keery but is the embodiment of 30 days of camaraderie and unbound musical exploration, their renewed connection ironclad.

Vinyl 7inch - Split-Single: Ofisboyz/ Ghostbastardz - Non Ska-Bands from all over the world playing Ska songs: Eine türkische Oi!-Core Band aus Istanbul und eine deutsche Punk-Kapelle aus Wetzlar spielen Ska? Funktioniert! Ofisboyz "Istanbul Skinheads" The song criticizes racial prejudice, mocks stereotypes about Turks, and reclaims pride and identity in a rebellious, ironic way _ fitting into punk and skinhead traditions of standing against bigotry. Ghostbastardz "Für Skapunk reicht's" "Für Skapunk reicht's" mischt klangvollen Punkrock mit tanzbaren Offbeats - ein sommerlicher Ska- Remix, der Sonnenbrille, Bier und Rebellion in einen Soundtrack packt. Sechste Ausgabe der Ska-Split-Single-Edition, 2025, 300 Stück handnummeriert

Following the success of 1998's Whitey Ford Sings the Blue, Eat at Whitey's finds him beefing up his sound as well as bringing in big names, such as N'dea Davenport (who adds her vocals on the sexy, R&B- flavored "Love for Real"), Goodie Mob's Cee- Lo, Cypress Hill's B Real, and Carlos Santana, for whom Everlast penned the Grammywinning "Put Your Lights On." Everlast is still fixated on redemption and regret, but his intensity and passion make up for the narrow focus, as, guitar in hand, he conjures up a nocturnal, sultry world populated with saints, sinners, and homeboys.

Hip-Hop history comes full circle with the reunion of Chip Fu, lyrical powerhouse of the Fu-Schnickens, and NBA legend Shaquille O’Neal, famously known in music as Shaq Fu. The duo first made waves in the 90s with the multi-platinum single “What’s Up Doc? (Can We Rock),” a cultural crossover moment that cemented their place in Hip-Hop history.
Now, they return with “Warning” - pressed for the first time ever on limited edition 7-inch vinyl. The record captures the raw, high-energy chemistry between Chip Fu’s rapid-fire delivery and Shaq Fu’s commanding presence, proving that their dynamic still hits just as hard today.
More than a single, this release is a celebration of two icons reunited, bridging the worlds of Hip-Hop and basketball once again. A must-have for collectors, DJs, and fans who lived the moment — or are ready to experience it for the first time

Sixteen wonders from the first three years of Franco’s own imprint Les Editions Populaires, founded in 1968. Mostly OK Jazz, performing ravishing rumbas and bolero ballads in Lingala, traditional songs in Kikongo, Kimongo, and even Yoruba, collaborations with Ngoma artists Camille Feruzi and Manuel d’Oliveira, and their own tough take on US funk.
Glorious music. Bim.

From 1968 through to the mid 1970’s the reggae beat began to slow down,some say due to the extreme heat hitting down onto Kingston Town and its surrounding enclaves. People needed something less strenuous to dance to. The Ska and Rocksteady Sounds (see 101 Orange Street KS007) that rocked Jamaica previously, had now found a slower tempo and become more ‘Dread’ lyrically to suit the times. Reggae music has always moved within the social climate it found itself in and this set here, as we ‘Return To Orange Street’ was ROOTS ROCK REGGAE TIME....

The Rastafarian message that runs through this collection of ‘Reality’, sometimes labelled ‘Sufferers’ music,is strong and works on many levels. It can come across on a heavy rhythm and vocal cut. Its example represented here by Prince Jazzbo’s ‘Dread in a Earth’ and ‘I Roy’s ‘Roots Man Time’, moving through to the popular new sounds of the DJ’s working over an old rhythm and alongside its existing vocal. As with Busty Brown working with Delroy Wilson's ‘Know Your Friend’ and Mr Jah Stitch working over Johnny Clarke’s ‘Roots Natty Roots’ to produce an even more dreader ‘True Born African’. The heartfelt lyric can also convey this message as we can see when Horace Andy laments ‘Where is the Love’ and Delroy Wilson again shows us on his ‘Who Cares’ cut. The great Twinkle Brothers also put the message across on their two cuts we have here, ’Too Late’ one of their lost classics if ever there was one and the thoughtful ‘It’s Not Who You Know’,being another prime example.

Orange Street itself is always at the heart of all reggae's musical changes and some singers also ride these waves as Mr Cornell Campbell shows us here with two cuts. The mournful ‘Too Be Loved’ and his uplifting ‘Girl of My Dreams’, which uses the same rhythm as our previously mentioned Prince Jazzbo’s 'Dread in a Earth’. Showing us that firstly you can’t keep a good rhythm down and secondly that two if not more great songs can work from the same source point. The light hearted ‘Vengeful’ lyric also worked in this period when artists spared off to each other on records to vent their frustrations. As we can hear here with Mr Lee Perry’s ‘You Funny Boy’. The song snipping back at a previous employer over what he felt were his misdoings to an under appreciated Mr Perry. We have culled these tracks together to show that the Dread Roots feel of the 1970’s came across in many guises and even in earlier songs these sentiments were also prevalent. As represented in Slim Smith’s almost bluesy feel in ‘Trying To Find a Home’, never a truer statement in Kingston's ghetto areas.

Well we hope you enjoy this musical journey and make a connection with messages portrayed here, as Mr Monty Morris points out on his contribution to this collection ‘Times Are Dread’.... Dread indeed.....

This summer's epic murder mystery will find its way to your record player! The new film by Chris Columbus
(Harry Potter and the Sorcerer's Stone, Home Alone) has once again been fully scored by composer Thomas Newman.

With titles such as American Beauty and Road to Perdition under his belt, Newman is renowned for his hauntly eerie,
but beautiful style. The beloved film composer matches perfectly with the cozy, yet intriguing
Netflix movie starring Pierce Brosnan (GoldenEye, Mamma Mia! The Movie) and Helen Mirren (The Queen, Excalibur).

The Thursday Murder Club is available as a limited edition on red vinyl.

SPFDJ steps up for her long-awaited debut EP, Heel Thyself, out Friday 7th November on Intrepid Skin.

A core figure in grassroots techno circuits, and an internationally lauded DJ, SPFDJ's ascent reflects a passion for music governed by love and grit in equal measure. At once providing a gleefully chaotic two-fingers to dance music's self-serious establishment, whilst also flexing an ever-expanding knowledge of its roots and potentials, her musical armoury is renowned the world over for inspiring debauchery and sweat-soaked hedonism.

As an artist whose journey has been defined by challenging the norms of electronic music, SPFDJ's rebel spirit is recognised locally and globally, but guiding this attitude is a vulnerability to the realities of the music industry, and the rise of conservatism that permeates every aspect of life. And whilst sensitive to the use of buzzwords like community, it's ultimately a respect for the people who keep these scenes alive that motivates her artistry.

In releasing this EP, she taps into a more vulnerable side. The title - a nod to internal healing processes, and a play on words to motivate queers and women to 'boot up for battle' against increasingly oppressive structures - shines a light on some of the values she holds up to electronic music culture. At once playfully chaotic and deeply energising, Heel Thyself spins us through a cyclone of kicks, punches, and noise.

Opener 'Cluster B Intro' is a tempo-twisting barrage of gabber led by a robotic vocal command, setting the scene for pretty much anything to happen. 'That Stiletto Track' kicks in like a tweaked out distortion of 90s trance before spiralling upwards into a storm of heavy breaks. 'F*ckboi' is hot n heavy electro - classic in its structure, but with the added industrial touch of hammerdrill synths and razor sharp percussion. Swinging into a bouncier state, 'The Hot in Psychotic' flings ricocheting rhythms through frantic claps, with a donk to keep things moving. Rounding things off, 'Mindless Counting' flies higher with pummeling drums lifted by a touch of euphoria.

A debut laced with both defiance and self-reckoning, Heel Thyself finds the rebel looking inwards - vulnerable, but sharpened and ready.

Gong Gong Gong aus Peking und Mong Tong aus Taipeh sind gleichgesinnte Duos, die für ihre cineastischen und rohen Klänge bekannt sind und transglobale Melodien mit unwiderstehlichen Grooves verbinden. Auf Mongkok Duel haben sich die Bands zusammengetan, um einen imaginären Soundtrack für einen verlorenen Kung-Fu-Film zu kreieren. Es handelt sich zweifellos um die musikalische Untermalung einer übernatürlichen Geschichte über Ehre, Intrigen und (natürlich) Rache. ,Mongkok Duel" knüpft an die langjährige Rhythm 'n' Drone-Kollaborationsreihe von Gong Gong Gong an und präsentiert die unverwechselbare Ästhetik beider Gruppen, indem es eine gemeinsame Sprache aus zyklischen Motorik-Rhythmen, sich entwickelnden Drones, texturierten Soundeffekten, knurrenden Gitarren und growlenden Bass-Hooks aufbaut. Geschrieben und live aufgenommen in den legendären Proberäumen der President Piano Co. in Mongkok, Hongkong, spielten die Bands auf den Instrumenten und Verstärkern des Studios, die noch aus der Gründungszeit der President Piano Co. im Jahr 1978 stammen. Die Aufnahmetechnik des Studios ist ein einzigartiges System, das vom Eigentümer Lee King Yat entworfen und eingerichtet wurde und dem Album seinen unverwechselbaren Vintage-Sound verleiht, ohne dabei an beeindruckender Klarheit einzubüßen.

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.


Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.


One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.


Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.


Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.


Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

Cintura Interna is João Hã’s new release for Sucata Tapes, a work shaped by accident, drift, and unlikely connections. Its guiding notion comes from “Música Careca” (Bald Music) — a strange term apparently used by Jean Dubuffet to describe his own sound experiments. Dubuffet wasn’t a musician, but he was bald; the phrase lingers as an apt description for music that is naïve without innocence: amateur bruitism, soft sound, raw and direct, where intention is left exposed to errancy.
The piece itself came together without project or plan, eventually forming what Hã calls an “accidental Frankenstein” — or perhaps Frankenoise. Built from recordings made more than 15 years ago on cassette and obsolete equipment, mixed with more recent material, Cintura Interna bridges time and decay, refusing diaristic or documentary framing.
As an unexpected detour, the release also includes a version of the garage classic Louie Louie.

Earlier this year, VIL and Cravo introduced Caricia Records with Caricia 001, a debut that made clear the label would not be bound by techno alone. With the second release arriving soon after, the pair show no sign of slowing down.

Caricia 002 turns to Cravo, presenting a clear statement of his own. Techno, house, dub and jazz meet here, carrying a sense of peace, harmony and hope. Cravo always prefers to let the music speak for itself; here, it certainly does, at its most assured.

Bassist, composer and producer Shay Hazan returns with his third solo album, "When It Rains It Pours", on Batov Records. Following the critical success of "Reclusive Ritual" and "Wusul" Hazan takes a bold step forward, shifting from the guimbri-led sound that established his reputation to a broader palette of bass, guitar, and synth-driven compositions.

Cold Steel's patented brand of aggressive, hardcore thrash metal takes no prisoners on 'Discipline & Punish'. To bring the album to life, the group decamped to Philadelphia and teamed with producer Arthur Rizk (Blood Incantation, Power Trip, Cavalera). In the studio, they drew on influences like Metallica, Machine Head, and Slipknot while sharpening and solidifying their own signature sound.

Goodbye Matters retraces Silly Boy Blue’s intimate journey through a year shaken by the loss of a loved one and the emotional transformation that follows. This EP explores the emptiness left by this sudden absence, and how, over time, that void slowly fills with acceptance.


Each track represents a stage of the grieving process, associated with a color and a season, reflecting the emotion that accompanies it.



Summer 1 opens the story with an apparent calmness of everyday life that hides an inner turmoil. Autumn dives deeper into the tangible pain of absence, as memories gradually fade away with the falling leaves of the season.



With Winter, the EP reaches a breaking point. The music is stripped down to its bare essence, conveying an emotional landscape emptied out, where the outer cold mirrors inner loneliness.



Then comes Spring, where sadness still lingers but gives way to a glimmer of hope, symbolizing the struggle between memory and renewal.



Finally, Summer 2 marks acceptance — a last imaginary conversation, a gentle farewell. The cycle closes, yet light returns, offering a peaceful conclusion to this journey through loss and reconstruction.

12" splattered Vinyl EP incl. Beiblatt, Bierdeckel und DLC Im Jahr 2015 lieferte die Rockgruppe Die Buben im Pelz einen gewagten musikalischen Stunt ab: die Übertragung des hünenhaften rockgeschichtlichen Referenzalbums The Velvet Underground & Nico ins Wienerische Idiom. Ein mutiger Versuch, der mit einem heftigen Bauchklatscher und darauffolgender, noch schmerzhafterer Schadenfreude des Publikums hätte enden können. Aber nein, die Buben haben ihre Sache wirklich sehr, sehr gut gemacht und ihrerseits ein Referenzalbum der lokalen Wiener Rockmusik vorgelegt. So groß war die Freude über die gelungene Immigration von Lou Reeds New York ins heutige Wien, so anhaltend die Begeisterung für das Oeuvre des amerikanischen Meisters, dass 2023 auch dessen Album Transformer dem Regelbuch für große Coverbands entsprechend für das einheimische Publikum verwandelt wurde. Nun folgt mit dieser köstlich verpackten EP ein finaler Nachschlag, eine Erweiterung zum dreigängigen Menü sozusagen. Und ein mehr als gelungener Abschluss einer nahezu epischen Hommage an eine der wichtigsten Bands und einen der größten Songwriter der Rockgeschichte. Nun befinden wir uns in der letzten Runde: noch einmal VU/Reed, diesmal in Form einer Vinyl-EP. Vier Songs von Frauen, deren Leben irgendwann ins Nicht-ganz-so-Gute abgebogen ist. Vier menschliche Tragödien, zeitlos, poetisch, fundamental traurig mit einem kleinen Funken Hoffnung. Noch einmal Warhol, denn: was sollte man denn einem thematisch so stringenten Tonträger sonst für ein Cover schenken? Noch einmal Kulinarisches: die Campbells-Suppendose natürlich, neben der Banane ein weiteres weltberühmtes Tribut Warhols an das kulinarische Alltagsleben. Aber: wie übertragen wir das ins Wienerische? Eigentlich ganz einfach: indem wir uns aus dem Sortiment des Lokalmatadors, also der Firma Inzersdorfer, versorgen. Die Inzersdorfer-Konservendose, diese Ikone der österreichischen Konsumkultur und Lebensmittelindustriegeschichte ist ein mehr als geeigneter Ersatz für die amerikanische Tomatensuppe. Genauer gesagt: passt. Wie die Faust aufs Strizziauge. Köstlich! Der Grafikdesigner Peter Hirth hat zwei historische Inzersdorfer-Dosen zu einem wunderbar geschmacksintensiven Coversujet verarbeitet. In der Kunstdruckinstitution Quint Screen Print in 1230 Wien wurden daraus im händischen Siebdruck eine farbenprächtige Hommage an die seriellen Arbeiten Warhols aus den 1960er und -70er Jahren gefertigt. Farblich perfekt abgestimmt wurde dazu das Vinyl, klarerweise ebenfalls aus heimischer Produktion. Da haben die Fachleute bei in 8350 Fehring wieder einmal ganze Arbeit geleistet. Und der geschätzte Musikerkollege Austrofred wiederum hat zwischen zwei Festivalaufritten Zeit gefunden, über einem schönen Teller Gulaschsuppe meditierend einen Begleittext zu verfassen, der keine kulturhistorischen Fragen offen lässt. Weder in musikalischer noch in kulinarischer Hinsicht. Mahlzeit!

Transparent Purple vinyl. Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and "junkers" into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio's mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. "You and Me," a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may've ended up a bit buried on our original compilation, as #18 of 19 tracks.Four years later, Eccentric Soul: The Prix Label hadn't exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record's back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny's piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance's indie-weeper film Blue Valentine. What we didn't know was that "You and Me" had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world's most famous unknown doo-wop group.Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams_the formerly homeless guy with the awesome voice for radio_into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.
Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.
One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.
Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.
Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.
Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

Gledd returns home with an album full of collaborations and influences. He creates an atmosphere rich in samples and recorded instruments that together form an explosion of groove and driving melodies. The result is a mix of cultures and rhythms that shapes his increasingly distinctive sound

The inimitable Richard Youngs returns to Black Truffle with this third full-length for the label, Hidden. Like CXXI and Modern Sorrow, Hidden unfolds across two side-long pieces at once eminently listenable and possessed of the ‘bloody-minded’ dedication to ‘having an idea and sticking with it’ that Youngs himself has identified as one of the key qualities of his work.

At the core of both pieces are rapid, randomised arpeggios generated with a Moog Grandmother, hypnotic patterns that wouldn’t be out of place on a Berlin School classic. Alongside these arpeggios, across the seventeen minutes of the first side-long piece Youngs builds an airy structure of shakers, synthetic handclaps and a brief, repeated sample, impossible to identify but sounding like a glitched foghorn. Over the top we hear his unmistakable voice, repeating single syllables—Ha, Ho—with a slow delay, something like a lonely one-man-band take on Anthony Moore’s Pieces from the Cloudland Ballroom or a more musical elaboration of the hypnotically overlapping delayed phonemes of Anton Bruhin’s Rotomotor. Like much of Youngs' work, the arrangement of sounds is sparse, each layer punctuated by spaces that allow others to shine through, in a way that seems to have more to do with dub or early hip-hop than high-brow models of musical reductionism.

On the flipside, the arpeggios return, now accompanied by ringing, filtered guitar chords and long flute tones. The use of a similar ground layer across the two pieces with strikingly different overdubs calls up Youngs' first solo record, the classic Advent, reminding us of how consistent ‘theme and variations’ is as an approach in his enormous body of work. Joined by handclaps and a chiming sound, the piece almost feels like it is about to achieve dance-floor lift-off at times, only for the percussion to disappear and leave the listener once again floating among the guitar and flute, now joined by occasional cut-off vocal snippets, like a radio turned quickly on and off. The suspension of these disparate elements over the steady foundation of the Moog arpeggios might remind some listeners of the free-form studio explorations of Moebius & Plank and Holger Czukay or even give a nod to Youngs’ formative encounter with Cabaret Voltaire.

Like some of Youngs’ much-loved work with Simon Wickham-Smith, Hidden approaches relatively familiar sounds and instruments from skewed angles, delighting in loose structures of interaction that border on gleeful incoherence while remaining outwardly beautiful. Coming up to almost four decades of persistent activity, like little else in contemporary music Youngs’ work beams with the simple joys of exploration and experiment.



Die dänischen Rock-Giganten VOLBEAT – Michael Poulsen (Gesang, Gitarre), Jon Larsen (Schlagzeug)
und Kaspar Boye Larsen (Bass) – haben mit ihrem neunten Studioalbum „God Of Angels Trust“ erneut
bewiesen, warum sie zu den größten Rockbands unserer Zeit zählen. Das am 6. Juni 2025 erschienene
Album begeistert mit einer kraftvollen Mischung aus eingängigen Melodien und metallischer Energie.
Mit „God Of Angels Trust“ haben Volbeat, die als nicht-amerikanische Band einen Rekord von zehn
Nummer-1-Hits in den Billboard Mainstream Rock Charts halten, alle songwriterischen Regeln über Bord
geworfen und neue kreative Wege eingeschlagen. Entstanden in nur fünf Wochen, beeindruckt das Album
durch seine Tiefe, Vielseitigkeit und den unverkennbaren Volbeat-Sound.
Nach der Veröffentlichung ging die Band auf erfolgreiche Welttournee und begeisterte Fans weltweit mit
den neuen Songs und ihren bekannten Klassikern. Nun erscheint das Album als limitierte Picture Vinyl.

Lettuce serves up a full-course groove experience with Cook, a 16-track feast of classic funk, rich instrumentation, and deep- pocket rhythm. The album features 12 full-length tracks, including two vocal cuts, with a standout cover of Keni Burke’s “Rising to the Top” leading the charge at radio. More than just a record, Cook is a multisensory experience: the vinyl includes a recipe book of original dishes crafted by the band, each paired with a song and one of their two new wines launched alongside the album. From front to back, Cook is Lettuce at their most flavorful—soulful, funky, and made to be savored.

Colored Vinyl. St. Patrick's Cough" sees the Belfast trio diving deep into psychedelic rock and improvisational soundscapes, recorded near the holy well in Holywell between Counties Fermanagh and Leitrim. The result is a sprawling journey of cosmic jams, swirling instrumentation and a meditative undercurrent _ the album stands as a bold statement of the band's creative evolution.

Rich Brown bought his first six-string bass in 1999, "Everyone made fun of me" he recalls with a characteristically warm smile - since then he"s established a reputation as first-call player for the leaders of an impressive variety of adventurous projects, from Steve Coleman to Rudresh Mahanthappa to James "Blood" Ulmer. Over the past two years, whenever time allows, he"s been paying regular visits to the studio of his friend, the guitarist and producer Elmer Ferrer. Away from the pressures of the commercial industry, Rich seized the opportunity to explore and expand the vocabulary of his instrument. "NYAEBA" took shape: written and performed entirely on the bass guitar, it"s the story of an imagined griot who journeys around the world and returns to relate his tales in song.

K S R introduces X, a brand-new series dedicated to various artist collaborations, presented exclusively as split EPs. The first release brings together Sev Dah and Decka, delivering stripped-down, fierce and powerful techno weapons.

A killer double-sided 7-inch single from DubXanne, led by the talented Guido Craveiro, transforming classic 80s hits into dub masterpieces!

This release features dub covers of two iconic tracks: The Buggles' 1979 global smash hit "Video Killed the Radio Star" and Kate Bush's 1985 hit "Running Up That Hill", both given a reggae twist.

This single is cut from DubXanne's 2023 album Popwave In Dub, a project helmed by Portuguese producer Guido Craveiro. The A-side offers a dub rendition of The Buggles' "Video Killed the Radio Star", a song that became a worldwide sensation in 1979 and inspired countless covers. The B-side features a dub version of Kate Bush's "Running Up That Hill", a track that saw a resurgence in popularity thanks to Stranger Things Season 4. These familiar tunes are reimagined with brilliant reggae arrangements that breathe new life into the originals!

Light in the Attic freut sich, Nancy Sinatras gleichnamiges Album von 1969 zu veröffentlichen. Diese neue Ausgabe und erste Vinyl-Neuauflage überhaupt von "Nancy" feiert eine der am wenigsten bekannten Phasen der verehrten Künstlerin. Nach drei Jahren im Rampenlicht und an der Spitze der Popmusik war Nancy Sinatra plötzlich in einer unerwarteten, aber irgendwie vertrauten Situation - ähnlich wie Anfang 1965. Sie war wieder einmal ohne Produzenten, ohne neue Songs und kämpfte darum, bei ihrem Label zu bleiben. Lee Hazlewood war Nancys Produzent und Duettpartner gewesen und hatte viele ihrer Hits geschrieben. Nach einer unglaublichen dreijährigen Erfolgsserie zog Lee plötzlich ohne Abschied nach Schweden. Nancy war überrascht und verletzt, aber sie machte weiter und entwickelte sich weiter. Sie fand einen Produzenten in ihrem langjährigen Arrangeur Billy Strange und entdeckte einen jungen Songwriter (und zukünftigen Superstar) namens Mac Davis, der ihr helfen würde, ihren Sound neu zu definieren. Dieses Album mit dem einfachen Titel ,Nancy" steht allein in ihrer Diskografie, versteckt zwischen ihren ikonischen Alben aus den 1960er Jahren und ihren funkigeren Werken aus den 1970er Jahren. Das Album enthält Country-Soul (,God Knows I Love You", ,Son of a Preacher Man"), zeitlose Balladen (,Memories") und eine atemberaubende orchestrale, bluesige Downtempo-Funk-Version von ,Light My Fire" von The Doors, die im besten Sinne an David Axelrod in Las Vegas erinnert. Es ist ein Übergangsalbum, ihr Abschiedswerk für Reprise Records, ein Favorit der treuen Fans und reif für eine Wiederentdeckung. Jede Vinyl-Ausgabe kommt in einer erweiterten Gatefold-Hülle (mit einem 12-seitigen Booklet), auf farbigem Vinyl und enthält eine Bonus-Flexi-Single mit dem bisher unveröffentlichten Titel "Longtime Woman (Early Alternate Version)", einem Outtake, das von Bob Elusive Butterfly Lind geschrieben wurde. Der Track mit dem atemberaubenden Gesang von Nancy und dem zarten Cembalo von Don Randi wurde von Lee Hazlewood während der Aufnahmen zum Album ,Nancy & Lee" im Jahr 1968 produziert.

Based on a Motown classic that also served as the debut song for a world-famous kids group, the long-awaited ending theme is finally getting a single release!

From the soundtrack of director Shinichiro Ueda's One Cut of the Dead, the indie film that became a social phenomenon upon its 2018 release, grossing over 3.1 billion yen, this gem of a track is now available on vinyl. While retaining the melody of the original song written by Berry Gordy Jr., Kensun Lovers (Nobuhiro Suzuki and Shoma Ito) added Japanese lyrics and a new arrangement, with actress Mayumi Yamamoto on vocals. The theme song "Keep Rolling" quickly won the support of discerning international listeners, reaching No. 1 on Spotify's "Japan Viral Chart" the week after the film's release.

On the B-side, two versions of the film's main theme "zombeat" are included, featuring hard-hitting guitar work brimming with respect for the original Zombie series.

Introducing: Temporary Blessings, the new project by stalwart Naarm / Melbourne trumpet player and composer Liam McGorry.

Assembled to realise McGorry's compositions drawing on 1960s Italian & French soundtrack music, Temporary Blessings brings together trusted instrumentalists and fellow travelers from Melbourne's rich enclave of cinematic soul. With Liam at the helm, the group is composed of members of Surprise Chef, Karate Boogaloo, Saskwatch and Let Your Hair Down.

The resulting recordings realise McGorry's sonic visions of film noir, giallo, library music and cinematic soul, captured live in one room with what the maestro describes as "a shared spirit". The recordings, produced by paragon Henry Jenkins, bring together emotive string arrangements, tough horns and a steadfast rhythm section with an acute attention to detail McGorry has developed over years in the saddle.

Liam says: "I find great comfort in collaborating with good friends and playing together in the same room and taking these blessings as they come."

A veteran of Melbourne soul, McGorry's steady hands have touched some of the city's most revered projects over the last 15 years; McGorry-led projects Saskwatch, Dorsal Fins and Ex-Olympian sit aside Sampa The Great, Ella Thompson and Adrian Eagle on Liam's heavy list of credits and collaborators. He has contributed more than his fair share of bricks to the great structure of Melbourne soul, always playing the background, true to his humble nature.

LP available in black or orange and brown splatter vinyl.

Introducing: Temporary Blessings, the new project by stalwart Naarm / Melbourne trumpet player and composer Liam McGorry.

Assembled to realise McGorry's compositions drawing on 1960s Italian & French soundtrack music, Temporary Blessings brings together trusted instrumentalists and fellow travelers from Melbourne's rich enclave of cinematic soul. With Liam at the helm, the group is composed of members of Surprise Chef, Karate Boogaloo, Saskwatch and Let Your Hair Down.

The resulting recordings realise McGorry's sonic visions of film noir, giallo, library music and cinematic soul, captured live in one room with what the maestro describes as "a shared spirit". The recordings, produced by paragon Henry Jenkins, bring together emotive string arrangements, tough horns and a steadfast rhythm section with an acute attention to detail McGorry has developed over years in the saddle.

Liam says: "I find great comfort in collaborating with good friends and playing together in the same room and taking these blessings as they come."

A veteran of Melbourne soul, McGorry's steady hands have touched some of the city's most revered projects over the last 15 years; McGorry-led projects Saskwatch, Dorsal Fins and Ex-Olympian sit aside Sampa The Great, Ella Thompson and Adrian Eagle on Liam's heavy list of credits and collaborators. He has contributed more than his fair share of bricks to the great structure of Melbourne soul, always playing the background, true to his humble nature.

LP available in black or orange and brown splatter vinyl.

The stunning debut album by Peki Momés is back in store after selling out the first edition in a few weeks! This 2nd pressing has a different label design. Featuring twelve outstanding original tunes. Turkish psychedelic, global disco and outernational!

Peki Momés is a Turkish artist living in Germany - who only started to record music by accident in 2024. Blessed with style and intuition rather than formal education, her fresh and uncompromisingly authentic approach to music took hearts and ears by storm.

Ever since her debut 45 on Mocambo Records, Peki Momés has become a little sensation in and outside the organic groove scene: turntablist DJ Koco played doubles of "Göc Mevsimi" in his set, Iggy Pop announced "Rüya" on his "Iggy Confidential" show on BBC and the second vinyl single surprised everyone with a mesmerizing cover of Marco Valle's much loved "Estrelar" in the turkish language. Both records sold out quickly and are in the bags of tastemakers like Coco Maria.

Peki Momés' music is an eclectic mix of sounds from the global underground, tastefully crafted by producer Dustin Braun and a troupe of ridiculously talented jazz musicians. Dirty disco, fuzzy funk, anatolian rare grooves, experimental synth, library music and japanese city pop all blend naturally with her distinct vocals to create a unique ethereal outernational sound that is all her own.

Once dubbed as 'turkish discodelic', Peki's songs have a dreamlike, enchanted and psychedelic quality and instantly take the listener on a journey. In a poetic way, she approaches topics like "dreams and a naive fear of losing or not fulfilling them" or expresses "worries about our weary world and call for solidarity from all" - always with an outlook of hope. You do not have to speak turkish to understand - the message is transported by a universal language.

With her debut album, Peki Momés is now telling her full story. Displaying a young Peki on the cover, the artwork hints at the freshness and enthusiasm of the project. We should consider ourselves lucky that Peki chose to disrespect rules in favor of self-empowerment and made this wonderful longplayer that you never knew you needed.

as in, a borgesian term of imprisonment in which you come to learn that stasis is an illusion. you attune and collect evidence. long shadows swing from the room’s sharpened edges, contracting and rotating with each passage of the sun, cumulatively tilting toward the next season. the cyclical heating and cooling of the concrete inscribes what you eventually recognize as an insistent rhythm onto your skin. it feels as though you’re preparing yourself to haunt the place. the first visitation comes in winter. sound bubbles from a crack in the wall, a conversation you can’t follow and hardened repeating codes that splash off the walls like rain. it had to be, and you’re looking away.

Built from the ends of Kunas's mind, steeped in raw, dark, underground UK laced bass comes "Lost Potential" A mature representation of melancholic sentiment, serious introspection and the culmination of growth, spatial awareness and undeniable London / UK bass grit. Reminiscent of the morbid nostalgia of the "Bristol" sound, Kunas effortlessly focuses sounds of the past all weaved into a modern, authentic, contemplative EP in "Lost Potential"

Kylie Christmas (Fully Wrapped), is the definitive Kylie Christmas album – a sparkling collection of timeless, glittering holiday tracks that capture the warmth, fun and glamour of the festive season in true Kylie style. A selection of her very best Christmas tracks plus three new songs, Hot in December, Office Party and This Time of Year on limited edition pink & white marble vinyl.

It's been 10 years since Pomegranates - Nicolás Jaar's unofficial/alternative soundtrack to Sergei Parajanov's 1969 film The Color of Pomegranates - was first released, and to highlight this occasion we are reissuing the album on vinyl, with the first edition (a collaboration with the label Mana) having long been out of print.

Longer and slower-releasing than his other albums, Pomegranates often parallels the cinematic epic on which it’s based, with ideas pursued over long timelines and across dark landscapes, assembling elements and moods from the aesthetic and folkloric landscapes of Armenia. Jaar’s identity is perceived within this, folding in his heritage as Palestinian and Chilean as he attempts to build a musical architecture outwards that frames as much of the mess and sprawl of life as possible; using a language that investigates the movement and fluctuation of his own artistic career and character similarly to the film’s tracing of the coming of age of the young poet, Sayat-Nova.

At times, Pomegranates feels profoundly intimate, as though looking through the archive of a friend’s music and discovering the accent and common currency that lives within each of these tracks. Much of Jaar’s most elegant and touching melodic work is nestled here, its power residing in its simplicity and willingness to speak to the heart and not the mind of the listener.

In the text document included in the first freely distributed version of the album in 2015, Jaar writes that the album was conceived during a moment of change, and that the pomegranate became an icon that heralded that passage of time. The physical publication of Pomegranates closes one door whilst opening another, keeping promises and marking a significant point in the career of an artist who restlessly reinvents himself, with a document that illustrates a common language of lyricism, freedom, and emotional resonance linking his many paths and projects

Relive the excitement of SNK's greatest games with this album featuring cult titles arranged entirely for piano!


Arranged and performed by pianist Nicolas Horvath, a Steinway and Sons artist renowned as a leading interpreter of composers such as Philip Glass, Franz Liszt, Claude Debussy, and Erik Satie.



The album contains a rich selection of tracks composed by the legendary SNK Sound Team, ranging from Prehistoric Isle to The King of Fighters 94, Samurai Shodown, The Last Blade, and Metal Slug 3.


Sometimes dark, sometimes bright, the arrangements beautifully and emotionally revisit the melodies that have marked several generations of gamers!


b a2 Intro, Stage 1, Stage Boss Medley [PREHISTORIC ISLE]
[c] a3 Main Theme & Final Boss Medley [PREHISTORIC ISLE]
[d] a4 Dignity Palace (Kain R. Heinlein Stage) [GAROU: MARK OF THE WOLVES]
[e] a5 All Over With Blood (Freeman Stage) [GAROU: MARK OF THE WOLVES]
[f] a6 Fullmoon - A Groan (Gato Stage) [GAROU: MARK OF THE WOLVES]
[g] a7 Destruction Maniac (Grant Stage) [GAROU: MARK OF THE WOLVES]
[h] b1 The Twelve Challengers (Player Select), Exotic Lady (Charlotte) [SAMURAI SHODOWN]
[i] b2 Darkness (Shiro Tokisada Amakusa 2) [SAMURAI SHODOWN]
[j] b3 Banquet of Nature (Nakoruru) - Part 1 & Part 2 [SAMURAI SHODOWN]
[k] b4 Ryuhaku Todoh Stage [ART OF FIGHTING]
[l] b5 The Primitive Age [TIME SOLDIERS]
[m] b6 The Age of Rome [TIME SOLDIERS]
[n] c1 PonPonella [ALPHA MISSION]
[o] c2 Vixen [THE SUPER SPY]
[p] c3 The Super Spy, New World [THE SUPER SPY]
[q] c4 Imputation [THE SUPER SPY]
[r] c5 Game Start, Powering Up [Vanguard]
[s] c6 Stage Medley [Vanguard]
[t] c7 Change (Theme 2) [THE LAST BLADE]
[u] c8 Termination (Ending 1) [THE LAST BLADE]
[v] d1 Bioinformatics (UFO Interior Passage 3) [METAL SLUG 3]
[w] d2 The Cenotaph (Stage 4 Alternative Route~Ancient Ruins), Desert (Stage 4) [METAL SLUG 3]
[x] d3 Secret Factory (Stage 3 Alternative Route~Armory) [METAL SLUG 3]
[y] d4 Into the Cosmos (The Void of Space) [METAL SLUG 3]
[z] d5 Opening, Napolitan Blues, Duel R&D, Yuu, Psycho Soldier "K.O.F Version" [THE KING OF FIGHTERS '94]


[b] a2 Intro, Stage 1, Stage Boss Medley [PREHISTORIC ISLE]
[c] a3 Main Theme & Final Boss Medley [PREHISTORIC ISLE]
[d] a4 Dignity Palace (Kain R. Heinlein Stage) [GAROU: MARK OF THE WOLVES]
[e] a5 All Over With Blood (Freeman Stage) [GAROU: MARK OF THE WOLVES]
[f] a6 Fullmoon - A Groan (Gato Stage) [GAROU: MARK OF THE WOLVES]
[g] a7 Destruction Maniac (Grant Stage) [GAROU: MARK OF THE WOLVES]
[h] b1 The Twelve Challengers (Player Select), Exotic Lady (Charlotte) [SAMURAI SHODOWN]
[i] b2 Darkness (Shiro Tokisada Amakusa 2) [SAMURAI SHODOWN]
[j] b3 Banquet of Nature (Nakoruru) - Part 1 & Part 2 [SAMURAI SHODOWN]
[k] b4 Ryuhaku Todoh Stage [ART OF FIGHTING]
[l] b5 The Primitive Age [TIME SOLDIERS]
[m] b6 The Age of Rome [TIME SOLDIERS]
[n] c1 PonPonella [ALPHA MISSION]
[o] c2 Vixen [THE SUPER SPY]
[p] c3 The Super Spy, New World [THE SUPER SPY]
[q] c4 Imputation [THE SUPER SPY]
[r] c5 Game Start, Powering Up [Vanguard]
[s] c6 Stage Medley [Vanguard]
[t] c7 Change (Theme 2) [THE LAST BLADE]
[u] c8 Termination (Ending 1) [THE LAST BLADE]
[v] d1 Bioinformatics (UFO Interior Passage 3) [METAL SLUG 3]
[w] d2 The Cenotaph (Stage 4 Alternative Route~Ancient Ruins), Desert (Stage 4) [METAL SLUG 3]
[x] d3 Secret Factory (Stage 3 Alternative Route~Armory) [METAL SLUG 3]
[y] d4 Into the Cosmos (The Void of Space) [METAL SLUG 3]
[z] d5 Opening, Napolitan Blues, Duel R&D, Yuu, Psycho Soldier "K.O.F Version" [THE KING OF FIGHTERS '94]

Liverpool-based DJ and production duo North 90 channel the raw energy of classic electro on their new EP, Panorama, via M.A.D Records. Fusing punchy drum programming, funk-laced basslines, and icy synth textures, the release pays homage to the genre’s old-school roots while keeping one foot firmly in the modern club landscape.

Following the kaleidoscopic ambition of Djesse Vol. 4, Jacob returns with The Light For Days – a stripped-back, emotionally resonant body of work that is reflective of the quiet core of his artistry.

Recorded in just four days in the very room where his career first took flight, The Light For Days trades scale for intimacy, spotlighting Jacob’s unmistakable voice and a deepening relationship with the guitar. The result is a collection of originals and handpicked covers that feel immediate, heartfelt, and timeless.

The Light For Days is a powerful reminder of the versatility that has earned Jacob seven GRAMMYs across various genres. For those who’ve seen Jacob live, this record will feel like coming home. For everyone else, it’s an invitation to see and to hear him in a new light.

„Tell ‘Em I’m Gone“ wurde in Zusammenarbeit mit der Legende Rick Rubin produziert und zeigt Yusuf,
wie er einige seiner bluesigeren Einflüsse erkundet. In vielerlei Hinsicht knüpft das Album an „Foreigner“
und „Numbers“ an, da er seinen bekannteren Folk-Sound vorübergehend beiseitelegt, um sich anderen
musikalischen Traditionen zuzuwenden, die ihn maßgeblich geprägt haben. Eingefleischte Fans wissen
vielleicht, dass Leadbelly schon immer einer von Yusufs Lieblingskünstlern war, und zum ersten Mal wird
dies in seiner Musik deutlich spürbar.
Neben Eigenkompositionen enthält „Tell ‘Em I’m Gone“ eine Reihe von Coverversionen von Songs, die
Yusuf am Herzen liegen, wie Edgar Winters „Dying to Live“ und Luther Dixons/Al Smiths „Big Boss Man“.
Sogar eine bluesige Neuinterpretation von Jimmie Davies/Charles Mitchells „You Are My Sunshine“ ist
dabei.
(Eingeweihte Fans wissen, dass Leadbelly schon immer einer von Yusufs Lieblingskünstlern war, und zum
ersten Mal wird dies in seiner Musik deutlich.) Klanglich besticht das Album durch kraftvolle Grooves und
schlichte Arrangements, die authentisch für das Blues-Genre wirken, doch Yusufs einzigartige musikalische
Handschrift ist unverkennbar.
Das Albumcover wurde von Yusuf entworfen und vom Künstler William Stout illustriert. Es unterscheidet
sich von der Sony Legacy-Veröffentlichung, die ein Foto von Danny Clinch verwendete.

Moin, it's Brigade Helbing!!! Endlich auch in Rille gepresst!!! Die Hamburger Oi!-Punk Veteranen spielen den klassischen Deutsch-Oi! Sound der 90er Jahre, da kommen sie her. Bewusst sperrig, punkig und oldschool. Scholzer und Eike waren in jungen Jahren in den Bands Testosteron und Smegma aktiv. Man hatte einfach mal wieder Bock auf Bier trinken im Proberaum und darauf, die alten Songs zu spielen. Als Verstärkung holten sie sich Dennis von den Harbour Rebels an der Gitarre und Frank von L.A.K. an den Drums; beides alte Freunde aus der Fanszene des FC St.Pauli. Die ursprüngliche Idee, dass jeder die Hits seiner Bands mitbringt wurde dann ziemlich schnell verworfen. Die Texte sind erwachsen und man hört deutlich die Jahrzehnte in der Szene heraus. Herumgepose braucht in dieser Band keiner mehr. Die Debüt-EP enthält 6 Songs, davon eine Coverversion von L.A.K.s "Mehr Als Fußball", einem alten Gassenhauer aus der St.Pauli Fanszene Mit Unterstützung von Jule, Sängerin der Harbour Rebels, zusammen mir Scholzer im Duett. Ihrer Ansicht nach die beste Paarung seit Cindy & Bert.

On his new cassette album Neuer Almanach, Felix-Florian Tödtloff creates a reflective narrative of electronic ambience, flowing guitar renderings and field recording observations. All created in Spain, Germany, Georgia and France, these pieces are filled with pondering musical intent without the need for borders.

This exceptional release brings together two of Marcia Griffiths’ most remarkable recordings.

Both tracks originally appeared on her acclaimed debut solo album Sweet and Nice , produced by

Lloyd Charmers and released on Trojan Records in 1974.

These two gorgeous tracks are extremely popular today as highlighted by the hundreds of thousands views on Youtube

but incredibly, this is the very first time these two gems are issued on a 7" single!!

Riding in on an eviscerating vocal alarm call and originally released in 1988 as the final installment of her Masque of the Red Death trilogy, Diamanda Galás" You Must Be Certain of the Devil is as unflinching now as it was on release in 1988. It remains a swaggering, furious fuck-you to those who might cast aside the sick and dying in the name of faith and scripture. Often misunderstood as simply dark for its subject matter, You Must Be Certain of the Devil in fact shines a light of such total exposure it leaves nowhere to hide, forensically unmasking the fury and pain of real grief and the vast spectrum of emotions rendered by the AIDS epidemic. It is an album that looks you square in the eye, pins you against a wall and makes you look at and feel the horror the virus visited upon a person, the knowledge of certain death in a hostile environment, and the hypocrisy of those who claim to be Samaritans or protectors.

“Even a blind pig can find an acorn once in a while.”

Dialling up Bristol for a nearly-missed hard drive scoop from a moment back in the middle-distant past, Bruk proudly presents the sound of Blind Pigs. Snaffling up eight nuggets of open-format beats recorded over a 24-hour creative spurt, this record captures a moment in time and celebrates the magic that happens when seasoned heads cut loose in the studio without an Agenda.

The sound of Blind Pigs is steeped in many things, conjured as it is by two venerable wizards with all kinds of skin in the game. There are snatches of trap’ sharp contours, LA beat scene storytelling, grime immediacy, soundtrack atmospherics and the pervading influence of soundsystem-spirited low end. Those are all just hints really — the resulting spell is its own blend that manifests free of any conceit. The production is raw and impactful, cold to the touch but charged with emotional weight in the haunted polysynth shapes peeling out across the tracks. Re-discovered by chance and stripped of contextual baggage, Blind Pigs is what happens when music is allowed to happen naturally. No arch concept, no stylistic posturing, just properly crafted beats stumbled upon by chance from two real ones who maybe never entered the studio together Again.

Lexachast is an ongoing collaborative work by Amnesia Scanner, Bill Kouligas & Harm van den Dorpel.
Initially birthed as a joint, improvised performance between Amnesia Scanner and Kouligas at the ICA, London in 2015, it was later recreated and extended with visual artist van den Dorpel into a 15-minute online-only audiovisual work – known simply as Lexachast. Since then, it has expanded into a live show that has been performed at Transmediale, CTM Festival, Unsound Krakow & Adelaide, Next and LEV Festival and during Paris Fashion Week in collaboration with the brand Ottolinger. Now to be released on PAN, is a new document of Lexachast in its current, full-grown form.
Whilst broadly inspired by the experience derived from and exposure to algorithmic patterns as generated by visual artist Harm van den Dorpel’s specially- devised program, the work is a sonic reference to the fallouts of avant-EDM and cyberdrone. This in turn is simultaneously mirrored by the perturbing visuals, created by a unique algorithm that sources and blends various filtered imagery from DeviantArt and Flickr in real time – with a bias towards the NSFW, extreme banality, and ornamental melancholia. The results were a perfect fit for the deliberate intention of non-intent, an anti-video of sorts, which ended up as a defining element for the project.

A rare gem (Rock Hard - Album of the Month)
This album is an excellent example of what good boogie should sound like, reminiscent of AC/DC in 1977-1978 (La Planète du Stoner Rock)
It's not just a comeback: it's an act of faith. And it's damn convincing (United Rock Nations)

London-based experimentalist Luke Younger (a.k.a HELM) returns to PAN with ‘Olympic Mess’.
Where his previous effort, 2014’s ‘The Hollow Organ,’ dealt in dense, distressed sonics, ‘Olympic Mess’ is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.
Crafted using an array of heavily processed samples, found sound and electroacoustics, personal conflict manifests in “I Exist In A Fog” and “Outerzone 2015,” where visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of “The Evening In Reverse” and “Fluid Cloak” offer no such relief, while the title track and “Don’t Lick The Jacket” are mineral, multilayered abstractions twisting around a brittle pulse.

The debut single from Tompkins Square’s latest signing, 22 yo Nashville born and based Maisy Owen. Maisy plays all the instruments on this song. Produced by Robin Eaton." “My Youth is All For You” Mono and stereo versions.

"An immersive & fantastic experience that exists, fittingly, deep within its own musical bubble" - CLASSIC ROCK From its inception, TesseracT's 2024 Radar performance was about pushing boundaries - expanding the dimensions of what a TesseracT show could be. In their own words "The 90 minutes, or so, on stage, were proceeded by 2 full years of talks. Wild creative chats about ideas & an ever increasingly ridiculous level of ambition from both Joe at Radar & Mos in TesseracT. Venue changes, schedule changes, album touring, none of these impeded the momentum once the ball was rolling". The performance soars even higher with the addition of Choir Noir, led by the indomitable Kat Marsh, whose imprint was vital in shaping the vocals on 2023's landmark 'War Of Being'. The setlist of 'RADAR O.S.T.' is a ferocious journey through career- defining anthems including 'War Of Being', 'Legion', 'Nocturne' & 'Natural Disaster'. This 2LP edition of 'RADAR O.S.T.' is presented on Special Edition Transparent Orange vinyl in a gatefold sleeve with audio remastered at half-speed at Abbey Road Studios.

Rustic helvetic black metal, deeply rooted in medieval lore and tales of pestilent witchcraft. A fericious array of piercing riffs, marching percussions and tortured howls

Grammy-winner, Boz Scaggs, known for his silky voice and genre-blending style, takes a refined turn with a jazz-influenced record that showcases his deep appreciation for classic grooves and sophisticated arrangements Blending smoky vocals with laid-back rhythms, the album nods to the cool jazz clubs of the past while keeping Scaggs' signature soul intact. It's a smooth, mature work comprised of Boz's interpretation of classic standards as well as one new original track.

Featuring the otherworldly vocals of the legendary jazz singer Norma Winstone whose vocals were recently sampled in Drake's 2023 chart topping single IDGAF (feat. Yeat) and Leo Taylor (Floating Points, Hot Chip, Joy Crookes) on drums, the EP is the amalgamation of Barrott's long term fascination with sunset music, and the ways the change of seasons impact the way we co-exist with the sun. As winter draws closer and we move on from the Autumn equinox to Winter solstice, Barrott's latest release captures the transformative yet paradoxical feeling of melancholy over the end of Summer and the start of winter while creating an eerie sensation of serenity.

The EP follows from the release of Barrott's critically acclaimed and deeply personal 2024 album Everything Changes, Nothing Ends.

The new EP sees Barrott return to his beloved sunset music, as he continues his eternal quest to find new ways to soundtrack this sacred Ibiza moment.



Crowned as the"master of sunset music"by Pitchfork, Barrott's new EP is filled with celestial grandeur that stops you in your tracks. A profound musical meditation and an homage to the sunsets of the Autumn months, the EP captures the sonic poetry of the changing skies and the seasons.

The haunting combination of Barrott's production & arrangement skills, Taylor's jazz drums and Winstone's endlessly ethereal vocals soar in a harmonious union across the title track of the EP while the openerI Am The Starssummons you in for a brief respite from the cacophony of the modern world. The wistful second trackMy Blue Heartlingers with you with its melancholic jazz horns swelling side by side with Winstone's vocals while the closing trackI Am The Airfloats through your ears with its sublime contemplativeness. I Am The Sun, You Are The Moonsees Barrott returning to his sonic ruminations on sunsets, however they are more profound and life affirming than ever.



"At the end of the summer, on a clear bright starry night I climbed to the top of a mountain in Ibiza with a pair of headphones and listened to these tracks and lost myself in the vastness of the night sky and the endlessness of Norma's voice. At that moment everything made sense in my world for the first time in a long while and it just felt right",Mark Barrott says.

"I was surprised and delighted to be asked to participate in this very musical project and to be given such a free hand. Trying to integrate the voice into what were already beautifully formed pieces was creatively very interesting", Norma Winstone says

Following their two previous releases, the group--led by the charismatic vocalist Ms. Kennedy and her brilliant musical partner Ondre J (known as Gregory Porter's longtime Hammond organist) - presents a work that fuses funk, soul, and jazz with gripping pop songs and heartfelt ballads, all driven by groove, depth, and Ms. Kennedy's unmistakable voice. The album will be released on CD and LP via Leopard Records. Born from genuine conversations, spontaneous ideas, and a desire to move people through authenticity, 'Humanity' was recorded in the band's Brooklyn home base. The album tells stories of joy and sorrow, self- doubt and self- love, loneliness and connection.

With 'Humanity', Kennedy Administration deliver a record that feels like a soul party, an embrace, and an existential reflection all at once. It's music for overthinkers, outsiders, smartphone scrollers, dancers, and anyone who wants to feel a little less alone. Highlights include Mark Lettieri's (Snarky Puppy) fiery guitar solo and a moving duet with US gospel singer Doobie Powell. Having herself overcome a period of homelessness during the pandemic and rediscovered her voice through music, Ms. Kennedy turns this album into a profoundly personal yet universal statement.

What We Do When in Silence is the trio of Nicola Ratti, Alessandra Novaga and Enrico Malatesta.

Imagine a series of small movements in an empty space. Imagine their shadows on the floor, there’s a natural light sliding in from the 3 windows on your right side. There’s no silence here. There are people outside waiting for others, waiting for the people since what we do is not visible, since we do it when in silence and there is no silence here. Synthesizer, piano, whistling, electric guitar and percussions.

Nicola Ratti is a versatile musician and sound designer who has long been active across diverse experimental fields. His sound production creates systems shaped by repetition and expansion, with a particular focus on building environments that resonate with the spaces and architectures we inhabit, and on balancing the emotional and perceptual orientations to which we are accustomed.

Alessandra Novaga is a guitarist who has been exploring, for years, the possible territories her instrument can lead her to. She has crossed through the most classical worlds, reaching into intangible abstractions without setting boundaries between the two. Sound, meanings, encounters, and narratives are the elements that guide her path.

Enrico Malatesta is a percussionist and independent researcher working within experimental contexts that intersect music, performance, and territorial investigation. His practice explores the relationship between sound, space, and movement, and the vitality of materials, with a particular focus on surfaces, listening modes, and the articulation of multiple layers of information through an ecological and sustainable approach to percussion instruments.

Xexa is still undefined, gliding over her origins, influences, and points of reference. Her music is informed by uploads from all that, processing heritage and future in much the same democratic way, sure of its (her!) path. Synthetic as it may sound, »Kissom« contains the very human element of Xexa's presence, not only through her instantly recognizable ethereal vocals but also manifest in the web of grooves stopping short of »dance«. »Kizomba 003« is the closest she comes to the dancefloor, a reduced take on the popular style of kizomba, a low-key interpretation but with the vocals atypically high in the mix. A brief breath of nostalgia. »Kissom« (title track) prolongs the slow pace, almost as an extended mix of »Kizomba 003«, stretching the sexy bounce for close to 4 extra-delightful minutes.

Everything seems to dissolve into space, as if every track gently expires only to be reconfigured somewhere else, molecule by molecule, perhaps in a different location within our mind. The artist somehow corroborates the feeling, particularly regarding »Será«, »Xtinti«, and »Txe«, which she says »finish exactly where I wanted. They all end with an EQ that mutes the frequencies until they cease to exist«. Here, there, sparse beats, successive waves of ambience, half-machine lips singing close to our ears, a blend of classic 4AD and a metallic environment warmly wrapping around the music. Extra-long, »Quem és tu?« poses the question – Who are we? Who is she? And the title »Kissom« stems from another question Xexa often hears from people, »Ki som é este?« (What is this music?). The answer might well be the artist's own paste of the words »kiss« and »som«. Lovely.

US Black Friday 2025 Release. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood LP does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance--and Moonblood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians--the line-up was ringleader Jim Beach--vocals; Don Swanson--lead guitar, Curt Swanson--drums, Victor Hemme--bass, and Robert Meinel--rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.”

Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously-- there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach’s vocals—as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach’s lyrics (though lines from The Doors’ “L’America” pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach’s own. Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit.

Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!” The other members contributions shouldn’t be underappreciated though-- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.” Which brings us to the Christian aspect--it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most---fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth—or perhaps as Beach himself best put it: “Speaking for myself, as a believer, it’s been a progressive experience since my childhood.

I think we’re all basically driven to live more than religion.” The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue, which also features for the first time on vinyl, 3 lost tracks-- like the more acoustic-minded “prisms” and “dawning light,” as well as the proto-metal choogle of “Intercessor’s Blues.”

Funk collection featuring gems from Blowfly, Patrice Rushen, Tommy Stewart and Clarence Reid.

"700 Miles of Desert" is the second album by White Rose Transmission, the project of Adrian Borland and Carlo van Putten. The record weaves dark, poetic rock with atmospheric melodies and introspective lyrics, capturing a haunting beauty that became a poignant farewell to Borland's musical journey.

45 years after its original release, The Employees return with a special reissue of their debut single 'Pick It Up': a Belpop Bonanza extended edit on a limited-edition transparent green 12".

Released in 1980, 'Pick It Up' has long been regarded as a Belpop icon. The single sold thousands of copies at the time and earned wide appreciation for its infectious rhythm and playful energy.

Another side of Steve Rachmad. Preceeds and album of archive tracks that shows the far reaching talents of this master producer.. TIP!


Some things are just too good to be hidden from view. That's certainly the case with 'Things To Think About', the first album from Dutch electronic music legend Steve Rachmad's lesser-known Sterac Electronics project.

Rachmad first rose to prominence in the late 1990s, spearheading a surge in Dutch techno that was heavily inspired by the futurist intent and machine soul of Detroit. Since then, he has continued to successfully explore a wide range of dancefloor-centric electronic styles under a dizzying array of aliases.

It's a while, though, since the public has been treated to a heavy dose of Sterac Electronics
material. He first established the alias at the turn of the millennium, primarily as an outlet for hardware-driven electro music shot through with funk and soul.

A handful of highly regarded 12' singles were released on Music Man and Interpersonal XP, before Rachmad began focusing on other projects. When inspiration struck, he returned to the project, jamming out tracks using a mighty collection of vintage synthesizers and drum machines.

Recently, Rachmad and Tom Trago decided to revisit the Sterac Electronics archive, discovering a killer collection of cuts created at different points over the course of the last 15 years.

Now 9 of those spellbinding hardware jams have been gathered together for the first time on 'Things To Think About', a warm, rich and evocative collection of electro-fuelled workouts that giddily pay tribute to the music of Rachmad's youth.

'Things To Think About' will be released as a limited-edition double album, preceded by this 12' single featuring another previously unheard gem from the vaults.

It was December 2015 when Simon Weiss delivered his first EP for Voyage Direct, an impressively intergalactic affair full of supersonic synthesizer arpeggio lines, Motor City influences and robotic drum machine hits. Two years on, the experienced Dutch producer returns to action for the first time since, in the process delivering another quartet of starry-eyed productions.
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Through releases on Deepermotions, Rush Hour and Hometaping is Killing Music, Weiss has established a reputation for combining a deep understanding of dancefloor dynamics with a sci-fi inspired futurist aesthetic. Both of these complimentary traits are much in evidence on his second outing for Voyage Direct.

Weiss blasts off via Brain Fever', where raw, mind-altering arpeggio bass, fuzzy drum machine hits, spacey chords and alien electronics thrust our hero skywards. Think of it as techno for funk-fuelled, Italo-disco loving astronauts whose journey to the end of the universe is only just underway. This intergalactic funk blueprint is explored further on the deeper and more melodious You Want A Cigarette', where Weiss's vocoder vocals wrap themselves around mutant TB-303 lines, rush-inducing chords and clattering machine percussion.

On Space Ghetto (Booty)', our hero celebrates the discovery of previously unknown worlds in the only way he knows how. With kaleidoscopic, full-throttle electronic motifs and funk-fuelled synth-bass to the fore, Weiss offers his own unique take on electrofunk. Pleasingly fuzzy and tightly wrapped in the syncopated drum machine handclaps of ghetto-house, it's a typically far-sighted and attractive proposition.

With just two minutes to go until his spacecraft touches down on alien territory, Weiss rounds things off via the melancholic chord progressions and heartfelt vocoder vocals of Intro', a beat-free excursion just tailor made for dramatic set openings and spine-tingling mix endings. He may be stepping into unknown territory, but it won't be the last you'll hear from Simon Weiss.

2025 Repress

Berlin’s own Steffen Linck, a multi-instrumentalist known as Monolink, announces the 12” remixes release, due June 7th via Embassy One. ARTBAT + BEN BÖHMER + PATRICE BÄUMEL + MONOLINK – no more words needed.

90s floor fillers featuring Robin S, Ultra Nate, Haddaway and Jennifer Paige.






[d] A4 Cunnie Williams Feat. Monie Love - Saturday [Mousse T.'S House Edit]
[e] A5 Eiffel 65 - Blue (Da Ba Dee) [DJ Ponte Ice Pop Radio Edit]

2025 Repress of FR 006, This Remix Ep was original released in 2018.
Great House Record with some of Berlins best Producers DJ Jauche & Oliver Dollar. And dont forget the great cover version of an instant classic!
Must Have for House headz!

Including remixes by Oliver Dollar & Dj Jauche and the "Smooth Operator" Cover by Machomovers.

140 gram purple colored vinyl (with download code) "I've seldom allowed myself to stay in one place for very long," Glen Phillips says, explaining the genesis of his new album, 'There Is So Much Here' "I was lucky during the COVID lockdown to move in with my girlfriend, now fiance , and to stay home for the longest stretch I've had since the birth of my daughter, 20 years ago. After a life of travel and seeking out peak experiences, I began to appreciate the subtle beauty of sitting still."

The 11 tracks on Phillips' new album are informed by the time that the pandemic shut down allowed for reflection, moving between quiet love songs and rockers that consider the multi- faceted meanings hidden in our everyday lives. Glen Phillips has been making music for over two decades, with a career that began as the 14- year- old frontman for Toad the Wet Sprocket. Since then, he's accumulated an esteemed body of work comprising eight albums with Toad (which collectively have sold close to 4 million units) and three as a solo artist.

Recorded November 1957 at Van Gelder Studio, Soul Junction is an album by jazz pianist and composer Red Garland. Also featuring the legendary John Coltrane (tenor sax) and Donald Byrd (trumpet) amongst others, the album features five cuts including the Garland penned title track. This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

After Hours is a 1957 album from the Prestige All Stars – led by trumpeter Thad Jones. Also including Frank Wess (flute, tenor sax), Mal Waldron (piano), Kenny Burrell (guitar), Paul Chambers (bass), and Art Taylor (drums), the album features 4 cuts, all composed by Mal Waldron. This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

Nick Beringer comes through with *Out Of Zone*, straight-up Berlin house heat—tight grooves, deep vibes, and cuts built to lock the floor all night. No fluff, just raw energy for the heads. First drop on Phonogramme’s new sub-label, lifted even higher with a killer remix from Janeret.

Aufgewachsen in der Soundsystem-Kultur des englischen Leeds, kaufte sich George für einen Fünfer - mit freundlicher Genehmigung seiner Mutter - eine alte, ramponierte Lautsprecherbox, die er "Echo45" nannte. Über diese Box lernte er Kevin Harper kennen, ein Gründungsmitglied von Nightmares on Wax – eine zufällige Begegnung, die sein Leben verändern sollte. Mit dem neuesten Nightmares On Wax-Release "Echo45 Sound System" führt er diese Tradition nun einen Schritt weiter und liefert ein Mixtape ab, das sich wie eine Feier und ein Bekenntnis zugleich anfühlt. Ein lebendiger Soundsystem-Trip, inspiriert von der originalen Echo45-Lautsprecherbox, der mit furchtlosem Spirit Soul, Roots, Hip-Hop, Dub und elektronische Texturen verbindet. Mit einem sorgfältig zusammengestellten Ensemble von Kooperatoren – darunter Yasiin Bey, Greentea Peng, Sadie Walker, Oscar Jerome und Liam Bailey – spiegelt die LP nicht nur die Vergangenheit von Nightmares On Wax wider. Obwohl es tief in seinen Ursprüngen, der Soundsystem-Kultur und dem Piraten Radio verwurzelt ist, verkündet es mutig, wohin George geht. Limitierte Auflage auf goldfarbigem Doppelvinyl.

Tokyo based French producer Laurent introduces his label State of Levitation, dedicated to releasing music that tries to grasp the elusive.

Taking charge of the first release, he delivers 4 tracks unraveling sonic landscapes he resonates with, a blend of styles between techno and electro, dark and bright, with an emphasis on melody and emotional evocations.

With The Whole Story, their debut album released in 2024, Astral Bakers laid the foundations for a hushed soft-grunge, somewhere between misty folk and weightless rock. Vertical Life marks a turning point: a band that, after discovering itself, has now established itself as a tight-knit collective, with each member shaping its sonic identity with equal force. Recorded in the USA with Sam Evian (Big Thief, Blonde Redhead...), the album captures the freedom and raw energy of the quartet. There"s no over-recording or over-production here: the moment takes precedence, mistakes become texture, and slight imperfections a signature. Vertical Life is a choral album, a constant dialogue between the four musicians - Ambroise, Theodora, Nico and Zoé - where each now finds a more assertive place in this shifting puzzle, where voices cross and roles interchange. Textured guitars, sometimes silky, sometimes abrasive, criss- cross and overlap like wisps of delicate fuzz. Theodora"s bass anchors the tracks in a cinematic languor, while Zoé"s supple, restrained drumming builds a nocturnal, almost vaporous groove. The vocals, both fragile and assertive, are always balanced between whisper and soar, between indie introspection and grunge energy. A record where verticality is not just an upward movement, but a vertigo, a tension between rootedness and escape.