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For fans of Signs of The Swarm, Thy Art is Murder and Lorna Shore The devastating new full length from one of Australia’s household names in the Deathcore genre. ‘The Darkest Side Of Humanity’ is a sprawling, hellish journey into the psyche of mankind, drawing influences from every colour of the heavy spectrum. ANIT have always been a razor sharp prospect, but with this album they seem to have found a powerful amalgamation of everything that made them so fun to listen to. The fat is trimmed, the concept is focused…the songs are HEAVY.

With S.I.K. (Sociedad Internacional de la Kumbia), Conjunto Media Luna maps a constellation of sounds, friendships, and underground connections stretching across Colombia, Mexico, the United States, and beyond.
Produced in Bogotá between 2024 and 2026 by Iván Medellín, the album draws energy from rebajada culture, low-end frequencies, vinyl obsession, rap, and the hypnotic pull of cumbia. Accordion melodies, sampled fragments, drum machines, and sound system pressure intertwine throughout the record, creating a world where tradition is constantly reimagined through contemporary urban culture.
Featuring contributions from artists such as La Gallo 3:20, Turbo Sonidero, Amantes del Futuro, Mextape, León Pardo, Mismo Perro, and Hito de Piedra, S.I.K. unfolds as a dialogue between scenes that have spent years exchanging records, ideas, aesthetics, and frequencies.
The artwork comes from Mateo Rivano, one of the key visual architects of Bogotá's experimental tropical underground, whose imagery perfectly captures the album's blend of street mythology, sonic futurism, and tropical psychedelia.
Part sound system manifesto, part love letter to the global kumbia underground, S.I.K. is dedicated to everyone expanding the culture from their own corner of the map, through music, dance, graphics, fashion, and noise.

Edition of 600 copies, not sealed

Made with Love by Little Beat More 2026
Published by Little Beat More

“The first three are innocent in a way, because we didn’t have an audience when we were making them,” Oberst says. “But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash.” Those two albums came out simultaneously. And their lead singles – “Take It Easy (Love Nothing),” from the austere, remote Digital Ash, and “Lua,” from the warm, folky Wide Awake – debuted in the top two slots on the Billboard Hot 100. “First Day of My Life,” also from Wide Awake, would later be voted the Number One love song of all time by NPR Music’s reader’s poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band’s careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, “When The President Talks To God.” These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era’s releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of “harmonica and mandolins – folky vibes,” Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

After making waves in the underground with their first release, psychedelic techno explorations from Winkles, A Sky Full Of Numbers head to the shoreline with a five tracker of misty electronica from Japan’s The Rituals, the new collaboration between Tasoko and DOLTZ. Across acclaimed releases on Explore, Bitta, and Delsin, the duo have separately explored deep techno, ambient, acid house and IDM, showcasing innovative sound design and spacious, understated grooves. For AFSON, the duo apply their unique point of view at a lower tempo, pulling away from the peak time to deliver a shadowy journey through dewy electronics.
Opening transmission 503M feels like tuning into a damaged frequency somewhere beyond the cloud line. Misty lead synths slither through blown circuitry while buzzing sequences and short-circuiting percussion crackle against purring bass pressure below.
There’s an eerie electricity in the atmosphere, as if the track’s been exposed to too much heat and left glowing softly in the dark. From the opening bars, The Rituals instantly establish their ability to make techno feel both mechanical and hallucinatory.
Ugan sees the duo descend deeper into the haze. Reverb-drenched synth motifs hover like distant lights through thick fog while a propulsive dub bassline locks into loose electro-funk rhythms beneath. There are echoes of hauntological electronics and early IDM experiments here, but The Rituals avoid nostalgia entirely, steering the track instead towards something crepuscular and alive.
Stepping out of the shadows, Broken Frog Lamp pushes forward on a rolling rhythmic framework as melodies slowly force their way through layers of sea mist and static interference. Atmospheric without losing momentum, the track balances submerged emotional weight with hypnotic forward motion.
The mood softens but never dissipates on Salty Air, a damp and dewy excursion into dubbed-out psychedelia. Rainfall ambience, skittering stone percussion and swelling pads fold around sliding sub bass and filtered stabs, while jazzy cymbals and syncopated hats gently pull the track forward, as the condensation clings to the hardware.
Closing cut “Night, Castle, Reflection” drifts into darker territories, where redlining drums and pulsing low-end pressure throb beneath thick layers of saturated texture. Woozy synth work smears against tightly controlled rhythms, creating an immersive and slightly uneasy atmosphere that closes the EP at its most introspective point.
Taken as a whole, the EP transports you into the midnight hour, when the comforting embrace of stillness can easily nudge you towards hallucination, dissolving the boundaries between dream state and dancefloor hypnosis.

The acclaimed compilation series returns with volume 4! Fourteen tracks showcasing the most exciting emerging voices in Belgian jazz, ready to claim a permanent spot on your turntable.

The latest instalment in the celebrated compilation series once again shines a spotlight on the most adventurous and forward-thinking artists emerging from Belgium's jazz scene. Curated by Belgian tastemaker, DJ and broadcaster Lefto Early Bird, the collection continues a tradition of uncovering hidden gems and introducing them to a wider audience of dedicated diggers.

Over the years, the Jazz Cats series has become a trusted barometer of Belgium's ever-evolving jazz landscape. Long before many artists gained international recognition, they first appeared on these compilations, making the series both a discovery platform and a snapshot of one of Europe's most exciting musical ecosystems.

Jazz Cats Volume 4 captures a scene bursting with creativity, diversity and ambition. Across fourteen carefully selected tracks, the compilation explores the many directions contemporary Belgian jazz is taking today. Jazz, hip-hop, electronic music, afrobeat, spiritual jazz and experimental sounds coexist effortlessly throughout the collection.

The opening stretch of the compilation, led by Brussels-based Irreversible Entanglements band member Aquiles Navarro, Ola Tunji and HelenaCasella, offers an early glimpse into a scene that rarely stands still. Their music moves freely between traditions and contemporary influences, reflecting less concern with preserving genres than expanding them. Artists such as Lupo Spaccaro and Kunde, joined here by the raw soul voice of Fred Gata, draw inspiration from hip-hop and contemporary beat culture, yet neither approaches these influences in a conventional way. Instead, they reveal how naturally these sounds have become part of the vocabulary of a new generation of jazz musicians.

Experimentation emerges as another defining thread. KVR and BREAD FOR PIGEONS embrace unpredictability through unexpected textures, shifting atmospheres and confident compositional choices, creating music that constantly challenges expectations. Elsewhere, artists like Gaiko and VLIEGWERK favor immersive soundscapes that reward repeated listening. Whether there's a connection between musical adventurousness and a preference for capital letters remains a question for future research.

At the heart of the compilation lies a strong sense of movement and groove. Ragini Trio and Foutloos approach that rhythm from different angles, yet both build their music around powerful, pulsating foundations. Their tracks need close attention, revealing layers of detail and low-end richness that practically demand to be experienced on a proper sound system.

By the time it reaches its closing chapter, Lucid Lucia, SLAGADER and Kuna Maze bring the focus back to forward motion. Jazz and funk-infused grooves provide a fitting finale, reminding us that however far these artists push the jazz genre, they never lose sight of its ability to connect, uplift and move people.

The result is a body of work that feels remarkably cohesive despite its diversity: a portrait of a scene that continues to evolve through curiosity, collaborationand constant reinvention.

Over the course of more than four decades, Andrew Chalk has created one of ambient and experimental music's most distinctive, influential, and enduring bodies of work. Though his recordings have taken many forms—from the raw, post-Industrial sounds of Ferial Confine in the 1980s to the fragile guitar meditations, blurred keyboard studies, and richly textured collages that populate the Faraway Press catalogue—they remain united by a singular sensibility: an uncommon attentiveness to atmosphere, nostalgia, and the power of restraint.

Mystical Obscurant offers a rare opportunity to encounter the expansive character of that oeuvre in miniature. Rather than documenting a single period or methodology, it functions almost like a survey of Chalk's musical language—a collection of new music that illuminates the breadth of his practice while distilling the singular vision that unites it.

“The Sea of Sorrow” and “Peacemaker” feel cut from the same cloth as the sacred guitar minimalism of The River That Flows Into the Sands, while “Against the Tide” would sit naturally alongside the smudged and distant keys of Blue Eyes of the March. Other pieces draw upon environmental sound and loop-based constructions, hallmarks of Chalk's more recent, vignette-like compositions. Though these recordings emerge from different moments in his long creative journey, each inhabits a recognizable world: one where melodies drift in diffuse, unhurried forms and sound gathers with painterly grace.

What is most striking when these pieces are heard together is not their difference but their coherence. Across changing instruments, collaborators, and approaches, Chalk has consistently pursued a subjunctive music of suggestion rather than declaration, creating spaces where memory and imagination are allowed to unfold at their own pace.

The Go’s Free Electricity, the group’s storied, long-lost album, finally gets a proper release! The Go appeared in Detroit in 1996, led by Bobby Harlow and featuring Dave Buick on bass and Jack White on guitar. Following the release of their 1999 debut, Whatcha Doin’, and a few lineup changes, the band hit the studio with Dion Fischer on lead guitar, John Olson (of Wolf Eyes) on saxophone, and Cary Loren (of Destroy All Monsters) to record their sophomore effort. The session found the band and their producer, Matthew Smith (Outrageous Cherry), exploring the outer edges of rock and roll, with blaring lead guitars, copious amounts of reverb, and a heavy jazz influence thanks to a heavy diet of ‘60s free jazz. The results erupt from the speakers with a cavernous sound, like some haunted frequency beamed across the time barrier from the Grande Ballroom circa 1968, often sounding more like records by Pharoah Sanders and Sun Ra than the records being made by The Go’s peers in the ‘00s rock and roll scene.

Free Electricity was written, composed, and arranged by Bobby Harlow (except track one, which was written by Harlow and Dion Fischer; and track five, written by Harlow and Cary Loren). Free Electricity was mixed and produced by Matthew Smith, engineered by Jim Diamond at Ghetto Recorders, and mastered by Jim Kissling at Jim Kissling Mastering in Detroit, Michigan. Guest appearances by folks from Destroy All Monsters and Wolf Eyes only reinforced the album's musical direction. Weird or not, this was an inspired recording made by an inspired group of musicians. There was a feeling of excitement and adventure happening at these sessions, it shines through mightily on this album.

Previously unreleased proto-metal album by this criminally forgotten UK band. Sweaty Betty were neighbours and friends of Black Sabbath and Judas Priest, all hailing from the West Midlands region of England. The Sweatier The Bettyer, was recorded in 1974/75 and features Budgie drummer Pete Boot. Also, on vocals was future NWOBHM cult legend: Rik Staines, who went on to form Dark Star. Their debut 45: Lady of Mars is considered a classic of the genre. After several years of strenuous research, Rise Above Relics is excited to bring this long-lost jewel from the crypts of the 1970s British underground scene. Mastered and cut from the original 1/4" tapes, it is a gargantuan feast for fans of the era

Born from the Perpignan garage scene in the South of France - built on self-production, independent labels, and a strong international network - Ghost Twist bring together musicians active for decades in Perpignan"s most iconic line-ups. Its members have evolved within key bands (Beach Bitches, Sonic Chicken 4, Crank) and collaborated with Pascal Comelade, Harlan T. Bobo, and the Limiñanas, with releases on acclaimed labels like In The Red, Born Bad, Goner and Trouble In Mind. Formed in 2018, Ghost Twist developed a raw rock sound rooted in the 1960s, shaped by oriental and tropical atmospheres inspired by compilations like "Jungle Exotica" or "Las Vegas Grind". Over time, the band has broadened its sonic palette and incorporated a wide range of influences: from cumbia to the hip-hop of Cypress Hill, from Sonic Youth-style dissonances to Fela Kuti"s afro grooves, all the way to country accents.

Sex Magick Wizards is a Norwegian-Sámi quartet blending psychedelic rock, free improvisation and joik into hypnotic, ritualistic soundscapes. For years they have stormed Europe's underground and experimental music scenes, earning acclaim for intense and unpredictable live performances. The double album Suola ja Noaidi (The Thief and the Shaman) draws on themes of colonisation, weaponised religion and Sámi resilience. Working from this cultural material, Sex Magick Wizards have created a double album combining traditional joik elements with their signature experimental rock sound and freeform avant-garde improvisation. By combining fragments of Northern Sámi from the original poem with new lyrics in both English and Northern Sámi and focusing more heavily on vocals, the band creates a highly distinctive sonic language rarely heard within experimental rock. The album also contains a new interpretation of an old traditional joik from guitarist/singer/joiker Viktor Bomstad's childhood home, Ivgorássa.

Erscheint auf schwarzer Vinyl

I, Scvlptor is an exclusive release from Behemoth featuring 8 previously unreleased songs — 7 new studio recordings and one live track. It is an autonomous body of work that bridges the band's foundational past with their present creative _re. The release features brand-new studio material embodying the full force of Behemoth's live energy and intensity. Two tracks — Rise of the Blackstorm of Evil (from The Return of the Northern Moon, 1992) and In Thy Pandemaeternum (from Pandemonic Incantations, 1998) — are newly re-recorded versions of early Behemoth material, reshaped with modern sonics while preserving their original spirit; a tribute to the bands who had a huge in_uence on Behemoth: "In League With Satan” (originally by Venom, feat. Shagrath of Dimmu Borgir) and "The Return of Darkness and Evil” (originally by Bathory, feat. Sakis Tolis of
Rotting Christ). Available on CD, LP, MC and Limited Edition Box Set through Massacre Records worldwide.

Indie Exclusive
Erscheint auf schwarzer Vinyl

I, Scvlptor is an exclusive release from Behemoth featuring 8 previously unreleased songs — 7 new studio recordings and one live track. It is an autonomous body of work that bridges the band's foundational past with their present creative _re. The release features brand-new studio material embodying the full force of Behemoth's live energy and intensity. Two tracks — Rise of the Blackstorm of Evil (from The Return of the Northern Moon, 1992) and In Thy Pandemaeternum (from Pandemonic Incantations, 1998) — are newly re-recorded versions of early Behemoth material, reshaped with modern sonics while preserving their original spirit; a tribute to the bands who had a huge in_uence on Behemoth: "In League With Satan” (originally by Venom, feat. Shagrath of Dimmu Borgir) and "The Return of Darkness and Evil” (originally by Bathory, feat. Sakis Tolis of
Rotting Christ). Available on CD, LP, MC and Limited Edition Box Set through Massacre Records worldwide.

A shimmering blend of post-grunge, riff-doom and driving psychedelia from current and ex-members of Torche, Abrams and Royal Thunder OMNI is the latest album from Moon Destroys, bringing together current and former members of Torche, Abrams, and Royal Thunder for an exhilarating blend of post-grunge, riff-driven doom, and expansive psychedelia. Building on the atmospheric foundation established by She Walks by Moonlight, the band condenses its widescreen sound into a collection of immediate, hook-filled songs without sacrificing the depth and weight that define its music. The album balances crushing riffs, soaring melodies, and immersive soundscapes across eleven tightly crafted tracks, demonstrating the group's ability to merge heavy rock, doom, and psychedelic influences into a cohesive and memorable listening experience. The performances showcase both powerful musicianship and an instinct for dynamic songwriting, delivering an album that feels equally massive and accessible. OMNI represents Moon Destroys at its most focused and confident, offering a compelling statement from a band whose collective pedigree continues to push modern heavy music in exciting directions. For Fans of KING BUFFALO, TORCHE, ASG, MONOLORD, GREENLEAF, DOZER, CAVE-IN, THE SWORD, OKAY YOU WIN Limited edition pressed on ice blue vinyl! Featuring current and former members of Torche, Abrams and Royal Thunder

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

Ecology Division is a new compilation from Bastard Jazz that brings together a network of producers and musicians working across jazz, soul, electronic, and beat-driven styles. Featuring artists from Brooklyn, Chicago, Montreal, London, Lisbon, Melbourne, and Ludhiana, the release highlights a core group of collaborators and peers connected to the label’s extended orbit. The project is presented with cohesive visual direction inspired by vintage field guides and naturalist illustration, with each track paired to a distinct animal. This framing positions Ecology Division as a curated snapshot of an active, evolving creative community rather than a traditional compilation.

The release features contributions from Simon Mavin (of Hiatus Kaiyote), Sholto & David Bardon, Danny Scott Lane, Rachel Kitchlew & DOUGH, Lapgan, Korovo, Birocratic, Kartik, Nick Marks, and Pimenta Caseira. Collectively, these artists have released music on respected independent labels including Ninja Tune, Brainfeeder, Mr. Bongo, Melting Pot Music, WRWTFWW Records, and Moon Glyph, among others—underscoring the compilation’s reach across established global scenes.

DINTE present a cassette-only issue of an NTS radio broadcast from back in early 2019; a cross-continental trip through instrumental surf, short-run garage rock, and space-age psych oddities from across the globe, incl. groups from the US, UK, Peru, Angola, Thailand, Japan, Indonesia, India & Singapore among others.

Ondrǣdan is the second aesthetic proposal by Sediments’ owners Pajaro Dune. This work is the result of a deep artistic experimentation and a thorough compositional refinement. Some of these materials have been distlilling in the studio for almost a decade of sound engineering and constant debate to make the experience much more profound.

From old English language, ondrǣdan it is a direct reference to our most primordial fears. Both an emotional yearning and a postapocalyptic kubriesque tale, the five works of this record capture five shades of rhythm and mood, where ambient, dub and downtempo meet in immersive narrative experiences. All them crowned with the luxurious sculptural artwork by Blanco Anyò who forces us look beyond the visceral to intuit the transcendent.

Pajaro Dune is the product that combines the creative minds of Jaime Romero aka Estrato Aurora and David Ortolà aka Syoqh aka d_o_ppelgaenger. More than half a life producing together from València, their multifaceted approach crystallizes in renowned works for Alpenglühen, Grabaciones Perpendiculares, The Monkey Bar, Eleve Music and now their own label.

|| We
become more from what is left,
deliver else than just the now,
build sound stories for the then. ||

Dub album full of sound system explosives by expert riddim tinkerer Prince Riser – hard rocking, spaced out Kawai synth digi bangers, hitting that sweet spot between analog and digital Reggae while drawing vibes from the legacy of Dread & Fred, Exterminator and Jammy.

Aside from the thunderous Dub epic “Through The Storm” Prince Riser’s debut LP is also featuring the killer vocal cuts “Poverty Ina Russia” by Sammy Gold – a super heavy depth charge of Sly & Robbie proportions – the soulful Wackie’s flavoured anthem “Keep On Trodding” by Madi Simmons (who sadly passed away in 2024) and the plonky digi stepper “Travelling Gal” by Prince Riser himself, each accompanied by a murderous Dub version.

With extra cosmic dust added by disrupt at the Jahtari home studio, "Through The Storm" is crucial gear for any sound system vinyl crate.

Cover art: Robbie Reiser

Eden Samara grew up in the mountains of western Canada, writing folk songs and performing in the theatre. Following a trip to Europe where she had her first formative clubbing experiences, she relocated to London in 2019 where she’s become a consistent presence and voice in the city’s underground, collaborating with artists like Parris, Ciel and Loraine James and earning praise from The Guardian, Pitchfork, Rolling Stone, Crack and DJ Mag.

2022 saw Eden release her debut album Rough Night on Local Action, blending freaky club-pop, introspective R&B and more while collaborating with leading scene figures TSVI, Call Super and Shanti Celeste. Described by Dazed as ‘an embarrassment of riches’ and by Mixmag as one of the best albums of the year, in Eden’s words it was simply ‘a tragicomedy in seven scenes and an interlude’. She’s downplaying things: to us it was a rich tapestry that explored everything from fleeting moments in smoking areas to the Madonna-whore complex. Both, for better or worse, still make the world go round.

On her second album Odyssey, Eden brings more elements into her ensemble (jungle, choral singing, live harp) while honing her song-writing – it’s an expansion and a tightening at the same time. Inspired by epic literary works like Homer’s Odyssey, The Alchemist and The Picture of Dorian Gray, the album reimagines the archetypal quest through a personal lens: a healing journey amid the collapse of close relationships to addiction, mental illness, and the weight of codependency disguised as love. In Eden’s words: 'This work is a narrative and sonic expedition - part myth, part memoir - that traces my path through the emotional aftermath of watching loved ones struggle with drug addiction and mental health crises, and the impact it
had on my own mental wellbeing. The album addresses substance abuse, toxic relationships, and the internalised belief that love must come through sacrifice, even at the cost of one’s selfhood.'

For this special release, Barcelona’s Lapsus and London’s Local Action join forces for the first time in their respective journeys, reflecting the affinity between both platforms and their shared vision of contemporary electronic music.

The deluxe 10th anniversary edition of case/lang/veirs features the new track "Accidental Tattoo" and twelve never-before-released live recordings alongside the original studio album from supergroup of singer-songwriters Neko Case, kd lang and Laura Veirs. Released in 2016, case/lang/veirs is a true collaboration between three phenomenal, self-driven artists: "the strongest voices in their field - lang the full-voiced seductress, Case the hurricane, and Veirs the wry storyteller" (Pitchfork). The women wrote all 14 songs and shared lead vocals equally, sometimes even within the same track. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. "There"s a generosity of spirit to case/lang/veirs," NPR praised upon the album"s release, "a worthy extension of three tremendous catalogs, in which three great singer-songwriters sound enhanced and invigorated by the challenge of living up to each other"s legacies." They worked over two and a half years in Portland, Oregon, where lang and Veirs both live, sometimes in lang"s loft with a view of Mount St. Helens, others in Veirs" dining room or backyard studio. The album was written from the ground up without any real plan beyond a desire to make music together and a faith that it would reveal itself. They produced the album with Tucker Martine, at his Portland studio in November 2015.

The deluxe 10th anniversary edition of case/lang/veirs features the new track "Accidental Tattoo" and twelve never-before-released live recordings alongside the original studio album from supergroup of singer-songwriters Neko Case, kd lang and Laura Veirs. Released in 2016, case/lang/veirs is a true collaboration between three phenomenal, self-driven artists: "the strongest voices in their field - lang the full-voiced seductress, Case the hurricane, and Veirs the wry storyteller" (Pitchfork). The women wrote all 14 songs and shared lead vocals equally, sometimes even within the same track. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. "There"s a generosity of spirit to case/lang/veirs," NPR praised upon the album"s release, "a worthy extension of three tremendous catalogs, in which three great singer-songwriters sound enhanced and invigorated by the challenge of living up to each other"s legacies." They worked over two and a half years in Portland, Oregon, where lang and Veirs both live, sometimes in lang"s loft with a view of Mount St. Helens, others in Veirs" dining room or backyard studio. The album was written from the ground up without any real plan beyond a desire to make music together and a faith that it would reveal itself. They produced the album with Tucker Martine, at his Portland studio in November 2015.

Layered guitars, synths and wordless vocals set the scenery in this epic, beautiful and introspective solo debut by musical wanderer Lynn Wright.

Wright, who has mostly eschewed developing a fixed artistic identity throughout his already long career, has preferred to remain on the periphery of collaborative projects and behind the scenes. It took until recent times for him to make “Before The Sinking Plains”, which arrives as his first solo recording after decades of traversing underground scenes in New York and beyond. Wright defines the album as “a collection of atmospheric compositions structured as songs or songs masking as atmospheric compositions.”

The album began during a long neurological illness as guitar loops Wright would make each morning in his apartment and let play quietly in the background. At some point he began recording the ones he liked and adding layers of treated guitars, vocals, and synths, and then, eventually, giving them defined structures. The album features none of the aggression of his louder bands and improvisatory projects, but retains the dark hues.

Before The Sinking Plains lives on the familiar peripheries of our post-everything sound world, with elements of everything from washed-out dream pop and atmospheric drone works to sparse noir folk and minimalist vocal composition moving within the linings of Wright's subtle yet grand pieces, creating a perfect backdrop for watching the sky merge with the vast open fields.

Since relocating to Berlin some years ago from New York, he has worked closely with composer Simon Goff, who mixed his current album, as an editor, engineer and composer on various film and recording projects. He also plays lap steel guitar in Swans bassist Dana Schechter’s band Insect Ark. This is just the top of the iceberg when it comes to Wright's collaborations and projects throughout the years.

Kitsune No Yomeiri, which translates to the fox’s wedding, is an endearing expression used to describe sunshowers. Dawson returned home from a recent tour of Japan with a collection of field recordings documenting the spring rain he encountered throughout his travels. These curious sounds, stretching from peaceful shrines to clattering city streets, underpin the material.

Dawson also credits the wonderful folks he met on that tour with profoundly shaping the direction of the album. After each show he found himself immersed in inspiring conversations about the guitar. Through navigating the language barrier, he discovered he was communicating with an immense sincerity that he would ordinarily avoid at all costs. “I’ve always just made records at home in a vortex, but this time it felt like those conversations were there with me in the studio.”

Musically the album has a slight western slant. It’s not country, but it does see Dawson lean softly into his prairie past. Constellations of stray notes and rusted tones form nostalgic melodies, like chance encounters between old friends. Dawson allows phrases and gestures to repeat across the record, resulting in a collection that’s more akin to turning the pages of a novel than a series of vignettes vying for attention.

William Onyeabor was born outside Enugu, a small, rural town in Eastern Nigeria, he created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.

Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And he refused to speak about anything regarding the past.

According to various rumors, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.

PUREST FORM pulls visceral dance-punk music from modern-day angst and unrest. The newly formed Los Angeles trio—vocalist Story Beeson, guitarist/programmer Madi Woodward, and bassist Riley Oikawa-Dahlson—draws on their respective backgrounds in hardcore bands and a shared love of industrial and techno, splicing the intensely heavy with the playful and sensual.

RESISTANCE, their debut with Dais Records, delivers a potent, six-track anarchist assault on the system, fueled by collective anger amidst late-stage capitalism and a year of nonstop trauma in Los Angeles, from the fires to ICE.
RESISTANCE builds on the promise of their self-titled 2024 EP, a sonic blueprint that Stereogum likened to Nine Inch Nails' Broken. RESISTANCE is more agile and charged-up, a cataclysmic set with structural jumps and hard left turns, confronting sonic and societal constructs. Serrated riffs meet fractured breakbeats, basslines, and body-quaking feedback, with nods to death metal and acid house in equal measure, all punctuated by Beeson's urgent, anthemic narration, often shouted to near shreds.

The late Matt Watts was an American songwriter/storyteller and performer from Montana residing in Antwerp and Brussels, Belgium. He ws the son of a catholic priest and mother with Cherokee roots in the Carolinas.

He first began using the electric organ to write songs and also recording them on cassettes when he was 11 years old. When he was 13 his mother bought him an electric guitar from a pawn shop in South Carolina. Using a karaoke machine as an amplifier, he began writing and performing and recorded his first album at age 15 in a small studio in Great Falls, Montana.In addition to writing and performing his own music, he began performing and touring with various local Punk & Noise bands.

In 2007 when he was 19, he moved to Antwerp, Belgium. Since his arrival he has worked and performed with Zita Swoon Group, become a member of Rudy Trouvé's I H8 Camera, translated Simon Allemeersch and Rudy Trouvé’s critically acclaimed piece SCREEN into English, formed The Calicos (now Humo’s Rock Rally winners under Quinten Vermaelen) as a one time backing band, worked with many artists and songwriters (including Emillina Torini & The Colorist, The Love Substitutes, ..) and toured and released various widely acclaimed solo albums and a duo album with Nicolas Rombouts on Starman Records.

Highlights for sure were “How Different It Was When You Were There” (2017 - **** De Standaard), produced by Nicolas Rombouts (ex-Dez Mona) and featured guest performances by Nathalie Delcroix and Bjorn Eriksson (Eriksson Delcroix) and Stef Kamil Carlens. Its excellent successor “Queens” (produced by Stef Kamil Carlens and Nicolas Rombouts) featured a.o. the late Sandy Dillon and Jim White.

Sadly Matt Watts passed away too soon in June 2024. “Restless Kind” is the final album readied shortly before his death in a production by Bai Kamara Jr. Another astonishing collection of intimate Americana songs with lyrics as fascinating miniature novels.

Blood White usher in a new era with "From Hell" – 12 tracks of uncompromising energy and dark atmosphere. Singles like "Run Or Die", "Guns & Fear", and "Unholy Water" prove their vision: brutal, direct, unfiltered. From rebellion to rage, they play by their own rules. Unvarnished. Unforgettable.

Following last year's world tour, Sparks were invited to perform a one-off show on the Moon - the first band in history to do so! Includes an introduction and outro from Cate Blanchett, who accompanied the band on their lunar trip.

Sparks Live On The Moon comprises a full live set of twenty songs spanning the band's 54 year career, including 'This Town Ain't Big Enough For Both Of Us', 'The Number One Song In Heaven', 'When Do I Get To Sing "My Way"', 'The Girl Is Crying In Her Latte' and songs from their most recent album MAD!

Sister Hazel is the American alternative rock band from Gainesville, Florida, onsisting of band members Ken Block, lead vocals/guitar, Andrew Copeland, guitar/vocals, Ryan Newell, lead guitar, Jett Beres, bass, and Mark Trojanowski on drums.

The band’s name pays tribute to Sister Hazel Williams, a beloved local missionary known for her unwavering compassion and community work....Somewhere More Familiar is the second studio album by Sister Hazel, the title of the album comes from a lyric in the song “We’ll Find It”, and was released in 1997.

Anchoring the album is the band’s song “All for You (which is Sister Hazel's biggest hit to date, hitting #11 on the Billboard Hot 100. Meanwhile “We'll Find It” found a second life on the soundtrack of the 2001 film The Wedding Planner, starring Jennifer Lopez and Matthew McConaughey.

…Somewhere More Familiar finally arrives in its debut vinyl pressing and includes an insert with lyrics.

Flaw is an American nu‑metal band from Louisville, Kentucky, formed in 1996 by guitarist Jason Daunt. Lead vocalist Chris Volz joined after responding to an ad in a local newspaper. Following a series of raw independent recordings throughout the 1990s, the band signed with Republic and Universal Music Group, releasing two major‑label albums Through the Eyes in 2001 and Endangered Species in 2004. Breakups, lineup changes, and internal conflicts affected the band for much of the decade, though from 2015 to 2017 they reunited with three core members to tour and write new material.

Originally released at the height of the early‑2000s alt‑metal wave, Flaw’s explosive debut Through The Eyes quickly became a defining record of the era. Led by the unmistakable voice of Chris Volz, the band crafted a sound that fused emotional intensity, sharp guitar work, and melodic hooks that resonated with a generation. The album reached #119 on the Billboard 200, and produced two singles, “Payback” and “Whole”. Another standout track, “Only the Strong”, was featured on the soundtrack of the 2002 action film The Scorpion King.

Now celebrating its 25th anniversary, Through the Eyes is available on vinyl for the first time as a double album. This edition includes an insert with lyrics and features a bonus hidden track.

In Thin Air, forms a musical companion piece to Robert and Jackie's book The Book of Birds - a book that is a love letter to the splendours and mysteries of birdlife, and a clarion call to halt the loss of birds from land, sea and sky. The music was created within the contemplative green oak roundhouse of Ty Sanctaidd (Sacred House) in the grounds of Ty Trefacwn in South West Wales, and recorded at Castle Sound Studio in Pencaitland, East Lothian. As with our other albums In Thin Airhas been recorded and produced by Andy Bell of Hudson Records. Throughout The Book of Birds there runs a gentle mantra - " Nest, Egg, Beak, Song, Feather, Flight, Migration -- these are the Seven Wonders that together conjure the miracle of Bird ". Intrigued by this concept, the seven musicians have created an intricate new album that has an overarching narrative, capturing the remarkable world of birds from birth to flight.

In Thin Air, forms a musical companion piece to Robert and Jackie's book The Book of Birds - a book that is a love letter to the splendours and mysteries of birdlife, and a clarion call to halt the loss of birds from land, sea and sky. The music was created within the contemplative green oak roundhouse of Ty Sanctaidd (Sacred House) in the grounds of Ty Trefacwn in South West Wales, and recorded at Castle Sound Studio in Pencaitland, East Lothian. As with our other albums In Thin Airhas been recorded and produced by Andy Bell of Hudson Records. Throughout The Book of Birds there runs a gentle mantra - " Nest, Egg, Beak, Song, Feather, Flight, Migration -- these are the Seven Wonders that together conjure the miracle of Bird ". Intrigued by this concept, the seven musicians have created an intricate new album that has an overarching narrative, capturing the remarkable world of birds from birth to flight.

THE EPIC NEW STUDIO ALBUM FROM THE LONG-STANDING JAPANESE METAL PIONEERS, INCLUDING GUEST APPEARANCE FROM OPETH'S MIKAEL AKERFELDT - PRESENTED ON DIGIPACK CD & VINYL LPJapanese metal pioneers Sigh formed in 1989/1990 Their genre- classic Black Metal debut 'Scorn Defeat' arrived in 1993, & with a subsequent journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & ideas throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed on the 2022 album (& first for Peaceville Records), 'Shiki'. This was followed by the remaking of their 'Hangman's Hymn' album as part of the band's 35th anniversary celebrations, in the shape of 'I Saw The World's End: Hangman's Hymn MMXXV' (2025).

THE EPIC NEW STUDIO ALBUM FROM THE LONG-STANDING JAPANESE METAL PIONEERS, INCLUDING GUEST APPEARANCE FROM OPETH'S MIKAEL AKERFELDT - PRESENTED ON DIGIPACK CD & VINYL LPJapanese metal pioneers Sigh formed in 1989/1990 Their genre- classic Black Metal debut 'Scorn Defeat' arrived in 1993, & with a subsequent journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & ideas throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed on the 2022 album (& first for Peaceville Records), 'Shiki'. This was followed by the remaking of their 'Hangman's Hymn' album as part of the band's 35th anniversary celebrations, in the shape of 'I Saw The World's End: Hangman's Hymn MMXXV' (2025).

For the past decade, Personal Trainer has served as the ever-evolving creative outlet for frontman and songwriter Willem Smit, growing from Amsterdam's underground scene into an internationally successful touring band An electrifying force in modern indie rock, Personal Trainer blend sharp wit, chaotic energy, and irresistible hooks. Their upcoming third album Human Assholes balances playful absurdity with a quiet undercurrent of doubt, Smit has been ever reluctant as the quote unquote frontman of a band.

Super limited (1000 Global) Silver Die-Cut vinyl first pressing, shrinkwrapped with hand stamped 'cafe' napkin obscuring the cover. Please preorder asap.

On Cafe Paradiso, Mykki Blanco is completely reborn, trading the persona - driven theatrics of his previous releases for something more interior and exacting. The record draws from the diverse, banal and yet idiosyncratic contexts of the artist's life in transit.

"Chameleonic" is one way to describe the artist known as Mykki Blanco, who has played many roles through his storied career: a rapper, a poet, a magazine editor, an advocate. Perhaps "fearless" better describes him; with high profile collaborations from the likes of Charli XCX, Teyana Taylor, Basement Jaxx, Blood Orange, Big Freedia, Kelsey Lu, Michael Stipe, Arca and Anhoni, Mykki has been recognised as a pioneer of queer-centric hip-hop who resonates across musicians of many genres and generations.

This album is Mykki at their most direct - a coherent statement with collaborator FaltyDL and a massively listenable album for fans of LCD Soundsystem and New York Punk, packaged in striking 'Napkin covered' deluxe vinyl for a super-exclusive first run

Across two song cycles separated by nearly four decades – Richard Wagner’s »Fünf Gedichte für eine Frauenstimme« (the »Wesendonck Lieder«) and Johannes Brahms’ late »Vier ernste Gesänge« (»Four Serious Songs«) – Wagner’s songs, written under the spell of his relationship with Mathilde Wesendonck and already pointing towards »Tristan und Isolde«, and Brahms’ final composition, which gives the album its name and was shaped by grief, illness, and meditations on biblical texts, circle the same existential questions.

Desire and mortality, ecstasy and resignation appear less as opposites than as mirrored states. The voices of Wesendonck’s poetry seem to answer the solemn reflections of Ecclesiastes and Corinthians, revealing an unexpected dialogue across time.

Without seeking historical authenticity or revisionist spectacle, »Serious Songs« listens for what still resonates beneath these works: the suspended moment where love, loss, and transcendence become indistinguishable. The harp assumes the role of the piano as the foundation, pulse, and emotional compass. The vocal line, liberated from classical convention, inhabits a contemporary expressive space without severing its bond to the original scores. It is Romantic music viewed through the acoustics of the present. The project emerged from a moment of professional disillusionment familiar to many classically trained musicians. This led to a confrontation with some of classical music’s traditional flaws that became an invitation to reimagine it.

Sissi Rada approaches the spinal properties of the Romantic Lieder, fragile enough to transform and resilient enough to survive. Intimate, lucid, and quietly radical.