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Celebrate a decade of a modern masterpiece. Originally released to critical acclaim, DJ Shadow’s The Mountain Will Fall gets a definitive reissue for its 10th Anniversary. Featuring the explosive, Gold-certified hit "Nobody Speak" featuring Run The Jewels, this album remains a towering achievement in instrumental hip-hop and experimental electronic production. This special anniversary edition is pressed on 2 x 140g classic black vinyl, delivering the rich, warm analog sound the album deserves. The release is housed in a stunning gatefold jacket showcasing brand-new artwork by the renowned artist Paul Insect, complete with premium spot gloss hits that make the visual design pop.

Bridge was to be the Edinburgh-born Kieran Warren’s debut release circa 1994 on Metatone - a short-lived techno label by J. M. Adkins (Electro Music Union) and Damon D'Cruz (Jack Trax, Chill). As fate had it, Metatone folded before the album got printed, and the music was lost in time. That is, until Adkins tipped the Cold Blow boys off while they were working on his anthology, the 2019 double LP "Electro Music Union, Sinoesin & Xonox Works 1993-1994".

Atonal’s Cithare EP last year was the world’s first glimpse at the fuzzy, warm techno archives of Kieran Warren. As a sequel, Cold Blow has restored and compiled their vision of the ‘94 “Bridge” while tapping into the same demo archives that were being scoured through by Metatone in their day.

Essential for the fans of early Aphex Twin, the album moves between warm melodic techno cuts and nostalgic ambient pieces before reaching the grand finale of Arkanoids, an 8-minute ambient epic straight from the school of Selected Ambient Works 2.

Housed in full, cosmic artwork designed by Ed Cheverton. Mastered by Keith Tenniswood.

The Third Room launches its new curator-led series with Oscar Mulero, one of techno's most uncompromising and influential voices. Through decades of releases, DJ sets and his work with PoleGroup, Mulero has helped shape a sound defined by tension, reduction and depth, leaving a lasting mark on contemporary techno culture. For this first chapter, he brings together artists who reflect that same discipline and sonic clarity. Rather than focusing on solo authorship, Mulero shifts towards dialogue - connecting with producers who operate within a shared language, while bringing their own distinct perspectives to the record. He opens with Sonic Synergy, the only solo track: restrained, dub-influenced and immersive, built on warm low-end and gradual development. The centrepiece of the record follows with Reaction Pair, a collaboration with DVS1. Bringing together two of the scene's most established voices, the track unfolds as a fluid, open construction: a rolling, slightly woobly bassline meets evolving chords that build and dissolve tension in continuous cycles, creating a sense of forward motion without obvious peaks. Seven, with Luigi Tozzi, introduces a more spatial dimension, merging Tozzi's atmospheric depth with Mulero's steady drive. Closing track Between the Stars, with Isabel Soto, leans into a timeless, understated energy - functional without ever becoming forceful. Across all four tracks, the EP remains consistent in tone: spacious, spheric and focused on long-form movement. As the first entry in the series, it sets a clear direction - reduced, hypnotic techno built for longevity. ? 2026 The Third Room A1 Written and Produced by Oscar Mulero | A2 Written and Produced by Oscar Mulero & Zak Khutoretsky | D1 Written and Produced by Oscar Mulero & Luigi Tozzi | B2 Written and Produced by Oscar Mulero & Isabel Soto Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

The fifth chapter of The Third Room's curator-led series is shaped by Alarico, one of the defining voices of a new generation pushing techno into faster, sharper and more rhythm-driven territory. Through his productions, DJ sets and close ties to a network of like-minded artists, he has helped shape a contemporary sound defined by tension, detail and forward momentum. For his curation, the focus lies on connection. Bringing together artists operating within a shared sonic language, the release reflects a generation where precision, movement and emotional depth exist in constant dialogue. The record opens with Connection, a first official collaboration between Yanamaste and Alarico. The track captures the intersection of both artists' approaches: Yanamaste's intricate and distinctive synth work meets Alarico's driving, forward momentum. Fast, pulsing and tightly controlled, it unfolds through cycles of tension and release, stripped back to its essential elements. On Crimson Leaf Minstre, Toru Ikemoto builds a detailed and contrasting sound palette. Bright, delicate elements interact with darker stabs that disrupt and reshape the rolling bassline, creating a sense of movement that feels continuous rather than moment-based. The track leans into depth and variation, balancing clarity with a more mysterious tone. Blue Lights by Lea Occhi & Amotik shifts into a more groove-led space. What begins with a functional framework gradually opens up - subtle chords and restrained vocal elements add texture and attitude without overtaking the structure, resulting in a track that feels both light and deep. Closing the record, IB1809 sees Alarico return with a defining statement. Reduced but highly present, the track builds around a strong rhythmic core, where chords, melody and vocal fragments interlock with precision. There is a sense of contrast at play - melancholic yet driven, vulnerable yet forceful - culminating in a moment that feels both functional and expansive. Across all four tracks, the release remains tightly focused - fast, dynamic and cohesive, with a strong emphasis on movement and detail. As the fifth entry in the series, it captures a distinctly modern strain of techno, where emotional nuance and rhythmic intensity are no longer in opposition, but fully aligned. A1 Written and Produced by Irakli Danelia & Alarico Zucchi | A2 Written and Produced by Toru Ikemoto | B1 Written and Produced by Lea Occhi & Anil Chawla | B2 Written and Produced by Alarico Zucchi Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

The fourth chapter of The Third Room's curator-led series is shaped by Freddy K, one of techno's most enduring and uncompromising voices. Through decades behind the decks, an unwavering commitment to vinyl culture and his work with Key Vinyl, he has helped shape a generation of artists rooted in functionality, precision and a direct connection to the dancefloor. For his curation, the focus lies on alignment. The selection brings together artists who reflect that same discipline: a reduced but expressive approach, stripped to essentials yet rich in detail. With contributions from Toobris and Sons of Hidden, both previously featured on Key Vinyl, the release also reflects the long-standing artistic relationships behind his vision. Bat by Toobris opens the record with a powerful, straightforward statement. Driven by a steady pulse and minimal elements, the track feels alive through its control - direct, efficient and highly expressive without excess. Before Mirrors by Sons of Hidden continues this direction while expanding into a more spheric space. Tension is held consistently, with subtle accents carefully placed to shift the energy and draw the listener deeper into the track. On the B-side, Clouds Cream by Quelza stands out as a more intricate and exploratory piece. Deep and immersive, it unfolds through detailed sound design and evolving structures. Rather than relying on repetition alone, the track develops its own internal logic - balancing complexity with clarity, and allowing each element the space to contribute to a larger whole. Closing the record, Swing of Time by Jin Synth shifts into a rougher, more moody territory. Subtle pitch modulation and shifting textures create a sense of instability, giving the track a distinctive edge while maintaining its functionality. Across all four tracks, the release remains focused and cohesive - built on reduction, tension and control, but carried by small, defining moments that shape its movement. A1 Written and Produced by Lennard Miessner | A2 Written and Produced by Sons Of Hidden | B1 Written and Produced by Leo Na?t A?ssa | B2 Written and Produced by Jin Synth Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Archaic Vaults is proud to present »Ley Lines«, the debut album by St Circul.

Concise collection of folkloric grime instrumentals to rise from a new moniker taken on by the elusive First Circle. A breadcrumb trail of effortlessly crafted early 2000s-era grime, trap and drill instrumentals can be found on a fairly sparse Soundcloud account and numerous NTS shows spanning the last ten years, on which he is known to play almost entirely his own material. Now a different energy takes hold on »Ley Lines«: ten tracks by the enigmatic producer to be released both on a label and in physical format for the first time.

»Ley Lines« was born from a meandering quest through South London’s more leafy dwellings. These cherished regions became a place of refuge in which to ruminate on the hopes that love and community can outlast the dwindling state of Britain’s social and political climate. Photo documentation was made which would later form the genesis for each track, and a return to the studio resulted in something which could not be fitted into the existing First Circle discography.

Harpsichord and brass samples (»A Plan Is Formed«, »Hilly Fields«) are underpinned by murky bass loops and tight militaristic percussion – motifs recognisable amongst white label grime’s most influential producers (Wiley, Skepta, Lewi White etc.) that push the formula into far more rapturous territories than any of FC’s previous productions. The more introspective moments of the album (»Wares at the Ivy House«, »Blythe Vision«) put local field recordings and devotional reverberant ambience to the forefront, alluding to St Circul’s proto-dungeon synth influences and giving the whole album a unique world all its own.

Archaic Vaults is proud to host an album which shares intrinsic roots with the label’s own South London birthplace. »Ley Lines«’ ten tracks of psychogeographic drifting are available in digital and limited cassette format via Archaic Vaults.

Mastered by Owen Pratt Design by Severin Black Artwork image by St Circul

Keyboardist/composer Doug Carn was the
biggest star on the legendary Black Jazz Records
label, with four releases to his credit (all reissued
by us at Real Gone Music), and remains a
touchstone for spiritual jazz fans and musicians
alike. But very, very few folks have heard his
debut record, cut for the venerable Savoy label
back in 1969. In fact, it’s so rare that we couldn’t
even find a copy to use for artwork, so, with
Doug’s help, we enlisted his daughter Eroniffa
Ibrahim to create illustrations for our reissue
based on the original cover photos. But you know
what we did find? That’s right…the original master
tapes! So, not only is this the first LP reissue for
The Doug Carn Trio, but it’s an all-analog edition to
boot, pressed at Gotta Groove Records with their
proprietary GrooveCoated stampers to minimize
high-frequency loss with each successive pressing.
And, we’ve added an insert with liner notes by Aaron
Cohen based on an exclusive interview with the man
himself. As for the music, it’s a tight organ trio set
that starts cooking right from the get-go with a groovin’ cover of Gus Cannon’s “Walk
Right In,” which became a folk hit for The Rooftop Singers. Carn’s fluid, forward-thinking
playing anticipates Larry Young’s future keyboard forays, and originals like “Butter from
the Duck” and “Yna Yna’s Delight” presage the compositional prowess he flashed on the
Black Jazz releases (note: that’s Don Hales on guitar, not Gary Starling as credited on the
original record). The opening salvo from a scintillating career, finally available again!

Roy Montgomery, a key figure in the experimental underground rock scene, lives in Christchurch, New Zealand, just a short drive from the sea. Avant-garde vocalist and songwriter Martha Skye Murphy is based in London. Though geographically worlds apart, the pair inhabit an intimate and almost tactile shared sonic world. Their collaboration feels transformative, like the gradual shifting spell from night to day.

What draws them together is the emotional force of each other’s music. Montgomery’s cyclical, decaying compositions are shaped through intricate guitar and piano work, blending post-rock, folk, and drone. Murphy, meanwhile, possesses a rare gift for transformation, from the intimate cracked whispers of 'At Dawn' to the hypnotic drift of 'The Play of Dark and Light'. On the latter, she evokes old maritime folk tales of fishermen lured into the darkness by the sea’s siren call. The song both seduces and warns, finding something magical and frightening in the temptation of drowning. Though her vocals often resemble fragments of words, consonants, or vowels, they frequently function as pure sound, drawing on glossolalia and prioritising feeling over any ‘learnt’ language.

Emotion and intuition are the driving forces behind Nebular, an album that oscillates between the intimate with the unknown. This spirit is reflected in its artwork. Murphy shared a painting by Irish artist Simon English depicting a solitary house bathed in dusky blue light, and the pair quickly settled on it as the cover image. Both were captivated by its atmosphere. Montgomery related it to the isolated, seemingly uninhabited houses he encounters while travelling through rural New Zealand—places that inspire a desire to knock on the door and discover what lies beyond. “Terra incognita springs to mind. A search into the unknown,” Murphy agrees.

The nocturnal and remote nature of the artwork mirrors the process of making Nebular. With Montgomery in New Zealand and Murphy in London, the album was created entirely through remote correspondence, with stems exchanged via email. Their messages were often written and read at different times of day, and, because of the time difference and the demands of daily life, replies usually were sent late at night and the music too often composed at nocturnal hours. Their exchanges took on the quality of pen pals sending letters across great distances. This suspended sense of time is echoed in Nebular’s sound, with its feeling of temporal drift and timelessness.

On Nebular, Montgomery and Murphy have harnessed raw emotion and launched it into a time capsule bound for the stars. It allows you to drift, to be present, and to feel; creating something timeless.

TRACKLISTING

One of the early breed of US death metal acts, Autopsy formed in 1987 in San Francisco. Drummer/vocalist Chris Reifert had gained initial recognition with Floridian genre pioneers Death & his participation on the classic debut, ‘Scream Bloody Gore’ before this new morbid creation was birthed. Autopsy released 4 albums on Peaceville Records in the early part of their career - beginning with the legendary debut, ‘Severed Survival’, in 1989 - before disbanding in 1995, with members going on to become the stalwarts of sickodelia in Abscess.

Autopsy triumphantly & officially returned from the grave after a 15 year hiatus with the 2010 EP, ‘The Tomb Within’. This was followed by the release of the band’s fifth studio album, ‘Macabre Eternal’ in 2011, as the group celebrated a new era of popularity & creativity. This reverence continues to this day as Autopsy itself nears its 40th anniversary, & still features the longstanding core trio of Chris Reifert, Eric Cutler, & Danny Coralles.

‘Mental Funeral’ was Autopsy’s second studio album, originally released back in 1991, & is rightly hailed as one of the greatest death metal albums of all time with its unhinged & uncompromising collection of odes to brutality & depravity, wrapped up in its highly distinctive raw, organic production.

‘Mental Funeral’ was recorded at Different Fur Studios in late 1990, with engineering work conducted by Ron Rigler. The iconic artwork appeared courtesy of Kev Walker, who had already provided the (at the time) controversial cover for Autopsy’s debut, ‘Severed Survival’.

This special 35th anniversary pressing of ‘Mental Funeral’ is presented on a limited red/green ink spot vinyl, featuring newly remastered audio courtesy of current Autopsy bassist Greg Wilkinson at his Earhammer Studios.

15 pop songs about animals by 15 of the best indiepop bands in the world: Pets Sounds is as simple as that. Ranging from the playful (Sassyhiya, Gay Skeleton Club) to the heartbreaking (Caleb Nichols, Jetstream Pony) to the enigmatic (Railcard, Oh Hippo) to the satiric (The Magnetic Fields, Brian Bilston and The Catenary Wires), there's more diversity on this album than you can shake a stick at. Or throw a bone at. The LP comes with a full colour insert and the CD comes with a booklet featuring artwork by Elodie Ginsbourg. Musicians spend a lot of time working at home, with their pets for company. The pets sit around, happy in their own worlds, sublimely indifferent to their humans' endeavours. As familiar as family members, but as unknowable as aliens, pets are the perfect muse. They can be treated as objects of adoration - `Rufus' by Tugboat Captain is an expression of pure joy - or they can be treated as metaphors. More reliable than lovers but less dangerous than heroin, pets are a great vehicle for singing obliquely about something else. Swansea Sound's `I Don't Like Men In Uniform' is about an ageing, irascible terrier, but it's also about men striving to maintain their potency as territorial aggressors. The Magnetic Fields' `Fido, Your Leash Is too Long' is a libidinous and unreliable partner, as well as a dog that likes sniffing other dogs' private parts. For the most part, animals come off better than humans on this album. In `Kings Of The Animal Kingdom', The Burning Hell dramatise our indulgent love of pets in order to expose our cruelty to other human beings. In `Bo's New Haircut', The Cords express the injustice and unfairness of an innocent animal having to submit to human demands. In `Crayon Potato' by Sassyhiya, the magnificent Crayon contemptuously rejects the gifts offered by her besotted human owners. In `Lola', the opening track, Lande Hekt tries to put this enigmatic human-animal relationship into words. And concludes that however much we love our animals, and no matter how much we manage to communicate with them, we can never really know them. A melancholy conclusion maybe, but the music - as with all the songs on this album - is expressive of the wonderment and the joy that comes from sharing your life with a member of another species. The tracks by Brian Bilston and The Catenary Wires, Jetstream Pony and Railcard are previously unreleased. These three bands are also playing a launch show at The Water Rats, London, on 9th July 2026.

2026 Sakura Pink coloured vinyl, 2022 Abbey Road remaster, cut-out artwork! When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album 'World Music' - there was, and there still isn't, anyone else on earth quite like them. With their enticing mythology, music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. 'World Music', received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe. 'World Music' is brimming with tracks now seen as 'classic' Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of 'Disco Fever', the fuzz abuse of 'Goathead', the post-punk groove of 'Let it Bleed', the sing-along repetitive pop of 'Run to your Mama'... From the first note to the last, 'World Music' oozes with a sonic confidence rarely seen on a debut album. What Goat have is unique - they've managed to create a sound unrestrained by genre or any other boundaries. So if you haven't done so already, then it is now time you joined the Goat commune. 300 ww copies only!

2026 Repress
Moving Pressure marks its fifth release, and the first one to stretch across a double vinyl with full sleeve artwork. It isn't framed as an album, yet its sequencing carries a narrative weight that lingers between immediacy and introspection.
MP05 welcomes on board Australian producer Connor Wall, whose work fuses tightly wound rhythm and immersive atmosphere, balancing precision with a sense of openness. His sound is rooted in the physical pull of the dancefloor, yet drawn toward zones of suspension and elusion. And Moving Pressure 05 captures that duality very clearly. Momentum sets the tone from the outset - taut drum programming, metallic accents, and structures that build energy in decisive bursts. There's a sense of propulsion that feels engineered for peak hours, exuding a tightening grip on the floor. Gradually, tension loosens up, stretching patterns into spirals, layering vaporous pads and resonant low-end that opens a more interior space.
Together, the two arcs trace Wall's range with clarity: body and mind, force and dissolve. Rather than presenting opposites, they reveal different angles of the same language. An exploration of density, atmosphere, and the subtle thresholds between the two.

2026 Repress, Black Vinyl, Unicover
Johannes Albert brings back the iconic anthem that is "More Action Pleeease!". This time stretched across a full A-side, cut at 45 rpm for maximum punch and pressed on a weighty 180 grams. Built sturdy, loud, and ready to tear through any system. The full-cover artwork seals the deal, but the B-side brings the real twist: the Disco-House edit everyone's been craving (yes, exclusively on vinyl!). Dompe's "Lemon Ice" gets the full "Action" vocal treatment, transforming it into a guaranteed dancefloor riot. Finally - the complete "Actionpella" is attached for the hard-working DJs and the lazy ones alike. Now? More Action Pleeeeeeeeeeease!

Ąnis is a Lithuanian producer and DJ working in the space between broken rhythms and atmospheric weight. His tracks blur the line between club tools and introspective pieces - raw, textured, and unpolished in the best way.

Ąnis’ debut album “I Swear I’m Not Delusional” builds from late-night sketches into fully formed pressure systems. Ambient passages fall into break-driven grooves, each track shifting like a mood swing. It's rooted in tension, repetition, and space - think the grit and movement of early Skee Mask filtered through a more personal, less polished lens. Tracks like “Mountain People” carry warmth without needing to explain themselves, while others feel like they were made at 3am with no lights on. It’s not chasing a scene - just locked into its own pulse. This isn’t background music. It asks you to sit with it - or move to it. Either way, it sticks.

Credits
Original tracks written, produced, arranged and recorded by Jonas Zubavičius in Vilnius. Mastering by Pranas Gudaitis aka audiomastering.lt. Artwork and design by Povilas Baranauskis.

Black Screen Records once again teams up with composer Chris Christodoulou and Hopoo Games for a vinyl repress of the classic original soundtrack to Risk of Rain 2. At the request of Christodoulou, the new edition of the triple vinyl comes on heavy 180g black wax, the way he enjoys the format the most. The set is housed in a beautiful trifold sleeve with the original artwork illustrated by Italian artist Daniele Giardini. All 20 songs have been carefully remastered by Christian Bethge (Risk of Rain, Deadbolt, Divinity: Original Sin II, A Plague Tale) for the vinyl format. With Risk of Rain 2 the classic multiplayer rogue-like returns with an extra dimension and more challenging action. No run will ever be the same with randomized stages, enemies, bosses, and items. Play solo, or team up with up to four friends to fight your way through hordes of monsters, unlock new loot, and find a way to escape the planet. In his third collaboration with Hopoo Games, Chris Christodoulou returns to the Risk of Rain franchise adding another dimension to the game's music-verse. This two-hour-long genre-bending release spans from foreboding electronica to pounding progressive metal and features all music from the game and then some.

The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.

The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.

Ursprünglich im Jahr 2000 auf Fuzzbox veröffentlicht und 2003 vom Beggars-Imprint Too Pure erneut herausgebracht, stellte My Pain and Sadness Is More Sad and Painful Than Yours die Band mclusky aus Cardiff als eine drängende neue Stimme im britischen Rock vor. Das Album zeigt die Band in ihrer unmittelbarsten und rohesten Form und prägte mcluskys Mischung aus scharfkantigen Gitarren, schwarzem Humor und Andrew Falkous" pointierter, oft absurdistischer Lyrik. Noch bevor spätere Anerkennung für Alben wie Mclusky Do Dallas und The Difference Between Me and You Is That I"m Not on Firefolgte, fängt dieses Debüt die Band in einem ungefilterteren Zustand ein - volatil und direkt. Songs wie "Joy" und "Rice Is Nice" deuten bereits die Präzision und Bissigkeit an, die später voll zur Geltung kommen sollten, während ein Großteil des Albums auf Wiederholung, Spannung und Auflösung setzt - mit einem beinahe bedrohlichen Minimalismus. Nun, 26 Jahre später, wurde das Album von Sean Magee in den Abbey Road Studios neu gemastert und erscheint auf 180g schwerem schwarzem Vinyl, wobei das originale Artwork beibehalten wurde. My Pain and Sadness Is More Sad and Painful Than Yours bleibt ein zentrales Dokument der Anfänge von mclusky. Sein Einfluss lässt sich in späteren Wellen von Noise Rock und Post-Hardcore nachverfolgen, doch seine einzigartige Mischung aus Witz, Aggressivität und Ökonomie bleibt unerreicht.

Collecting Orders for 2026 Repress

To mark 15 years of Butter Side Up, the label presents a special 2×vinyl compilation featuring eight brand-new cuts from artists who have been part of the BSU story over the years - a true family affair.

Contributions from Ron Obvious, Garrett David, DJ Pipe and a host of newer collaborators reflect the breadth of the label’s community. Each artist bringing their own flavour but all carrying the BSU spirit.

The first record leans into club‑focused cuts, while the second drifts deeper into housier, after‑hours territory. Something for everyone.

Featuring original illustrations and artwork by Yideah.

Edena Gardens unleash their most expansive work to date. Quintessence is structured in 4 parts as a Magnum Opus—the ancient alchemical process of transformation. But this is not a work of high fantasy. It is a seismic meditation. A study of deep time, weighted matter, and the crushing gravity of change. Quintessence is massive. 79+ minutes of tethered magnitude, carved into six sprawling tracks. The trio pushes further down into the void, discovering new dimensions. Each piece allow the form to stretch. To break its own boundaries. Shifting terrains and unpredictable geometry. The core remains unhurried: A slow, relentless, unabridged crawl. This sort of alchemy demands patience, allowing every sonic mutation to breathe, shift, and solidify in a new atmosphere.

Recorded by Jonas Munk (Causa Sui), the sound is rooted in a natural, anchored production, as if the band is right in front of you: Causa Sui drummer Jakob Skøtt drives the pulse and adds ghostly, sparse treatment to the mix. Nicklas Sørensen (Papir) weaves angular guitar geometry over the deep sediment of Martin Rude’s bass and baritone strings. Martin also supplies the original artwork, spreading across 4 panels (one for each vinyl side), coloured by Jakob Skøtt: A work in its own right. The final work is a massive, physical expanse: Their Quintessence.

The legends of the golden era of Italian soundtracks and library music go by many names, but the backbone of that era’s definitive sonic identity is most often identified as I Marc 4 (also known as Marc 4 or I Marc Quattro). While the moniker might be less familiar to the uninitiated, it is a simple acronym derived from its founding members: Maurizio Majorana (bass), Antonello Vannucchi (organ), Roberto Podio (drums and percussion), and Carlo Pes (guitar). The number "4" serves to highlight the core synergy of these four master musicians. Their journey began in Rome’s vibrant jazz scene of the 1950s and early 1960s, where they honed their craft as members of the RAI national orchestra and collaborated with the most prominent jazz and pop icons of the day. However, it was their pivotal role in defining the Italian cinematic sound of the 1960s and 1970s that secured their legacy. Their unmistakable style was an eclectic fusion of beat, jazz, classical, and Latin influences—textured with early synthesizers, experimental sound effects, and a blend of electronic and baroque instrumentation. Consequently, their initials are etched into the credits of countless landmark recordings by legendary composers such as Nino Rota, Armando Trovajoli, Gianni Ferrio, Alessandro Alessandroni, Piero Umiliani, and Ennio Morricone.

Beyond their work as session luminaries, they produced a vast body of library music under their own name at the legendary Telecinesound Studios in Rome. These recordings were released through prestigious library labels like Sermi, Ricordi, and Fonit Cetra, as well as through their own imprints: Nelson Records, Silver Men, and Silver Music, spanning a definitive series of sixteen albums. Ten of these volumes were issued on Nelson Records during the 1970s, featuring the now-iconic military stencil design. Each release was color-coded: red (G.L.P. 1001), dark blue (G.L.P. 1002), gold (G.L.P. 1003), light green (G.L.P. 1004), brown (G.L.P. 1005), black (G.L.P.1006), light blue (G.L.P. 1007), yellow (G.L.P. 1008), orange (G.L.P.1009), and cool green (G.L.P. 1010). The series was completed by two elusive companion releases: S.M. 2001 on Silver Music and S.M. 2002 on Silver Men, both presented in the same distinctive brown sleeve. Rediscovered in the 1990s and 2000s, these Nelson releases have since achieved cult status among collectors, producers, and DJs worldwide. The final two installments, S.M. 2001 and S.M. 2002, remain the rarest and most enigmatic of the set.

Often overlooked, they contain some of the most profound "hidden gems" in the group’s catalog. The tracklist traverses a wide stylistic spectrum: from the rare groove and proto-hip hop energy of "Trama Nella Metropoli", "Beat Morbido", and "Candy", to the lush cinematic atmospheres featuring the ethereal vocals of Edda Dell'Orso on "Summer In Love", "On The Rain", and "Arcobaleno". The collection is rounded out by sophisticated jazz pieces like "Flauti Ensemble", "Passeggiata", and "Atmosfere Dolci”. Sonor Music Editions has meticulously curated the finest moments from these two rare albums for this first-ever dedicated reissue. Bringing together the best of Silver Music (S.M. 2001) and Silver Men (S.M. 2002), this release retains the iconic stencil artwork but introduces a striking silver finish. This design choice honors the original ten-album sequence while shedding new light on these outstanding recordings—works that remain, in every sense, golden.

180g White Vinyl

* Following on from the hugely popular ‘Klavirni’ (Emika’s first solo piano album in 2015) her second installment of piano solos are a magical cluster of melodies, dreamy effects, obscure production mistakes with tape echo’s and other old analog gear.

* The pieces were recorded during the time she was pregnant with her first child Silvy, to whom she has dedicated this record ‘To Silvy who heard it first from the inside’.

* The collection of ‘Dilo’s’ which means moment in Czech, were recorded ‘in a state of ultra hyped up creativity combined with a massive fear about losing my identity or creativity as an artist once I would become a mother’ - says Emika about the album process.

* A truly personal affair and in keeping with the original style of the first Klavirni, all the Dilo’s were recorded improvisations by the composer on her home piano, this time in Berlin.

* Dilo 7 from the first album has been streamed more than 15 million times on Spotify and there will also be a ‘Red Edition’ repress of the album on vinyl.

* This release marks the 5 year anniversary of Emika Records, celebrating 5 years of independence since her days with Ninja Tune.

* Dilo Variations EP (not released previously before on vinyl) will come with the anniversary releases on a cute little 10’’ with updated artwork.

* This is also the final release in her Emika Records catalog before starting a new venture in 2020 with more details to follow later in the year.

* ‘Klavirni Temna’ which means dark piano in Czech, explores the relationship between dark and light, good and evil, death and rebirth.

* ‘Music is a powerful and sometimes unexplainable force.’ - Emika

Der Track erschien ursprünglich am 1. Januar 2020 als reine Digital-Single zum Jahreswechsel und kam zu einem Zeitpunkt heraus, als die Welt gerade erst begann, sich aus dem Griff der Pandemie zu befreien. Im März 2020 folgte eine limitierte, nur in der EU erhältliche 7-Zoll-Pressung, die seitdem auf dem Sekundärmarkt sehr begehrt ist. Angetrieben von einem erneuten Popularitätsschub - ausgelöst durch das offizielle Musikvideo auf YouTube, das über 9 Millionen Aufrufe verzeichnet und weiter wächst - kehrt die Single nun in einer brandneuen Pressung zurück. Diese Ausgabe verfügt über eine bedruckte Hülle mit dem Original-Artwork und ist auf nur 500 Exemplare limitiert. Der Track selbst ist eine Neuinterpretation des Songs mit voller Bandbesetzung, der ursprünglich ihr 2018er Album ,Golden Days" abschloss, wo er in einem reduzierten Arrangement mit Klavier und Gesang erschien. In seiner volleren Form strahlt der Song Hoffnung, Freude und die Euphorie eines Neuanfangs aus - er fängt ein Gefühl von Optimismus, Chancen und der Vorfreude auf bessere Tage ein. Diese Themen sind bezeichnend für den Sound und den Geist von Mamas Gun. Ebenfalls aus dem Album ,Golden Days" stammend, bildet die B-Seite ,Strangers on a Street" eine perfekte Ergänzung - sie rundet die Single mit Wärme, Positivität und einem gemeinsamen Gefühl menschlicher Verbundenheit ab.

Lonely Man's Dream marks a milestone for Forager Records: our tenth release, and perhaps our most personal. More than a compilation, it is a self-portrait. A reflection of the musical obsessions, late-night discoveries, and restless digging that have defined this label from our first record to this latest one.

Spanning the dreamy psychedelic folk of the 1970s to the cool shimmer of 1980s synth pop, Lonely Man's Dream traces a decade of curatorial wandering. Eleven artists. Eleven songs. Each one rare, obscure, or otherwise lost to the margins of music history. Among them, two tracks surface here for the very first time: “Never Say Goodbye” by Cocktails and Dreams, a synth pop transmission from Norway, luminous and weightless as the skies on the cover. “True Love” by Keith Jones, a drum machine backed demo that pulses with a late night intimacy.

What unites these songs across genre and era is the same quality we have always chased; a transporting ache, the sound of someone searching, or the feeling of a memory you can't quite place. Like every record before it, this one asks nothing of you but your full attention and an open ear.

Ten releases in, we are still looking for the same thing we started with. We hope you feel it too.

* Featuring a selection of songs sourced from rare records of the 70s & 80s reissued for the first time.
* Includes 2 unreleased songs from the 80s
* Original artwork by Eric Thompson
* Very limited initial first pressing

"Ultra, The 12 Singles", a collector's edition deluxe box set, contains eight 12" vinyl discs presenting four singles - "Barrel of a Gun", "It's No Good", "Home", and "Useless" with key B sides, mixes and live recordings contemporaneous to Depeche Mode's ninth studio album, Ultra, originally released April 14th 1997. Three of the 12" vinyl discs in Ultra The 12" Singles are comprised of tracks first released on CD singles throughout 1997. Each of these new 12" discs features artwork reflecting the original CD single releases, now expanded to 12" vinyl for the first time. Audiophile quality 12" vinyl, with audio mastered from the original tapes. The artwork for the exterior box sets draws on iconography inspired by the original releases, while the vinyl sleeves themselves feature the original single artwork. Very limited. Stock will be allocated.

New Jersey malevolents FUNEBRARUM uncloak their third full-length; the sheer magnitude of "Beckoning The Void Of Eternal Silence" rains down world-ending Doom tenebrosity with searing scowls of Death Metal assailment. With a perturbed atmosphere writhing around the entire record, the pulsation of which "Beckoning The Void Of Eternal Silence" breeds is an expertly calculated Deathdoom craftsmanship and yet emitting at times a surreal bridging between extreme genres in orchestra-like precision. The core DNA of FUNEBRARUM has remained intact albeit the exalted darkness have shaped themselves to be cut from a different cloth. Recorded at Elektric City Recording (Ascended Dead, Coffin Rot, etc) by Charles Koryn with additional recording and mixing duties by Stephen DeAcutis at Sound Spa Studios (Ripping Corpse, Evoken, Disma, etc). Mastered by Daryl Kahan at Winterdark. Cover artwork by Daryl Kahan.

Futurismo are proud to present the iconic 1982 debut album, Only Theatre of Pain, by gothic legends CHRISTIAN DEATH. Available on deluxe 2xLP, CD digipak.

Hailed as a masterpiece of it’s genre, and considered by many as ground zero for Deathrock, Only Theatre of Pain is a seminal work of unholy power and pitch black emotion. Whilst this record may have it’s roots in punk - the origins of this true original version of Christian Death took place in Southern California during the early 80’s hardcore explosion - it cannot be overstated how important this record was in shaping the subsequent landscape. Emerging like an adrenaline shot into the heart of darkness, this unrestrained and mysterious recording still remains unclassifiable.

Featuring the late visionary Rozz Williams (then only in his teens) alongside punk luminary Rikk Agnew (guiding light in the Adolescents), James McGearty and George Belanger, Only Theatre of Pain’s musical exploration is adorned with psychosexual lyricism and an innate struggle with faith. Rozz’s vocals creep and possess, demonic and haunting, against the captivating, unmistakable guitar work of trailblazer Agnew. It’s a performance, but also a truth, perhaps Only Theatre of Pain is an art show, as much as it is an era defining record.
Aside from their spellbinding sound, it may have also been the lore of Christian Death that set them apart from other LA goth bands of the time. A near-nude Rozz Williams nailed to a cross at the Whiskey a Go Go may have played a part, but what it is apparent when you listen to the unhallowed musical stages on Only Theatre Of Pain is a depth of vision and orchestration that goes beyond the simple stance of brooding many of their contemporaries emulated, delving into the realms of pure unadulterated catharsis. The result is an eradefining statement that remains as unsettling, innovative, and resonant today as it was over four decades ago.

Only Theatre Of Pain is presented here in a new remastered deluxe pressing with a second disk containing early demo’s and rare material, further demonstrating why Christian Death stood alone in their sound and approach. This journey of religious depravity, recorded by the legendary producer Thom Wilson in a matter of days, harnesses the huge concepts of band projecting older than their years. Ahead of the curve in sonic artistry and visual aesthetics, this slab of sacrilegious American punk is nothing short of essential listening for the gothic inclined. A must for fans of The Misfits, Bauhaus and The Cramps.

This classic LP comes in deluxe super limited edition ‘California Hell’ coloured vinyl and contains a second disk of bonus material. It is packaged in a gloss laminated sleeve with metallic ink, containing printed inner sleeves, a large fold out poster, redux artwork featuring the photography of Edward Colver, and liner notes by Lisa Fancher of Frontier. Also available as CD digipak

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

"This debut is unusually taut and polished, with hooks, crescendos, and clever turns of phrase nearly always in the right place. ” 8.4/10 - Pitchfork

“captures more believable, crackling punk energy than most hardcore bands.” 10/10 - AV Club

“Recommending this album seems too light a course of action; requiring it may be more apt. Consider Hold on Now, Youngster...highly required, then.” - 9/10 - All Music

“They write ridiculously knotted, satisfying hooks… they have great lyrics, great videos, their live show is phenomenal, and most importantly and intangibly (like all great bands) they somehow summon up a world through their music, until it feels as if everything in life is here.”
9/10 - Popmatters

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

“a messy, glorious, noisy document of internet café-era indie life that sounds best when sung by heart.” 8.3/10 - Pitchfork

“full of half-heartfelt, half-hilarious songs that capture the rush of being young in a noisy new century.” - 10/10 - Entertainment Weekly

“smart, immediate, and anthemic” - 10/10 - The AV Club

or the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

“an absolutely astounding album” 4.5/5 - DIY

“Romance Is Boring is a triumph.” - 8.3/10 - Pitchfork

“The fact that the seven-piece manage to make music that is as orchestrated and coherent as it is invigorating is only one of the few astonishing things about them.” - 9/10 Popmatters

“What primarily sets ‘Romance Is Boring’ up as a significant step forward is that it’s incredibly structurally cohesive, and yet blows anything they’ve previously released out of the water in terms of textural intricacy, technical prowess and general experimentation.” - 4/5 NME

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

"This debut is unusually taut and polished, with hooks, crescendos, and clever turns of phrase nearly always in the right place. ” 8.4/10 - Pitchfork

“captures more believable, crackling punk energy than most hardcore bands.” 10/10 - AV Club

“Recommending this album seems too light a course of action; requiring it may be more apt. Consider Hold on Now, Youngster...highly required, then.” - 9/10 - All Music

“They write ridiculously knotted, satisfying hooks… they have great lyrics, great videos, their live show is phenomenal, and most importantly and intangibly (like all great bands) they somehow summon up a world through their music, until it feels as if everything in life is here.”
9/10 - Popmatters

Presented as a Limited Edition ( 100 copies ) 12" Fluorescent Green Vinyl (180g), this record comes in a high-quality matte sleeve with UV-printed artwork. Each copy is pressed on heavyweight fluorescent wax, offering premium sound and a striking visual finish.

The third release for Parallel Line comes from Aberystwyth-born, Berlin-based, Severin Black. He works closely with woodwind, electronics, low-end and feedback, runs his own label Archaic Vaults, and has played everywhere from the ICA to a 460-year-old church with a giant pipe organ. The last album, Country Music, featuring Pavel Milyakov and Vanessa Bedoret, showed how far his Celtic-rooted improv style has reached across the experimental dub community.

The EP opens up with a flute loop leading the eerie track "Brandy", not quite like anything else. "Yarmouth" goes darker and more ritualistic, with haunted stepper vibes. Then the B-side is nine minutes of "Cautious (Dub)", a stretched-out live take that takes you on a slow, dreaded journey.

Mastered by E-mura, artwork by Zodiak. Photo by Thom Mac Gillavry.

A quarter of a century after the original release, Hans went back to it and re-pressed Wako 2 himself.
Since the original only had two tracks, two new ones were added in the same style.
To give it proper punch, the record was cut on a Neumann VMS80, with mastering handled by Shane the Cutter, delivering heavy bass and crystal-clear highs.
The label artwork was completely redesigned.

Here is the latest record from Konformer, Konformer II, the follow up to Konformer 1!

3 years in the making Konformer II is a further & deeper probe of the world of electronic influenced instrumental, psychedelic Krautrock from the Nuremberg based trio, recorded at Frank Mollena's Lonestar Studios.
Rainer Ruder (bass), Andreas Berg (drums) and & Kristian Krauss (keyboards) continue their exploration with a bass loop anchored odyssey, a trip into the future with a firm nod to the past.

Released on Before I Die 03/07/26 on limited Black Vinyl LP with a full colour art book featuring artworks from independent artists from the city.

The band will commence a short UK Tour of Southern & Northern Grassroots venues from the end of August 2026 culminating in a performance at Manchester Psych Fest on Saturday 5th September.

The latest edition of 'Downtownsounds Classics' arrives from Dublin disco messers Fatty Fatty, just in time for the summer sunshine !

Fully licensed and cut loud on 12 inch vinyl the way God (aka Walter Gibbons) intended, it sees in-house producers Pablo and Shoey take on two choice cuts from the legendary Salsoul label.

Salsoul was the very first label to release a commercially available 12 inch remix - the aforementioned Gibbons and his 9 minute extension of Double Exposure's '10 Per Cent'. They would go on to issue a raft of underground disco classics with mixes by the legendary likes of Larry Levan, Tom Moulton and Shep Pettibone. Having robbed the famous 'Baker-Harris-Young' rhythm section from Philadelphia Records, they defined the disco sound in the second half of the 1970's and kept roaring well into the next decade.

The new mixes pay explicit tribute to two hugely formative influences on the Fatty fellas - The A extends the mysterious and wondrously wonky Big Bear edit of Bunny Sigler's 'By The Way You Dance'. Back in the day, these cosmic under-the-counter 12s helped show the Fatties how to disco real right, and they've stood the test of time wonderfully. This one has been at the front of Pablo's bag for longer than he cares to remember, and now the rest of the world can enjoy it, with some extra Pablo and Shoey disco magic thrown in for good measure...

Speaking of cosmic, the flip sees the lads turn in a stripped-back, ever-building mix of First Choice 'Hold Your Horses'. Having first heard this played by the Cosmic King himself, Danielle Baldelli, they found themselves let down by the commercially available mix. Through the disco haze, and with some subtle stemming, several outer-space whooshes and a string/vocal climax to die for, they've tried to recreate the way they heard Baldelli play it...

With the classic Salsoul artwork also present and correct, this is a love letter to perhaps the most important label in dance music history, with music that still sounds amazing five decades on... Don't sleep!

To celebrate the 20th Anniversary the album is to be released as a 1LP Zoetrope, featuring the original album newly remastered at Half Speed at the legendary Abbey Road Studios. Plus, different artwork designs on side A+B which bring to life original designer Sanna Annukka Smith’s illustrations in mesmerising motions created by expert Zoetrope graphic designer Drew Tetz. Strictly Limited Edition pressing.

Beggars Banquet veröffentlicht eine aufwendig überarbeitete 40-Jahre-Jubiläumsausgabe von Discover, dem entscheidenden Durchbruchsalbum von Gene Loves Jezebel aus dem Jahr 1986. Die Neuauflage erscheint als remastertes, erweitertes Doppel-Vinyl mit aktualisiertem Artwork und wurde von Henry Rudkins in den AIR Studios klanglich neu überarbeitet. Damit wird das Album in moderner Qualität neu zugänglich gemacht und zugleich als Schlüsselmoment der Bandgeschichte gewürdigt. Discover gilt als Meilenstein, da es Gene Loves Jezebel erstmals einem internationalen Publikum bekannt machte. Musikalisch vereint es die düsteren Einflüsse der frühen Jahre mit einem klareren, melodischeren Sound und prägnanten Gitarrenstrukturen. Besonders der zentrale Track "Desire (Come and Get It)" steht exemplarisch für diese Weiterentwicklung und wurde zu einem der bekanntesten Songs der Band. Ergänzt wird die Jubiläumsausgabe durch zusätzliche Inhalte: Die Liveaufnahme Glad To Be Alive aus Nottingham (1986) erscheint erstmals seit ihrer Originalveröffentlichung wieder auf Vinyl und zeigt die Band in einer energiegeladenen, raueren Form als im Studio. Parallel dazu werden ausgewählte Liveaufnahmen, darunter "Desire - Live in Nottingham", digital bereitgestellt. Insgesamt positioniert sich die Neuveröffentlichung als umfassende Würdigung eines Albums, das den künstlerischen Höhepunkt und internationalen Durchbruch von Gene Loves Jezebel markiert.

Released in 2014, Buraka is Buraka Som Sistema"s third studio album - and the last before their hiatus. Rooted in the group"s signature fusion of Angolan kuduro and bass music, the record captures the global reach of their sound, documented in Off the Beaten Track: a film following the band through Caracas, Paris, India, London and Luanda, narrated in their own words. This limited colour vinyl edition marks its first ever vinyl pressing, giving full room to the original artwork by Studio Moross.

One of the biggest “re-discoveries” of obscure eighties US Metal/Hard Rock are Ashbury from Tuscon in Arizona. The band, led by brothers Randy and Rob Davis, did originally record two very hard to find albums: »Endless Skies« in 1983 and the (belated) follow-up »Something Funny Going On« (issued in 2010). However, the roots of the band go way back to the late 1970s, when multi-instrumentalist Randy Davis formed his very first band (called Ashbury South) in Southern Oklahoma in late 1977. The original vinyl edition of »Endless Skies« came out in 1983 (with a circulation of 1,000 copies). ”It was a complete indie project all the way,” states Rob Davis. “We worked mostly on a budget of $ 5,000 for the entire project. Our distribution was through Tower Records in the western United States.” Ashbury's sound has sometimes been compared to Jethro Tull and the Davis brothers are indeed not too unhappy about this comparison: ”We both have a big smile on our face with that question,” they explain. “Yes, we are proud to be compared with Jethro Tull.” Ashbury's first album does feature an iconic artwork. Who was responsible for it and what does the cover signify? ”The cover signifies Creation, and the choices we all make,” elaborate Rob and Randy. “The cover obviously coincides with the opening song 'The Warning', about the Prophet who warns against bad choices, evil and greed. The final touch was a 'fantasy' setting, a look just off from any real world appearance.” Randy and Rob Davis are playing as brothers in Ashbury, they have always been the core of the band: ”We would not continue performing as Ashbury without both being involved. We write independently, and also together, therefore the very creation of the music would be different if one of us left the band. We also both sing lead vocals, so the sound of the band would be altered. I might refer to a recent tour concerning Styx - touring without Dennis DeYoung - therefore it's NOT Styx.”