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Incubus is an American rock band from Calabasas, California. The group was formed in 1991 by vocalist Brandon Boyd, lead guitarist Mike Einziger, and drummer José Pasillas while they were students at Calabasas High School. The lineup later expanded to include bassist Alex “Dirk Lance” Katunich and Gavin “DJ Lyfe” Koppel. Both were eventually replaced, Ben Kenney took over on bass, and DJ Kilmore joined as the band’s turntablist. In 2024, Nicole Row replaced Kenney on bass.

Incubus’ sound has been described as a blend of rap metal, funk, jazz, and post‑grunge, often incorporating elements of hip‑hop. This eclectic style helped them become one of the most popular alternative metal bands of the early 2000s.

The band has achieved significant commercial success, earning multiple multi‑platinum releases and producing several hit singles. In 2017, they released their eighth full‑length studio album, 8, with Skrillex contributing to production and mixing.

Chet Is back! is the 1962 studio album by the undisputed master of the trumpet, Chet Baker. The album was recorded in Rome, Italy at RCA's studios. Chet is backed by a group of then up-and-coming European jazz musicians, which included Belgian saxophonist Bobby Jaspar, Belgian guitarist Rene Thomas, Italian pianist Amedeo Tommasi, French bassist Benoit Quersin, and Swiss drummer Daniel Humair

Chet Is Back! features compositions by Chet's contemporaries, like Thelonious Monk's "Well, You Needn't", Charlie Parker's "Barbados" and Sonny Rollins' "Pent Up House". The album also includes an original composition by Amedeo Tommasi entitled "Ballata in forma di blues". Although Chet's sweet and tragic vocals are not featured on this album, his soaring and lyrical trumpet playing makes up for it.

Chet Is Back! is available on audiophile black vinyl.

Sam Cooke, inventor and true King of Soul, recorded Mr. Soul in 1963, the same year as Night Beat, and seems to be its more adult counterpart, with soulful ballads taking up most of the album. A laidback tempo and rich arrangements lay the foundation for Sam's somewhat melancholy voice floats, creating an uplifting spirit that can mend anyone's broken heart.

With standards such as "Willow Weep For Me", "I Wish You Love", and "For Sentimental Reasons", Cooke shows a quiet emotive side of himself without losing his keen sense of melody, using the strength of his voice without overpowering the listener. Had Sam Cooke lived longer, we might have had more music of this rare quality. As it stands, we must make do with the treasures he left behind.

Mr. Soul is available as a limited edition of 1000 individually numbered copies on orange vinyl.

Lifeforce is the 1985 sci-fi horror cult film directed by Tobe Hooper, responsible for the 1974 horror classic The Texas Chain Saw Massacre. Based on Colin Wilson's 1976 novel The Space Vampires, the film is about the remnants of a race of intergalactic vampires who are brought to London, where they soon begin to infect its population.

Legendary composer Henry Mancini has soundtracked this apocalyptic descent into chaos. He is widely regarded as one of the greatest composers in film history exemplified by his impressive trophy wall: he won four Oscars, a Golden Globe, and twenty Grammy Awards, plus a posthumous Grammy Lifetime Achievement Award. He is most famous for "Moon River" performed by Audrey Hepburn in Breakfast at Tiffany's and of course The Pink Panther.

James Horner was first asked to compose the score, but Mancini was brought in instead and crafted a piece of music both bombastic and ambient (and sometimes even atonal), employing the London Symphony Orchestra. Sit back and feel the fear...

The soundtrack of Lifeforce is available as a limited edition of 500 individually numbered copies on purple marble vinyl, and includes a 4-page booklet containing an alternate cover, film stills, and a fold-out movie poster replica.

KPop Demon Hunters, a Netflix film from Sony Pictures Animation, follows K-Pop superstars HUNTR/X - when they aren't selling out stadiums, they use their secret identities as badass demon hunters to protect their fans from an ever-present supernatural threat. Together, they must face their biggest enemy yet – an irresistible rival boy band of demons in disguise. This special, one-year anniversary version of the soundtrack features four additional tracks, never before released on vinyl / CD.

Best known as one half of KIASMOS alongside Ólafur Arnalds, the Faroe Islands born, Reykjavik based producer Janus Rasmussen has consistently refined an elegant sound that marries sonic precision with emotional depth. Over the past decade, he has built a wide-ranging body of work through collaborations across multiple genres as a producer, songwriter, musician, and mix engineer.

As a solo artist, Janus has crafted compositions that balance immersive sound design, subtle melodic shifts and rhythmic drive, drawing on his diverse musical appreciation and studio experimentation. These experiences have shaped a creative identity that now comes into sharp focus on his most ambitious solo project to date - Inert.

The album marks a bold step forward, thematically exploring the act of breaking free from inertia through embracing creative freedom. With his new work, Janus incorporates his own vocals more than ever, weaving them seamlessly around intricate electronics as he expands his sound into new territory, while retaining the subtle restraint that has defined his output. Drawing inspiration from the dance music spectrum, Inert reflects a renewed sense of momentum, vulnerability and adventurousness in his sound.

Sucata Tapes present the debut album by I'A'V, a conjuration born from an invitation extended by gnration in Braga to Inês Malheiro, completed Violeta Azevedo. Three inescapable figures amidst the portuguese scene, whose precious body of work resonates here in ineffable style.

A blessed triangulation of artists, each with a fully formed vision and a path forged across multiple fronts, I'A'V trace a course of dreamlike songs that blend into a long and volatile poem, where a rarefied electronic landscape of arpeggios, glassy textures, and ruptures seeps into the lyricism of Casellas's cello lines and Azevedo's flute breaths, guided by the Voice.

At times stripped bare, at others soaked in a torrent of post-human effects, settled on Malheiro's expressiveness and elevated by the Azevedo. Volatile Poem, recorded during the mentioned residency, unveils mysteries and conceals realities in a fluid sequence of communal ascension moment

‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ NEWLY UNEARTHED EARLY RECORDINGS BY THE FIRST LINE-UP OF MUSICAL YOUTH Mastered from the original tapes by Guy Davie at Electric Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ – an album of rare and unheard early recordings by Musical Youth, the Birmingham reggae group propelled to worldwide fame with the release of their chart-topping single PASS THE DUTCHIE. ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ combines songs from Musical Youth’s first John Peel session, recorded in 1981 with newly unearthed recordings taken from quarter-inch reels stored for over 40 years by the group’s mentor and producer Toney Owens. The project was seeded as early as 2020, when Paphides sent a speculative message to Owens, after he saw his producer credit on the group’s independently released 1981 single Generals/Political. Paphides wanted to know if Owens had made more recordings of the group in a similar heavier roots reggae vein to those on their debut single. Happening upon the message by chance three years later, Owens allowed Needle Mythology access to his archive of quarter-inch tapes, dating back as far as 1978. The recordings gathered together on ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ shine a light on the exceptional musicianship inculcated into the group by their first frontman Frederick Waite, formerly singer with revered Jamaican rocksteady group The Techniques. Backing Frederick Waite in the early lineup of Musical Youth (originally billed by Toney as Cultural Musical Workshop Youths, were two pairs of brothers) Patrick and Junior Waite, and Kelvin and Michael Grant.

Citing sources from early Dub influenced Clash, Blitz and The Modern Lovers - Spiritual Cramp exist in a strange vacuum somewhere between David Byrne's oversized suit and a bar fight between a bunch of drunk goons on Polk Street in SF. Hate for the police, the government and the status quo are reoccurring themes in Bingham's lyrics. The sounds borrow from the past, echoes of late 70's / early 80's working class rock and punk, which function on the upbeat, showcasing very bright guitars yet generating darker vocal rhythms and darker patterning.

As WARNING prepares to release Rituals of Shame - their first new music in twenty years,vocalist/guitarist Patrick Walker is self-effacing about what led to this moment. Over the last two decades he continued to write and release music, satisfied that he had achieved what he set out to do with WARNING. In those intervening years, interest in WARNING swelled, organically gathering an ardent fanbase. In particular, the 2006 album, Watching from a Distance, has gained a cult following. In response to a transformative period in his life, Walker turned towards writing new songs, and it soon became apparent that these belonged to WARNING. In early January 2025, he started with a completely blank canvas, and piece by piece, he started to fill it with ideas that evolved to become the songs that make up Rituals of Shame.

His immersion in the project became a full-time pursuit. After successfully demoing the five songs, Walker retreated to a remote house on a hill outside Florence, Italy, to refine the lyrics. Recording took place at The Arch Studio, a 140-year-old former church in Southport, UK. Chris Fullard (Idles, Sunn O))), Ulver) handled the recording and mixing. Walker's lifelong musical inspirations can be traced through Rituals of Shame. The ambitious structural arrangements harken to Marillion’s complex but soaring episodic songs. They retain a sparsity that is reminiscent of June Tabor’s economic arrangements; thick with melody but with a diaphanous air to them. Citing John Brenner of Revelation as an enduring inspiration, Patrick credits him with introducing the idea of how to infuse heavy music with significant emotional depth. Often reluctant to discuss the minutiae of his lyrics, Walker does acknowledge that making this album was a direct response to the immediate concerns of his current life period. Rituals of Shame also echoes the enduring themes and fixations that have marked most of his work: guilt, shame, personal failure, obsession, longing, and separation, but, most of all, he says, love. Short: WARNING return with Rituals of Shame - the pioneering Doom band's first new music in 20 years! FFO: My Dying Bride, Candlemass, YOB, Black Sabbath, 40 Watt Sun, Pallbearer, Pagan Altar

Knocked Loose have announced their hotly anticipated new album, A Different Shade of Blue -- a mammoth of a sophomore release and massive step forward for the band and for hardcore and metal as we know it. Recorded by producer Will Putney, the new LP was approached slower and more methodically. Abandoning the previous 'live in studio' recording approach for something more deliberate, the band cranked out twelve new tracks that deal with all manner of anger, especially loss in lieu of absence. While some musical influences are easily identified - Pantera, Hatebreed, Obituary and more - the band's palette and canvas has expanded by leaps and bounds, incorporating Gothenburg-style death metal (At the Gates, early In Flames), slam metal (Devourment, Dying Fetus), blood-thirsty thrash (Sodom, Kreator), black metal (Craft) and the mind-boggling complexity of latter noisy hardcore like Snapcase and Bloodlet. Clocking in at a lean and mean 37 minutes and featuring guest vocals from Emma Boster of Dying Wish and Keith Buckley of Every Time I Die, A Different Shade of Blue grabs the listener by the throat from the jump and slowly tightening that grip for the duration.

DYING VICTIMS PRODUCTIONS is proud to present the much-needed reissue of BAPTHOMET’S BLOOD’s sophomore album, Second Strike, on vinyl LP and - for the first time - CD formats. Originally released in 2008, the Italians definitely continued in the same vein: rough speeding heavy metal hailing the old goods of NWOBHM and 80s speed metal. Beer drinkers and hell raisers though and through, this one is for the backwards leaning blue-collar metal maniacs. 8 tracks + a cover of German heavy metal cult act Tyrant finished of this Second Strike

DYING VICTIMS PRODUCTIONS is proud to present the much-needed reissue of WITCHING HOUR’S sophomore album, Past Midnight…, on vinyl LP and CD formats. Under license from Evil Spell Records. Originally released in 2011, as well as on tape through Dying Victims in 2012, this album introduced the evolvement of the band’s sound from rough and straight forward black thrash to a more varied, multilayered approach to the genre. The fast and evil aspects are still present, yet the band managed to weave in the early version of their yearning, melancholic and ancient heavy metal atmosphere. Ancient heavy metal black thrash

DYING VICTIMS PRODUCTIONS is proud to present IRON KOBRA’s highly anticipated third album, Eternal Dagger, on CD and vinyl LP formats. Additionally their two previous albums will be re-released at the same time. Formed in 2008, Germany’s IRON KOBRA began with a noble mission: to bring heavy metal back to its unpolished, rough, and weird roots. Influenced by heroes of old like Iron Maiden, Cirith Ungol, Living Death, Manowar, and Tank with a sprinkle of punk, the band brewed up a venomous concoction of catchy-yet-speedy heavy metal with maximum potential for engagement – whether it was singing along to, banging your head, and / or raising your fist! Their first few years were busy, releasing the Cult of the Snake demo in 2009 and the Battlesword EP the year after. After playing extensively all throughout Europe and earning a reputation for being a force to be reckoned with live, IRON KOBRA teamed up with DYING VICTIMS in 2012 for the release of their momentous debut album, Dungeon Masters, and three years later for their more refined second album, Might & Magic.

The years after – especially those around the pandemic – brought the band’s external momentum to a crawl. But behind the scenes, they were still writing and playing select shows, even venturing as far as Japan. Now, at very long last, IRON KOBRA return to stake their claim as kings of swords & sorcery metal with Eternal Dagger! Granted, the characteristically amazing cover artwork suggests a sci-fi bent, but the timeless HEAVY METAL the Germans unleash here is vintage IRON KOBRA: immediately recognizable as them, but still reflecting on (and refining) their past, incorporating influences from their favorite bands to result in something that will be YOUR favorite soon enough! Aided by the gleaming & glorious production of Stefan Castevet (Vulture, Luzifer), Eternal Dagger explodes with excitement at every turn, its nine songs ranging speed metal tracks like “Trembling Dungeons” to NWOBHM-fueled rockers like “Shibuya Nights” and epics like "Mountains of Madness.” It goes without saying that IRON KOBRA’s arsenal here offers a wide variety of pure metal gold, evoking the likes of Exciter, Brocas Helm, Diamond Head, and early Running Wild but, of course, with their undeniable personality and panache. So strap yourselves to your seats, maniacs: the Cult of the Snake is back, bringing you heavy hymns that will pierce your eardrums like a heavy metal drill

Mit "The Gods Laugh" erreicht Alison Cotton einen neuen Grad an emotionaler Tiefe und klanglicher Klarheit. Das Album ist ein eindringliches Werk zwischen Folk, Drone und Minimalismus, getragen von Improvisation, Wiederholung und einer meditativen Offenheit. Ausgehend von langsam kreisenden Drones entfalten sich Stücke von großer innerer Spannung, die Raum für Intuition und Resonanz lassen. Entstanden in einer Phase persönlicher Umbrüche, wirkt The Gods Laugh zugleich fragil und kraftvoll. Alison Cotton arbeitet überwiegend mit akustischen Instrumenten - Viola, Harmonium, Klavier, Dulcimer, Recorder - ergänzt durch sparsame rhythmische und elektronische Akzente. Die meist in einem Take eingespielten Aufnahmen bewahren eine besondere Unmittelbarkeit. Das Album bestätigt Alison Cotton als eine der eigenständigsten Stimmen der zeitgenössischen britischen Folktradition - experimentell, erdverbunden und zutiefst berührend.

Rough Trade Records veröffentlicht eine remasterte Doppel-Vinyl-Neuausgabe von Love Is Overtaking Me. Die Sammlung vereint Folk-, Pop- und Country-Songs von Arthur Russell, darunter "Planted a Thought", "Close My Eyes" und "I Couldn"t Say It to Your Face". Die ursprüngliche Ausgabe erschien 2007. Für die neue Edition wurden frisch entdeckte Originalbänder verwendet und von Timothy Stollenwerk in Portland neu gemastert. Ergänzt wird das Release durch überarbeitetes Artwork von Molly Smith sowie ausführliche Linernotes von Tom Lee. Seit über zwanzig Jahren macht Audika Russells vielseitiges Werk zugänglich und hat maßgeblich dazu beigetragen, ihm posthum ein größeres Publikum zu erschließen. Heute gilt er als visionärer Künstler und Einfluss für viele zeitgenössische Musiker. Schon zu Lebzeiten arbeiteten zahlreiche Künstler mit ihm, darunter Produzent John Hammond. Auf dem Album finden sich außerdem Aufnahmen mit The Flying Hearts sowie Projekten wie The Sailboats, Turbo Sporty und Bright & Early. Aus über acht Stunden Material zusammengestellt, umfasst das Album Aufnahmen von 1973 bis 1991. Einige Stücke sind auch im Film Wild Combination: A Portrait of Arthur Russell von Matt Wolf zu hören.

Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, `We're All Going To Be Fine', they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. Lost in Kyiv's music has always thrived on tension between the organic and the synthetic. On `We're All Going To Be Fine', that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. Guitars surge and recede in wide, panoramic arcs. At moments they shimmer and support, at others they thrash violently, accumulating layers of distortion and harmonic overtones. Acoustic instrumentation is interwoven with sequenced synth lines, pulsing arpeggiators, and carefully sculpted electronic textures that give the band's sound a sense of forward propulsion. Rhythm plays a central role in Lost in Kyiv's identity. The drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. "We almost consider this album as the first record of a new version of the band. That's why we decided to use the name Lost in Kyiv now. We don't want to erase the past, but it really feels like a new direction. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before." (Lost in Kyiv) FOR FANS OF Russian Circles * P.G.Lost * The Ocean * Cult of Luna * Brutus * This Will Destroy You

Over the course of more than a decade, the French quartet Lost in Kyiv have refined a sound that fuses cinematic ambition, electronic precision, and visceral live energy into something unmistakably their own. With their new album, `We're All Going To Be Fine', they push that identity further than ever; sharpening their production, intensifying their dynamics, and embracing a darker, more immersive sonic architecture. Lost in Kyiv's music has always thrived on tension between the organic and the synthetic. On `We're All Going To Be Fine', that integration reaches a new level of clarity and depth. The writing and production process was long and exacting, allowing the band to refine every transition and tonal detail. Songs unfold with architectural precision, motifs are introduced subtly before expanding into vast, multi-layered climaxes. Dynamics are handled with patience and control, silence and minimalism are deployed as strategically as explosive crescendos. This careful pacing gives the album a cinematic flow and larger narrative in which struggle and compassion coexist. Guitars surge and recede in wide, panoramic arcs. At moments they shimmer and support, at others they thrash violently, accumulating layers of distortion and harmonic overtones. Acoustic instrumentation is interwoven with sequenced synth lines, pulsing arpeggiators, and carefully sculpted electronic textures that give the band's sound a sense of forward propulsion. Rhythm plays a central role in Lost in Kyiv's identity. The drums provide impact and structure, locking into intricate patterns that interact with bass-driven synth pulses. At times the groove feels almost mechanical, echoing the steady insistence of electronic music; at others, it breathes and swells with human elasticity. This interplay creates a powerful sense of movement, an impression that the music is always advancing, even in its most introspective passages. "We almost consider this album as the first record of a new version of the band. That's why we decided to use the name Lost in Kyiv now. We don't want to erase the past, but it really feels like a new direction. Artistically, I think this album marks the beginning of a new direction, louder and more metal-oriented than what we did before." (Lost in Kyiv) FOR FANS OF Russian Circles * P.G.Lost * The Ocean * Cult of Luna * Brutus * This Will Destroy You

Anfang der 1960er Jahre, als der Vibrafonist Cal Tjader von Fantasy Records zu Verve Records wechselte, befand er sich in einer seiner produktivsten Phasen. Zwischen 1961 und 1968 nahm er unter der
Regie der Produzenten Creed Taylor und Esmond Edwards fünfzehn Alben für Verve auf, auf denen er sich
künstlerisch freier entfalten konnte denn je zuvor. Auf “The Prophet”, seinem letzten Album für Verve,
schöpft der Vibrafonist aus einer breiten Palette von Jazz-, Latin- und Blues-Einflüssen. Das Programm
besteht je zur Hälfte aus eigenen Kompositionen und Stücken des brasilianischen Keyboarders João Donato,
die von Don Sebesky orchestral arrangiert wurden. Das von Donato geschriebene Stück “Aquarius” wurde
1993 von der Hip-Hop-Band A Tribe Called Quest für das Album “Midnight Marauders” gesampelt.

Als John Coltrane 1965 für Impulse! Records das Album “Ascension“” aufnahm, war er sowohl in künstlerischer als auch in kommerzieller Hinsicht einer der erfolgreichsten Jazzmusiker. Das Album besteht
aus einem fast 40-minütigen Stück, das am 28. Juni 1965 im Rudy Van Gelder Studio in zwei verschiedenen Takes (Edition I und Edition II) aufgenommen wurde, die nun erstmals gemeinsam auf einer
Doppel-LP präsentiert werden. Für die Aufnahme hatte Coltrane sein bestens eingespieltes Quartett um
sieben Musiker zu einer Art Big Band erweitert. Die Musik, die Coltranes entschiedene Hinwendung zur
Avantgarde markierte, wechselt zwischen dicht strukturierten kollektiven Improvisationen und ausgedehnten Solopassagen und entfesselt einen wahren Wirbelsturm aus Klängen

Released to celebrate Miles Davis’ centennial, Miles ’56 collects together recordings from the year that Davis recorded his most influential work on Prestige. With cuts from “Cookin,” “Relaxin,” “Workin” and “Steamin”, this collection includes the Quintet of Davis, Coltrane, Garland, Chambers, & Jones. Released on limited 4-LP and remastered from the original analog tapes by GRAMMY-winning engineer Paul Blakemore the set Included new liner notes by GRAMMY-winners Ashley Kahn and Dan Morgenstern.

Composer Vasco Mendonça presents his third album “Third Places”. The album brings together a collection of landmark performances and features some of the leading names in international contemporary music, including countertenor Iestyn Davies, mezzo-soprano Barbara Kozelj, the Porto Casa da Música Symphony Orchestra, the ensemble Het Muziek, and conductors Brad Lubman and Ernest Martínez Izquierdo.

More than just a record, “Third Places” stands as a space for artistic and political reflection on the present. Inspired by Ray Oldenburg’s concept of the ‘third place’ – a space beyond home and work where community life takes place – the album’s title refers to the venues where these works came to life, Casa da Música and the Muziekgebouw aan ’t IJ in Amsterdam: spaces for encounter, dialogue and cultural resistance. For Vasco Mendonça, these spaces symbolise “the ability to elevate the way we communicate with one another and to resist our most primitive and violent impulses”.

The voice lies at the heart of this work. The compositions explore the theatrical, intimate and political dimensions of vocal expression, drawing on texts of great social and emotional weight to create a shared space for listening and questioning the current state of the world.

One of the album’s central works stems from a profound contemporary concern. Inspired by the turbulent political climate in the United States following the 2016 elections and by his discovery of the poetry of Terrance Hayes and Tracy K. Smith, Vasco Mendonça composed a cycle of songs initially conceived for voice and percussion, later transposed for orchestra. The result is described by the composer as “a kind of imaginary American folklore”, where excess, transcendence, fascination and fear coexist.

The album also includes a reworking of material from the opera “Bosch Beach”, created in 2016 to mark the 500th anniversary of the death of Hieronymus Bosch, commissioned by the Dutch foundation Stichting Bosch 500. Based on a libretto by the writer Dimitri Verhulst, the work reflected on the European migration crisis through a scathing portrait of human indifference. In “Third Places”, Mendonça revisits some of this musical material to construct an incisive reflection on contemporary political discourse, transforming the opera’s numbers into archetypes of election campaigns, populism and performative communication.

Straddling contemplation and confrontation, lyricism and political tension, “Third Places” stands as one of the most ambitious recording projects in contemporary Portuguese music, offering an experience that is both aesthetic and critical, where music and thought intersect in a visceral way.

The digital version of the album will include a bonus track, “Marathon”, which explores the analogy between music and long-distance running, creating a piece in which time is transformed through breathing, the heartbeat and the ritualised repetition of movement and the body, in a constant tension between exhaustion and survival.

Melodies everywhere. Hidden ones, obvious ones, the kind that stick around long after the magic is gone. The Fulmars, Hagen’s lo-fi experimental indie outsiders, return with 13 haunting songs on their first proper full-length album. It’s filled with warm lo-fi guitar hooks, carried by Teacherface’s stripped-back Roland drum machine pulse and Fabian Dietz’s soft, delicate vocals. Modern castaways’ music, truly seeing the light, somewhere between the hazy spirit of The Velvet Underground, the playful weirdness of early Throw That Beat In The Garbagecan!, the tender shadows of Dead Moon, and the hypnotic austerity of Party of One. There is a lot of tragedy, all covered in positive agility. Hypnotic simple charmers compellingly recorded by the illusionists behind the delicate Hüüpnootsche Platen Un Kassetten cassette label. If you listen in a row, you will fall into a calm flow, time is on the go, and you so, in The Fulmars circle, disappearing in melodies, those hidden, obvious, glorious. You will fall for the voice, their “rollie” grooves carry you out there, browsing on irresistible humble guitar vibes. Be ready to watch the blue birds fly, it’s a real streetside surprise, for your pleasure, please don’t call it leisure.

Following the massive success of their sophomore album Fading Forward, Les Imprimés, by popular demand, press two standout tracks from the album on the coveted 7" format. The A side, 'You & I,' is a feel-good, upbeat homage to the kind of love that endures "through the chaos and the blunders." Punchy drums and keys create an undeniable two-stepper for frontman Morten Martens' vocals to float above. Dreamers dream and dancers dance as Martens paints a picture of a devoted, understanding love that few are lucky enough to find. On the B side, Les Imprimés offer their take on the classic slow jam. 'Miss The Days' unfolds gradually, with slow pulsing drums and building instrumentation that evoke longing and nostalgia. Martens sings of simpler times impossible to forget-moments free of adult responsibilities, when "it was you and me, hand in hand, sometimes wasted_" Ama Li joins him on vocals, transforming the track into a killer modern take on the classic soul duet, a tune sure to resonate far and wide.

Vince Staples is one of the most revered voices of his generation. Though he's a celebrated multi-hyphenate, making an impact in TV, film, & contemporary culture, music is where he most naturally pushes boundaries as an artist, storyteller, & creative force. Following a string of acclaimed introspective projects, Ramona Park (a melancholic tribute to his hometown) & Dark Times (deeper, more personal themes), Cry Baby is a more outwardly facing artistic statement and piece of social commentary.

FUZZING NATION return with Mothertruck, a fierce statement of stoner and desert heavy rock, built on fuzz soaked riffs, heavy low end and hypnotic, heat warped grooves driven by raw live energy and an organic sound. Formed in Athens in late 2022, the band quickly grew into a tight, powerful and unmistakably heavy unit, turning spontaneity into a focused sonic identity.
They merge experience from Greece's wider heavy scene into a sound shaped by the heat baked legacy of desert rock and the groove driven power of early Palm Desert influences. The result is a warm, gritty and riff focused approach that feels both classic and immediate, designed for open roads, volume and movement.
Mothertruck is heavy rock built as a continuous ride, shifting between crushing riff storms, hypnotic desert passages and expansive groove driven sections, always rooted in intensity and forward motion.

Recommended if you like: Kyuss, Fu Manchu, Queens of the Stone Age

Poitiers based Heavy Rock band RedRedRed deliver a debut album built on grit, groove and a decade of uncompromising attitude. Deaf Gods is a stoner and progressive metal release driven by thick riffs, dynamic structures and a raw live feel that avoids overproduction in favor of impact and authenticity.
Drawing from a deep heavy rock foundation, the band blends groove driven riffs with dark atmospheres and restless songwriting. The album moves between massive low end impact and more intricate, tension filled passages, always grounded in a direct, physical, and uncompromising sound.
A consistent and focused record with strong replay value, Deaf Gods stands out for its honest delivery, strong identity and wide appeal within the heavy underground, appealing to fans of stoner rock, heavy metal and modern prog infused riff driven music.

o black heavyweight LPs
o 39 tracks from the expansion to Monster Hunter: World
o Rigid board outer box
o Printed inner sleeves

The fearsome co-op team of Laced and Capcom have hunted down more rousing music from the Monster Hunter series.

Monster Hunter World: Iceborne was a significant expansion to the hit action role-playing game, introducing players to the icy environs of Hoarfrost Reach and pitting them against intimidating foes including Velkhana and Zinogre.

The sound team for Iceborne comprised Akihiko Narita, Akiyuki Morimoto, Zhenlan Kang, Yuko Komiyama (comymusic), and Tadayoshi Makino (SpinSolfa Co., Ltd.). In true series fashion, the composers used rip-roaring orchestral and percussive instrumentation to alternately rouse and soothe players; from the propulsive "Spark of Blue - Zinogre" to the homely, Celtic folk-inspired "Theme of Seliana".

This vinyl set features artwork by Capcom highlighting the game's key monsters, with tracks pressed to heavyweight vinyl.

All music has been specially mastered for vinyl by Joe Caithness.

Seven Letters is an alias for Symarip, one of the best-selling artists of all time on Trojan Records

Their songs have been covered by The Specials, Bad Manners, Special Beat, Judge Dread and many more

Seven Singles collected on LP for the first time.

Includes liner notes with interviews and pictures with original members.

London based producer Akhavelli’s debut (instrumental) album "Moorthodox Psyence", operates like a recovered transmission from a fractured timeline. The project is built around a fictional rupture in 1996 where memory, signal and culture begin drifting out of phase, framing the music as something intercepted rather than composed. Drawing on the dense collage tradition of sample-based production, the record blends experimental Trip-Hop, turntablism and psychedelic rhythm with the hypnotic repetition of Krautrock and the tactile grit of analogue Hip-Hop. Its palette pulls from Japanese Soul and Funk, ex-Soviet Psychedelia, Turkish and North African sources, Arabic textures and classic 90s vocal cuts and scratches. Beneath the surface sits a subtle Sufi influence, positioning the producer less as author than as receiver: sampling as remembrance, sound as a way of piercing the veil between timelines. The result is what Akhavelli calls Breakbeat Psyence: a hypnotic, transportive body of work that feels less like a conventional album and more like a lost artefact recovered from inside a loop in time.

The name Akhavelli is a layered reference. It plays on Machiavelli, both the historical figure and Tupac’s Makaveli, filtered through his background and perspective. Even though "Moorthodox Psyence" is Akhavelli's first release, he has been working under the name Yvng Face, as a producer and as a professional mixing and mastering engineer for over two decades now. He runs a high-end hybrid analog studio and has mixed and mastered major records across multiple genres. That technical background feeds directly into the precision, sonics, and consistency of this album, even though Akhavelli is a distinct artistic identity.

Powerful Stuff is a 1989 studio album recorded in Memphis at Ardent Studio and Alpha Sound and produced by Terry Manning - With Kim Wilson on vocals, Preston Hubbard on bass and Fran Christina on drums, it was the last one by the Fabulous Thunderbirds to feature guitarist Jimmie Vaughan before he left the band - The track "Powerful Stuff" achieved mainstream success when it was featured in Touchstone Pictures' 1988 hit film Cocktail - It was the first single released from the Cocktail soundtrack album, which reached number one on the Billboard Charts and sold over 19 million copies worldwide

'Prince of Failure' marks a significant shift in Daniel Tompkins' creative world Written & developed over several years with Paul Ortiz (Chimp Spanner), the album traces a long internal process rather than a single moment of inspiration. The material reflects on neurodivergence, masking, & the psychological weight of living out of alignment with expectation - themes that shape both the narrative & the sound of the record. The Prince is presented as an archetype rather than a persona: a name given to the internal voice formed through self- doubt, perfectionism, & misinterpretation. By defining it, Tompkins reframes it. The songs move through states of disorientation, isolation, & repetition before arriving at a quieter form of acceptance. The emphasis is on observation rather than resolution.

'Prince of Failure' marks a significant shift in Daniel Tompkins' creative world Written & developed over several years with Paul Ortiz (Chimp Spanner), the album traces a long internal process rather than a single moment of inspiration. The material reflects on neurodivergence, masking, & the psychological weight of living out of alignment with expectation - themes that shape both the narrative & the sound of the record. The Prince is presented as an archetype rather than a persona: a name given to the internal voice formed through self- doubt, perfectionism, & misinterpretation. By defining it, Tompkins reframes it. The songs move through states of disorientation, isolation, & repetition before arriving at a quieter form of acceptance. The emphasis is on observation rather than resolution.

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

Titled Castle Park and recorded in 2011, the previously unreleased record will be available on 19 June, 2026 and comes as part of a comprehensive reissue of Coxon's complete solo catalogue, spanning 9 studio albums and 3 original soundtracks, across the next 12 months. Produced by Ben Hillier (blur - Think Tank), Castle Park was recorded in 2011 as part of the A+E (2012) sessions. Originally intended as a follow up to A+E, the release was postponed due to blur activity in 2012, before Coxon moved on to other projects. Castle Park is a collection of 10 songs that lean into the artist's classic mod sound, with lead single 'Billy Says' - a longtime feature of Coxon's live set - already familiar to fans and now finally available for the first time.

Written, recorded and produced by Coxon, it saw the musician explore a heavier, more punk sound than its predecessor across 10 tracks, including the song 'Ooochy Woochy'. The 12-track album also includes two covers, 'Fame and Fortune' and 'That's When I Reach For My Revolver' by American post-punk band Mission of Burma. The Golden D features original cover artwork by Graham Coxon. The Sky Is Too High and The Golden D are the first in a comprehensive reissue of Coxon's complete solo catalogue, spanning 9 studio albums and 2 soundtracks, to be released across the next 12 months.

A lo- fi and uncompromisingly honest body of work, the record is considered a departure from his work with blur at the time, although it marks a world first hinted at in his song 'You're So Great', recorded for the eponymous blur album a year prior. Written, recorded and produced by Coxon, with original artwork by Coxon, the album was originally released on Coxon's own label Transcopic. The Sky Is Too High and The Golden D are the first in a comprehensive reissue of Coxon's complete solo catalogue, spanning 9 studio albums and 2 soundtracks, to be released across the next 12 months.

Earning early support from BBC Radio 6 Music and BBC Introducing Sussex, Soft Top have been marked as a compelling new voice. Across the full span of 'Gathering Dust', Goodall utilises the ensemble's orchestral breadth to transform the album's concept into a vivid, widescreen dreamscape. While the subject matter flows between heavy themes, the arrangements remain lush and buoyant, ensuring the record never sinks into melodrama. 'Gathering Dust' is a strange, shimmering beauty; pairing the harmonic complexity of 70s jazz-pop with a raw, modern vulnerability that feels strikingly personal.