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Kreng transports us through the swirling darkness and into the unknown with “Wormhole”, his first album in over a decade.

What does a trip towards another world sound like? We’re about to find out. The master of tension, melancholy, and the deranged is back after a long period working in the worlds of theatre and cinema. Last seen on Miasmah with the grief stricken The Summoner, Kreng now returns with Wormhole, following closer in the footsteps of the cult classics L’Autopsie Phénoménale de Dieu and Grimoire.

Starting with “You Are Here”, the listener travels through a vacuum of spacious minimalism and edge-of-your-seat tension. Within the journey, we are pulled and lured towards a mystic inner core and beyond, encountering drifting fragments of old-world nostalgia on the way: echoes of empty jazz bars sit alongside hellish, Hieronymus Bosch-like scenarios.

Surrendering to the album reveals a surprisingly reflective beauty beneath its darkness; it's a true home-listening gem that unfolds like a Lovecraftian cosmic horror-mystery in the way only Kreng could deliver. Forget everything you know and enter the secret door…

Synopsis: Kagome, a modern-day schoolgirl, is transported to feudal Japan and frees Inuyasha, a half-demon. Together, they seek the shattered shards of the Shikon Jewel, desired by demons. Along their journey, they face fierce enemies, forge deep friendships, and discover a growing love amidst their perilous quest. This album features the best openings and endings from Inuyasha. Performed by iconic J-pop artists, these songs blend emotion, nostalgia, and energy. A must-have compilation for fans of the anime.

By the end of the 1980s, R&B and soul were very much a part of pop culture. However, it was the UK group The Pasadenas who paid the most honest homage to the origins of these genres, with their music drawing on 1950s doo-wop, 1960s Motown and 1970s funk and R&B. The single “Enchanted Lady”, for example, was an ode to Smokey Robinson and could easily have been mistaken for the real thing.

Now their debut album To Whom It May Concern is finally back in stock for the first time on coloured vinyl. The album's biggest hit was "Tribute (Right On)", which took Europe by storm in the summer of 1988. The album was also a huge success, selling over a million copies.

To Whom It May Concern is available as a limited edition on red vinyl and includes an insert.

The album is all acoustic and dedicated to John Lee Hooker with the line, "In Memory of John Lee Hooker. You are missed."

Not known for his acoustic work, Buddy Guy unplugs on Blues Singer for a rare album-length excursion into folk blues. The guitarist gets down and dirty with 12 tracks that sound like they were recorded after hours in his living room or on his back porch.

Guy’s stinging leads are still evident as is his emotive voice, but both are less flamboyant in the unplugged setting. Accompanied by spare stand-up bass and brushed drums, Guy sounds nearly supernatural on covers from Skip James ("Hard Time Killing Floor"), Johnny Shines ("Moanin’ and Groanin’"), Son House ("Louise McGhee"), and John Lee Hooker ("Sally Mae") among others. It’s a low-key, low-down affair made for late nights, rainy days, and the saddest of moods.

Buddy Guy is just as convincing here, arguably more so, as on his barnstorming electric albums, making Blues Singer one of the bravest and most poignant albums in his catalogue.

Blues Singer is available as a limited edition of 1500 individually numbered copies on red vinyl and includes a 4-page booklet.

Ultra Clear Vinyl. ‘*FLUTTERS AWAY*’ follows last year's debut EP, ‘Handwriting Practice No. 1’, which established Operelly as one of the most exciting new voices in music. Thupcoming EP tells the story of a relationship breaking down
amidst miscommunication. Delicate electro-acoustic arrangements (dubbed "tiptoe music" by Operelly) intersperse
with the static sounds of radio interference, as if the interrupted communication recounted in the lyrics has punctured the songs
themselves. Operelly executive produced the entire record and mixed four of the five songs. Additional production work was provided by Hudson Pollock, Al Carlson, Stephen Willard, and Kali Flanagan. Cover art was designed by Leo Horton in collaboration with Operelly. The music video for "under my bed" was directed and shot by Sarah Elise Bauman

Ronnie Davis is another mighty Jamaican singer, whose talents have been greatly overlooked. His rootsy yet soulful voice have been in demand by many of Jamaica's producers, and have graced their catalogues over the decades, yet outside of the close reggae circles he has remained a closely guarded secret.

Born Ronnie Davis, in 1950 (Savannah La Mar, Jamaica). His singing career began in the 1960's and like many aspiring young singers, the Talent contests taking part around the Island, was his first introduction to the music scene. This led to him joining the vocal group, 'The Tenors'.  Who shortly after his arrival, released their debut 'The Whole World is a Stage'. This was the beginning of a run of Jamaican 7'' releases that did quite well in the domestic marketplace. But Ronnie had set his sights on a solo career,which came to fruition in the early 1970's, with two big hits for him in the guise of 'Won't You Come Home' and 'Stop Yu Loofing'. Running on through to the mid 1970's with such hits as 'Jah Jah Jehovah','Forget Me Now', 'On and On' and 'Babylon Falling'. Building up to the 1976 classic, 'It's Raining'.

Around this time Ronnie's path would cross with Keith Porter and with his childhood friend Roy Smith they would form one of Jamaica's foremost vocal groups 'The Itals'.  A group who would run until the 1990's and evolve into 'Ronnie Davis and Idren'. Ronnie's releases are very sort after among the reggae aficionados and any tune carrying his vocal talents rarely
disappoint. We have compiled some rare roots dubs to many of his finest cuts. Such gems as 'Chasing You', 'What You See is What You Get', his take on the timeless cut 'Tribal War', 'Tell You' and the a fore mentioned smash 'It's Raining'. A version of Gregory Issac's 'Love Overdue' is also present. Ronnie cut an album worth of material with Mr Issac's, testimony surely to Mr Davis's standing in the Reggae community.

Let’s hope that this release spreads the gospel according to Mr R. Davis, a little wider.  A wicked set by one of Jamaica's finest .....

Respect Jah Floyd.

Oklahoma-based dream-pop duo Sports share their long-awaited self-titled album, "Sports". The 12-track project brings together a run of acclaimed singles released over the past year alongside a collection of brand-new songs that show the band sharpening and expanding their sound.

When Elder Island went into the studio to record the followup to their critically acclaimed 2021 album, Swimming Static, they were determined to "turn everything on its head". The trio are celebrated for their brooding indie-electronica that draws on their Bristol roots, creating vastly detailed and immersive soundscapes. But Hello Baby Okay marks a new era for the band, fuelled by a longing for transcendence and euphoria. An effervescent counterpoint to the current times, their new Music is threaded through with a liberated energy, lilting funk-Pop guitars, danceable beats and a renewed sense of play.

Mannequin Records presents Electronic Corporation 1998–2006, a compilation bringing together rare and long unavailable recordings by the German electronic projects H.E.I.M. Elektronik and MAS 2008.

Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.

The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.

At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.

Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.

On his fourth solo album, and debut work for Nick Klein's Psychic Liberation imprint, Henrik Munkeby Nørstebø presents »Faint Light Blackens«, a negotiation between the atomized instrumentation of the solo trombone is pushed towards a full range wall of sound over the concise sprawl of seven distinct acts on two sides of a vinyl record.

The seven acts that make up the album were developed specifically for recording within Emanuel Vigeland’s »Tomba Emmanuelle«. The fresco within the mausoleum anchors themes of existential weight, ripe with weighted imagery of love, birth, and death. The solemn space is a cavernous acoustic terrain wherein reverberant reverie makes it almost impossible to speak aloud, let alone sing through horn and electronics. This chamber's expanse is baked into the compositional directions employed on »Faint Light Blackens«.

Experientially, the record was produced in a long form performance gesture, with no overdubs. While edited to fit the record format, no additional post production coloring took place. Here Nørstebø shines as an instrumentalist, wherein the symbiosis of the site specific architecture and his sound sources are synced. At once musing and brooding, the gamut of emotive sonic landscapes is at play for a fully dynamic listening experience. The territory in Nørstebø’s vocabulary through interplay with the mausoleum is not vaulted , unlike Vigeland’s urn’ed ashes. On »Faint Light Blackens«, the spirit takes bound beyond the cavern and reanimates the listeners stereo alters for a holistic listening experience of perfectly challenging electroacoustic endeavors.

Henrik Munkeby Nørstebø – acoustic & amplified trombone, monotron, feedback, sound files.
Recorded by Espen Reinertsen October 10. and 11. 2023 in Tomba Emmanuelle, Oslo Norway.
Cover Photos and mix by Henrik Munkeby Nørstebø
Mastered by Helge Sten (Deathprod) at Audio Virus Lab

The highly anticipated collaborative album, GOLDFISH, sees two of contemporary hip-hop's most revered and distinct production minds, Hit-Boy and The Alchemist, finally join forces for a full-length statement. Far from a simple beat-swap, this project is a masterclass in sonic cohesion, blurring the lines between their signature sounds to forge a new, golden-hued identity. Beyond production, the duo step from behind the boards to behind the mic to trade verses throughout the project, adding a personal layer to their creative vision.

GOLDFISH is a deeply immersive listen, perfectly balancing the West Coast muscle and polished, anthemic quality of Hit-Boy's work with the dusty, abstract texture and cinematic suspense that defines The Alchemist's aesthetic.

The result is a sound that feels both street-tested and museum-worthy. A collaborative manifesto, showcasing the infinite possibilities when two generational talents decide to link up, creating an instant classic in the canon of producer/MC albums.

The Telecaster master has been back into the studio for the first time in many years to create an album that showcases his guitar playing, singing and songwriting - He and his band play a timeless blend of alt country, Americana and flat-out rock which is perfectly represented by Taylor Rushing's cover artwork

Josiah and the Bonnevilles is the band name for singer-songwriter Josiah Leming, a powerful acoustic performer and prolific singer-songwriter amassing attention from millions across the globe Described as "self-taught," Leming has been traveling across the United States since he was 17 years old, and even had a brief stint on American Idol in 2007. Lemings' Country Covers I & II and Endurance are among his most popular self-released albums. Following the release of these 3 titles, in 2024 he completed his first ever sold out headlining tour. As Is, produced by Konrad Snyder and Josiah Leming features co-writes with Marc Scibilia, Colin Pastore, Jake Finch, Natalie Hemby, Todd Clark and more. As Is is an album full of reflection, resilience, heartbreak and love.

The album Brubeck Digs Disney features the classic Dave Brubeck Quartet with Paul Desmond , Norman Bates , and Joe Morello performing a set of songs from Walt Disney movies. This special edition includes two songs from the same sessions not included on the original LP. This was Norman Bates' last album as the bassist with the quartet before his replacement Eugene Wright took on the role. "Inspired by a trip with his family to Disneyland, Dave Brubeck recorded eight songs taken from Disney movies. The funny part is that while all of these songs were already in the Brubeck Quartet's repertoire, the results are still pleasing." - **** Scott Yanow, AllMusic

[a] Alice In Wonderland [from Alice In Wonderland]
[b] Give A Little Whistle [from Pinocchio]
[c] Heigh-Ho [from Snow White]
[d] So This Is Love [from Cinderella]
[e] When You Wish Upon A Star [from Pinocchio]
[f] Someday My Prince Will Come [from Snow White]
[g] One Song [from Snow White]
[h] Very Good Advice [from Alice In Wonderland]

The Spoiled is an Italian post-punk project led by Giovanni Santolla, blending electronic beats, distorted synths, and reverb-soaked guitars into a dark, romantic, and nostalgic sound.

In 2024, the project self-released the debut EP Time distributed by Manic Depression, followed in 2025 by the full-length Living Ghosts via Swiss Dark Nights—an album that firmly established The Spoiled within the contemporary post-punk scene. Following the album’s release, Giovanni collaborated with international acts including This Eternal Decay, Darkways, Corlyx, Chaos International, and Hinfort, while maintaining a dense touring schedule across Europe and sharing the stage with artists such as Traitrs, Hinfort, Darkways, and Ductape.

The new album When It Rains, set for release on Avant! Records on April 17, 2026, expands The Spoiled’s artistic vision with a focus on intense, romantic soundscapes that delve deeply into human intimacy and interpersonal relationships. Embracing a warmer and more personal sonic direction, the record blends elements of indie rock and electrogaze music that enrich and revitalize the dark, melancholic palette that has defined the project’s earlier works.

Still playing homage to the forefathers of the genre such as Clan of Xymox, The Sound and Pink Turns Blue, When It Rains opens the path of The Spoiled to new soundscapes, exploring broader emotional territories while preserving the atmospheric depth and introspective tone that have become its signature.

FFO: Twin Tribes, Clan of Xymox, She Past Away, Mareux, The Soft Moon, Pink Turns Blue.

Some tracks don’t age, they just wait for the right dancefloor to hit again.

Originally released in 1985, Main Attraction by Toronto-based duo Yoh-Yo is one of those high-energy sleepers that quietly tore through clubs while never fully crossing into the mainstream canon. Produced by maestro Allan Coelho (Tapps, Click) and driven by the instantly recognizable vocal of Carlos Borges, it’s a pure shot of mid-80s Hi-NRG euphoria. Tight, glossy, and unapologetically emotional.

Fast forward to now, and Vintage Pleasure Boutique digs deep into the archives of Boulevard Records to deliver the ultimate collector’s package, bringing together all six officially released versions from the original 1985–86 pressings across Europe, Canada and Mexico. But this isn’t just a reissue, it’s a full-spectrum reconstruction of a club weapon.

From the Original Version, still hitting with that raw, uplifting drive, to the Sandy St. Alban Version, adding a slightly different vocal flavor for the heads who know, each cut reveals another angle of this underground anthem. The Instrumental and Hi-NRG Dub Version strip things down into pure mixing tools: extended grooves, pulsating basslines and synth hooks that lock dancers into a trance. The Remix pushes things further into peak-time territory, while the real gem for DJs lands on the B-side: the long-sought Hot Tracks Extended Edit by Gregg Denewith — originally exclusive to the US market and finally resurfacing in proper, playable quality. A true secret weapon for selectors who like their sets with a touch of authentic 80s heat.

This release is a love letter to Hi-NRG, to analog excess, and to the global club network that kept these records alive long before algorithms caught up. For fans of neon-lit nostalgia, sweaty dancefloors and that unmistakable Italo-adjacent pulse. Main Attraction is exactly what the name promises. Pure energy. No compromise.

On the two-year anniversary of The Past Is Still Alive – named one of the Best Albums of the 2020s So Far by Pitchfork, and one of the Best Albums of 2024 by the New York Times, The Atlantic, Associated Press, NPR Music, Rolling Stone, Billboard, OUT, Mojo, Uncut and a multitude of others – Hurray for the Riff Raff releases a new live record, Live Forever. The album was captured over the course of two sold-out summer nights at the Old Town School of Folk Music in bandleader Alynda Segarra’s new home of Chicago, Illinois. Spanning 14 songs, Live Forever presents The Past Is Still Alive in its entirety, as well as a selection of Hurray for the Riff Raff’s show-stopping, set-defining staples: decrying ICE on the poetic ‘Precious Cargo’ and The Navigator’s anthemic ‘Pa’lante’; the prescient digital age critique of ‘Pyramid Scheme’; and ripping through a folk-rock rendition of LIFE ON EARTH’s ‘Rhododendron’.

“I moved to Chicago in September 2024, the year I released The Past Is Still Alive and hit the road with a new band – a group of musicians recommended by my front of house/production manager, Johnny Wilson. Everyone had ties to the city, and had been playing together in the DIY scene for over a decade.

Since then we’ve traveled the world together, becoming family, playing the best shows of my life. Chicago has become home for me, and I feel grateful for the welcome I’ve gotten into the best music scene in the country.

I wanted to capture this time and this brilliant band, a moment that won’t last forever. This record is a love letter to the working class musicians out there, we who slug it out on the road against all odds. We deserve so much more from an industry built to exploit us. It’s a thank you to all the fans supporting live music, you who believe songs made by human beings are a vital life force.

Those albums that never age, that never cease to surprise with their innovative freshness—listen after listen—defying the years that go by.

Released in 2016, Heimat’s debut album is one of those records you love knowing is there on the shelf or on the turntable, like a reassuring talisman.

To mark its 10th anniversary, and such an awaited repress, we decided to honor this landmark album as it deserves: with a powerful remaster by Tioma Tchoulanov (UVB76, NzeNze) featuring enhanced dynamics, and an ultra-limited edition on blue splatter vinyl.

What a beautiful object this is, celebrating—alongside Armelle and Olivier Demeaux—ten years spent exploring the outer limits of music, in France and abroad, from SMAC venues to squats and other joyful initiatives.

Their deeply sincere music loses none of its naive tension; the emphasis is there, yet it remains restrained, contained, almost nervous, without any show of. Here, then, is something to make this fantastic album, a subtle milestone in a teeming musical landscape.

A fine achievement indeed!

Charlotte de Witte announces three brand new tracks in the form of her richly resonant EP ‘Amor’, out April 30th on her KNTXT imprint. The vinyl will include an additional Instrumental Mix of her track ‘O Movimento’.

The world's number one techno artist recently celebrated her 15th career anniversary with two monumental Flanders Expo 23k capacity performances, her long-awaited debut album (plus a new Deluxe Edition), and press support from Vogue, Grammy Museum, BBC 6 Music, DJ Mag (with cover), Mixmag, Rolling Stone, Billboard, Zane Lowe, Clash, Flood Magazine (cover).

‘Amor’ EP: each track features the breathy, full-toned vocals and Portuguese lyrics of CERES. The Brazilian singer, DJ & producer favours techno with tasty slices of UKG. Add to that, subtle motifs link the three tracks, giving the impression they form a suite. ‘This EP is inspired by my love for Portugal and Brazil, the countries, the people, the food, the culture. Made with lots of amor.’ - Charlotte de Witte

Title track ‘Amor’ (feat. CERES) delivers a galloping beat starred with spacey FX, as a hoover siren builds tension and CERES begins her rhyming chant. A sprinkle of acid becomes a sulphuric tidal wave. Next, ‘Sem Ar’ (feat. CERES): ‘Airless’; frantic rattling percussion overlays the fast beat to breakbeat-adjacent. CERES’ resonant voice is showcased in an acapella breakdown before her soulful voice becomes an acid robot’s, sharp and penetrating. Finally, ‘O Movimento’ (feat. CERES); ‘Movement/motion’, speeding beat with hi-hat backbeat duels with CERES’ voice, now sounding almost breathless, before acid filters in as the track builds.

Dam Swindle tap Kerri Chandler, Louie Vega, Folamour, Cinthie & more on 100th Heist release.

The ‘House of House’ V/a takes in nineteen all-new tracks from some of house music’s most revered names and new-school talent.

Dam Swindle present ‘House of House’, a triple vinyl V/a compilation marking the one-hundredth release milestone on Heist Recordings, landing on 8th May 2026. Across nineteen all-new tracks, ‘House of House’ reads like a roll call of modern house royalty.
The compilation features contributions from scene legends and contemporary torchbearers alike, including Kerri Chandler, Two Soul Fusion (AKA Louie Vega & Josh Milan), Folamour, Cinthie, Kolter, DJ Sneak, and Supershy, the dance music alias of Tom Misch, alongside rising talents like Papa Nugs, Lolu Menayed, and many more.

From the old-school magic of tracks like Dam Swindle’s ‘Back to the Old School’ feat. DJ Minx and Kolter’s ‘Need U, Want U’, to the jazzy, soulful depths of Kerri Chandler’s ‘Kerriousity’ and Superhy’s ‘Pyrenees’, to the peak-time energy of Papa Nugs & Mixolydian’s ‘Let Go’ and Elisa Elisa’s ‘Coco Coco’, the compilation captures the full spectrum of house sounds that have shaped the world of Heist Recordings over the past 13 years.

Launched in 2013, Heist Recordings has become a high benchmark for quality house music – a home for legendary artists like Cinthie and DJ Sneak, and a breeding ground for new talent from Kassian to Make`z. Dam Swindle have cemented their place among the upper echelons of modern house, with three critically acclaimed LPs, collaborations with the likes of Kerri Chandler, Tom Misch, and a relentless tour diary.

‘House of House’ reflects the ethos that has defined our label since day one: a home for house heads who bring genuine soul to club music, whether they’re legendary originators or new-school up-and-comers. Heist’s one-hundredth release is more than just a number – it’s a testament to the community, creativity, and legacy we’ve built, release after release.

As always enjoy the music and play it loud.

Much love, Heist HQ

Die Traumstimme von Joshua Redmans Album „where are we“ mit ihrem Blue-Note-Solo-Debüt!
Als Saxofonist Joshua Redman 2023 sein Album „where are we“ veröffentlichte, ließ nicht nur er damit
aufhorchen, sondern auch die Sängerin auf allen Tracks: Gabrielle Cavassa. Das weltweite Echo war imposant, in Deutschland hieß es “Top-Sängerin“ (Stereoplay) und “bringen die Luft im Studio zum Flirren“
(Süddeutsche Zeitung). Bei der darauffolgenden Welttournee des Redman Quartet begeisterte die Sängerin
erneut das Publikum auch in Deutschland.
Mit ”Diavola“ gibt Gabrielle Cavassa jetzt ihren Einstand bei Blue Note. Dort kann sie erstmals auf
großer Bühne ihr Können als Sängerin und Songwriterin zeigen, sowie als Interpretin von Jazz-Standards
(z.B. “Prisoner of Love“) und klassischem Pop (“Could It Be Magic“) bis hin zu brasilianischen Songs (“To
Say Goodbye“ von Edu Lobo). Cavassas Stimme ist sinnlich und intensiv, obwohl sie mit den Melodien
und Tempi spielt, bleiben Seele und Aussage der Songs intakt.
“Diavola“ wurde koproduziert von Joshua Redman und Don Was und überzeugt auch durch brillante
Arrangements und exquisite Musiker: Jeff Parker an der Gitarre, Paul Cornish am Klavier, Larry Grenadier
am Bass, Brian Blade am Schlagzeug und Joshua Redman bei zwei Titeln am Tenorsaxofon.

2023 Repress

For the first time after its original release in 2007, MEDi003 is back in stock!

"I was kinda not into the tune, but Mala was like 'nah - I love it' and he pushed for it and, yeah, ultimately got it on DEEP MEDi. And if he hadn't done that I probably wouldn't brought it out, it probaly would've just ended up on a hard drive somewhere, not doing a thing."

Strut proudly presents Nuclear War, a powerful collaboration between UK collective The Heliocentrics, Sun Ra Arkestra legends Marshal Alen and Knoel Scott, and vocalist Bilal - issued on limited-edition “hazardous” orange and yellow vinyl exclusively for Record Store Day 2026.

The Nuclear War recordings stem from a rare session at Malcolm Catto’s Quatermass Sound Lab in January 2015. The group had assembled in London to rehearse for their performance at Giles Peterson’s Worldwide Awards, where Alen received the Lifetime Achievement Award and Catto the John Peel Award. With The Heliocentrics’ trademark raw, psychedelic energy as the backbone, the ensemble captured a series of reimagined Sun Ra classics in a spontaneous, one-off studio moment, and these tapes that have remained unheard in Catto’s archive until now.

The 4-track EP features a sinuous take on Ronnie Boykins’ ‘Angels And Demons At Play’, originally recorded in 1960, a strident version of ‘Where Pathways Meet’ which was originally created for the much-loved Sun Ra Lanquidity album in 1978, and a dense and deep re work of 1972’s ‘Astro Black’ featuring Bilal’s incredible otherworldly vocals. The title track ‘Nuclear War’ is re-worked into a cavernous groove featuring Heliocentrics vocalist Barbora Patkova. Nuclear War is mixed by Malcolm Catto, mastered and cut by Frank Merritt at The Carvery, and designed by Alex Evans of Reason For Being Studio.

In 2023, Wood secretly worked with producer Kevin Antreassian on a new mix of his top-selling release "The Normal Album." Digging into the original 2019 recordings for more muscular takes, smoother edits, and a more nuanced and balanced mix, Antreassian and Wood created a version of the fan favorite that is one of the rare cases where a new mix is widely considered to improve on the original noticeably. "The Normal Album" is yet another turn in Wood's discography, sardonically playing with Americana and doo-wop sounds, strategically restrained but still highly emotive vocals, and lyrics densely packed with scientific and philosophical references. The dark mania of Wood's prior 2016 release, "SELF-iSH," continues on some tracks but is arranged with greater precision with a new band at his command. Like his 2015 debut "Everything is a Lot," the songs whiplash tonally but are brought together through intertwined themes and recurrent musical motifs and an undercurrent of simultaneous obtuseness and vulnerability. After the original mix of "The Normal Album" was released, a live version of the 4th track on the LP, "I/Me/Myself," had an unexpected viral moment, which brought attention to many other songs on the LP. Songs like "2econd 2ight 2eer" and "Laplace's Angel" continued to attract new fans with their dense wordplay and high-energy attitude, and the album became Wood's first major break into larger notoriety, proving that his sudden burst of popularity was not just a fleeting trend. After taking some time away from the public, Wood began to revisit the album with the intent of giving it the production that he had originally envisioned for it. Wood's top-selling album re-edited for a fuller sound and clearer instrumentation, bringing the album to a new level: new Modern Stereo Mix - 2023 Edit

Diese EP enthält fünf Tracks von einem der beiden legendären Open-Air-Auftritte von U2 in der RDS-Arena in Dublin im August 1993, der Heimatstadt der Band, auf ihrer weltweiten ZOO TV Tour. Während seit Jahren begehrte Raubkopien der RDS-Show im Umlauf sind, ist dies die erste offzielle Veröffentlichung, was sie zu einem begehrten Sammlerstück für Fans und Sammler gleichermaßen macht.

Das Album ist ab dem 30.08 als Vinyl und CD überall erhältlich

All-Amerikkkan Badass is the second studio album from Joey Bada$$. Originally released on April 7, 2017, the album features Schoolboy Q, J. Cole, Kirk Knight, Styles P, and more. Executive produced by Joey Bada$$ and Jonny Shipes with production contributions from Kirk Knight, Chuck Strangers, DJ Khalil, and Statik Selektah.

"Music, like love, surprises you, makes your heart race, gives you new eyes with which to look at yourself in the mirror..." (Gigi Masin)
With an exclusive presentation by GIGI MASIN, UP TO 23 release their second album, now with an expanded three-member lineup following the permanent addition of ENRICO CONIGLIO over the founder members MARCO BUFFETTI and FRANCESCO FINCATO. The album draws inspiration from the 1980s, evoking atmospheres reminiscent of sci-fi soundtracks. Partly romantic, partly doom ambient, the work unfolds as a requiem for our planet. Liquid and enveloping atmospheres drift between melodic ambient territories — explored through processed guitars and synthesizers — and soberly electronic paths traveled to the rhythm of sequencer-driven patterns and programmed structures.
Dramatic and evocative moments emerge throughout this succession of varied yet perfectly integrated and fluid soundscapes, where sounds and progressions combine with ever-shifting solutions, following a descriptive thread that remains consistent as it continuously unravels through encompassing and emotionally engaging textures. AN APPLE A DAY YOU DIE ANYWAY is the perfect soundtrack to these dark times that UP TO 23 want to color in order to continue to hope, to live without having to survive.

Fossils in Transit dropping their first EP with diverse club focused features. The label
wants to express their love for timeless pieces and extrapolating it to their own vision.
Brussel based duo Kappen & Latence showing their musical spectrum on the A-side. On
the B-side Ennio Tyson debutes his take on timelessness.
A1 is a warm and slowly building track guiding the listeners through a blissful state. This
percussion driven piece sets the perfect mood for sunrises/sunsets. In A2 the rebellious
nature is defined by punk vocals, an acid bassline and crunchy percussion. Produced for
dark clubs and peak-time slots. B1 ventures into a bass-heavy realm where scattered
perc-like vocals and stabby synths create an ominous atmosphere. Keeping the body in
check while the mind wanders. Closing the EP on B2 with an off-the-wall minimal tech
house roller. Balancing a steady energy level to keep a tight grip on the dancefloor.

Unplayed, mint condition, OG 1996 12”s, in generic black sleeve
A-side is the Paying the Price of Love (The Ocean Drive Dub) from The Bee Gees. AA-side is a mash-up of Todd Terry and The Shamen: Phorever People.

Repressed LP on Neon Orange Vinyl. Come Away With ESG - 35-year anniversary release of the classic genre-busting debut album by the Bronx sisters ESG. The sample-friendly opus that’s the inspiration for hip-hop, house and post punk. Music that falls outside of the no wave, new wave and post punk library, it’s for the dance floor but it’s not funk, there’s no horns, no driving organ; it’s the opposite of Sly And The Family Stone but no less cool and no less groovy. “A lasting document of their unique brand of minimal funk that would influence subsequent post-punk, hip-hop, and dance music acts. Stripped down to the most basic of drumbeats and rudimentary bass lines, ‘Come Away’ confirms the notion that the real rhythm is what happens between the beats. AllMusic // “This is dub disco with a punk edge.” Paste // “Uncut punk-funk straight off the streets of the South Bronx.” Record Collector // “ESG are that rare thing” Guardian // “Come Away with ESG sounds so shockingly current.” Paste // “A musical snapshot of New York City at the beginning of the '80s.” Allmusic

Psyché Records is proud to present our first vinyl release, a piece that isn’t just heard—it’s felt, collected, and experienced. Five years dedicated to what we truly love, brought to life in physical form with this release that fills us with pride.

The artist bringing this debut to life is Dani Labb, one of our favorite local artists, who perfectly captures the essence of the label: depth, identity, and journey.

This vinyl represents much more than just music. It is the sound of Psyché brought to life.

a 1.1 KAKUMEI DOUCHUU - ON THE WAY FROM "DANDADAN"
b 1.2 DAIJOUBU FROM "MOONRISE"
c 1.3 HANA MUSOU - PEERLESS FLOWERS FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"
[d] 1.4 KATSUBOU [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[e] 1.5 LOVE SICK [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[f] 1.6 AIKOTOBA - THE SPELL [FROM "THE APOTHECARY DIARIES"]
[g] 1.7 RED:BIRTHMARK [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]
[h] 1.8 HOUSEKI NO HIBI [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]

[a] 1.1 KAKUMEI DOUCHUU - ON THE WAY [FROM "DANDADAN"]
[b] 1.2 DAIJOUBU [FROM "MOONRISE"]
[c] 1.3 HANA MUSOU - PEERLESS FLOWERS [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[d] 1.4 KATSUBOU [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[e] 1.5 LOVE SICK [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[f] 1.6 AIKOTOBA - THE SPELL [FROM "THE APOTHECARY DIARIES"]
[g] 1.7 RED:BIRTHMARK [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]
[h] 1.8 HOUSEKI NO HIBI [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]

[a] a1 KAKUMEI DOUCHUU - ON THE WAY [FROM "DANDADAN"]
[b] a2 DAIJOUBU [FROM "MOONRISE"]
[c] a3 HANA MUSOU - PEERLESS FLOWERS [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[d] a4 KATSUBOU [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[e] b1 LOVE SICK [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[f] b2 AIKOTOBA - THE SPELL [FROM "THE APOTHECARY DIARIES"]
[g] b3 RED:BIRTHMARK [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]
[h] b4 HOUSEKI NO HIBI [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]

[a] a1 | KAKUMEI DOUCHUU - ON THE WAY [FROM "DANDADAN"]
[b] a2 | DAIJOUBU [FROM "MOONRISE"]
[c] a3 | HANA MUSOU - PEERLESS FLOWERS [FROM "MONONOKE THE MOVIE THE ASHES OF RAGE"]
[d] a4 | KATSUBOU [FROM "MONONOKE THE MOVIE THE ASHES OF RAGE"]
[e] b1 | LOVE SICK [FROM "MONONOKE THE MOVIE THE ASHES OF RAGE"]
[f] b2 | AIKOTOBA - THE SPELL [FROM "THE APOTHECARY DIARIES"]
[g] b3 | RED BIRTHMARK [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]
[FROM "MOBILE SUIT GUNDAM THE WITCH FROM MERCURY"]

LP Butter Popcorn Vinyl in Picture Sleeve

A rare modern soul masterpiece finally returns, fully remastered and expanded with the 12” mixes for this Deluxe Edition. Originally released in 1982 and now fetching decent money among collectors, Amuzement Park fuses smooth vocals, slick musicianship, and a rich soulful sensibility. For RSD 2026, this reissue adds the extended mixes, making it the most complete version to date. Extended mixes, Remastered, Redesigned Sleeve, "Butter Popcorn" Yellow Vinyl.

Berlin-based artist ágata explores her sound and voice in an intimate musical practice, where sincere storytelling meets sonic meditation and voice becomes a force of nature. This album follows ágata’s self released debut “primeros pasos”.

Looking through the window, waiting to enter the body, the storm we see on the other side. Thunder and relief. Consuelo. To surrender from listening to the body. To surrender to love as a state that heals and when it leaves it wakes up fear, confusing itself. To carry us until the end, until eternal. Pulso. To multiply from reflection instead of losing one self, to re-encounter each other’s pulse. A song to oneself, to love and expand our power from and towards love. words by Merma Suelo

Rhythmus ist die erste Sprache. Ein Puls, der irgendwo beginnt - in einer Maschine, in Händen, als Gedanke. MINCKA existiert in dem kreativen Prozess, der sich daraus entwickelt: ein Dialog zwischen Struktur und Chaos. Entstanden als Idee zwischen einem Schlagzeuger und einem Produzenten, lädt MINCKA heute Produzentinnen, Musikerinnen und Kreative gleichermaßen dazu ein, dem Projekt immer neue Formen zu geben - als etwas, das sich stetig weiterentwickelt.Alles beginnt als Skizze: ein Fragment oder eine Kadenz, die scheinbar ins Leere führt - bis das Live-Schlagzeug übernimmt und der Groove die Richtung vorgibt. Mal festgezurrt in unerbittlichen Beats, mal verträumt und schwer greifbar. Wie der Soundtrack zu einem Fiebertraum, mit Echos von Mo' Wax ebenso wie von International Anthem.Von dort aus öffnet sich ein Raum, in dem Musiker frei auf das reagieren, was bereits existiert. Klänge werden zerschnitten und neu zusammengesetzt, wie Filmszenen, die ihre Bedeutung erst im Schnitt erhalten. Eine passende Analogie für den Hintergrund des bosnisch-niederländischen Schlagzeugers Sergej Kreso, der zugleich ein vielfach ausgezeichneter Dokumentarfilmer ist. Gemeinsam mit dem niederländischen Produzenten Subp Yao initiierte er MINCKA. Doch eines wird durch diesen Ansatz schnell klar: MINCKA ist kein Duo.Statt einer einzelnen Vision wurden unterschiedliche Musikerinnen und Kollaborateurinnen (aus Seattle, Peking, Maastricht, Essex, Amsterdam, Heerlen und Uden) eingeladen, mit der Musik in einen Dialog zu treten. Ihre Antworten und klanglichen Abzweigungen prägten den Sound von Beginn an. Kollaboration ist das Wesen von MINCKA. Und ebenso der Kontrast: Mensch und Maschine. Organisch und elektronisch. Freie Improvisation und meticulousche Präzision. Wertschätzung für Low-End-Theorien.Es ist ein Sound im permanenten Wandel, der sich weigert, in eine Schublade gesteckt zu werden. Stattdessen tritt er die Schublade ein, zerreißt die Überreste und baut aus dem, was bleibt, eine vollkommen neue Collage.Selbst jetzt, da die Musik veröffentlicht wird, ist MINCKA nicht abgeschlossen. Der Dialog geht weiter und lädt jeden ein, MINCKA mitzugestalten, indem über Stems der eigenen Musik Produzentinnen und Musiker*innen zur Verfügung gestellt werden. Was du hörst, war es nicht. Was es werden wird, ist noch offen. Diese Veröffentlichung ist erst der Anfang._ MINCKA

Auf insgesamt 100 Stück limitiert. Rhythmus ist die erste Sprache. Ein Puls, der irgendwo beginnt - in einer Maschine, in Händen, als Gedanke. MINCKA existiert in dem kreativen Prozess, der sich daraus entwickelt: ein Dialog zwischen Struktur und Chaos. Entstanden als Idee zwischen einem Schlagzeuger und einem Produzenten, lädt MINCKA heute Produzentinnen, Musikerinnen und Kreative gleichermaßen dazu ein, dem Projekt immer neue Formen zu geben - als etwas, das sich stetig weiterentwickelt.Alles beginnt als Skizze: ein Fragment oder eine Kadenz, die scheinbar ins Leere führt - bis das Live-Schlagzeug übernimmt und der Groove die Richtung vorgibt. Mal festgezurrt in unerbittlichen Beats, mal verträumt und schwer greifbar. Wie der Soundtrack zu einem Fiebertraum, mit Echos von Mo' Wax ebenso wie von International Anthem.Von dort aus öffnet sich ein Raum, in dem Musiker frei auf das reagieren, was bereits existiert. Klänge werden zerschnitten und neu zusammengesetzt, wie Filmszenen, die ihre Bedeutung erst im Schnitt erhalten. Eine passende Analogie für den Hintergrund des bosnisch-niederländischen Schlagzeugers Sergej Kreso, der zugleich ein vielfach ausgezeichneter Dokumentarfilmer ist. Gemeinsam mit dem niederländischen Produzenten Subp Yao initiierte er MINCKA. Doch eines wird durch diesen Ansatz schnell klar: MINCKA ist kein Duo.Statt einer einzelnen Vision wurden unterschiedliche Musikerinnen und Kollaborateurinnen (aus Seattle, Peking, Maastricht, Essex, Amsterdam, Heerlen und Uden) eingeladen, mit der Musik in einen Dialog zu treten. Ihre Antworten und klanglichen Abzweigungen prägten den Sound von Beginn an. Kollaboration ist das Wesen von MINCKA. Und ebenso der Kontrast: Mensch und Maschine. Organisch und elektronisch. Freie Improvisation und meticulousche Präzision. Wertschätzung für Low-End-Theorien.Es ist ein Sound im permanenten Wandel, der sich weigert, in eine Schublade gesteckt zu werden. Stattdessen tritt er die Schublade ein, zerreißt die Überreste und baut aus dem, was bleibt, eine vollkommen neue Collage.Selbst jetzt, da die Musik veröffentlicht wird, ist MINCKA nicht abgeschlossen. Der Dialog geht weiter und lädt jeden ein, MINCKA mitzugestalten, indem über der eigenen Musik Produzentinnen und Musiker*innen zur Verfügung gestellt werden. Was du hörst, war es nicht. Was es werden wird, ist noch offen. Diese Veröffentlichung ist erst der Anfang._ MINCKA

“The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions—the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder.

“Two songs established the spine of this music. Songs I’ve always loved, it seems even before I’d heard them. The first one, and the source of the title is ‘You Belong to Me’ by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it’s also a beautiful mid century romance—and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth.

“The second song is ‘Promised Land’ by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he’s safely arrived in the new one.

“The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open.

“The cover is a photo of my mom—one I never saw when she was alive. With the headscarf and that excited, nervous expression, she looks about to embark on a journey. Ready, finally, to cross the tarmac and board the Silver Plane. “Wishing safe travels to all.” — Mark N / Pan•American



b DEATH CLEANING listen


b DEATH CLEANING listen


b DEATH CLEANING listen


b DEATH CLEANING [listen]


[b] DEATH CLEANING [listen]


[b] a2 DEATH CLEANING [listen]


[b] a2 | DEATH CLEANING [listen]

VERY LIMITED BLACK VINYL WITH DOUBLE-SIDED INSERT (NON-RETURNABLE)

California composer Phil Geraldi’s vinyl debut both refines and refracts his signature muse of interstitial Americana across 11
melted glass mosaics of processed guitar, decayed radio glow, and Harmonia synth horizons: Rural Deceased Undiscovered. He
describes his vision for the pieces as “multilinear,” rearranging classic radio songbook elements like hooks, choruses, and
emotional cues into unfamiliar topographies of “alien country.”

Shards of acoustic guitar and pedal steel flicker in long shadows of amplifier hum and airwave static, like the scrambled
broadcast of some heartland station along a desert highway. It’s music both rustic and placeless, warped by weather and
technology, shimmering like northern lights over the badlands.

Through the dense blend of Japanese New-Wave, between moldy kimonos and punctured paper screens, along the rails of a sonic bullet train, this mini-LP reaches us, overflowing with purebred Punk-Funk, splinters of Soul and shredded Jazz. A gold nugget in a sea of sadness. Scattered energy trapped in a handful of vinyl grooves. Originally released in 1986.

Today, visionary artist Jesca Hoop announces her new album Long Wave Home due out 1st May via Last Laugh and available to preorder now. Staying true to her folk roots, though never purely, Hoop delivers strikingly original songwriting showcasing her innovative vocals augmented by imaginative arrangements. Long Wave Home is energized and rings with the promise of a fresh new chapter for the artist. To accompany today’s announcement Hoop has shared the album’s compelling first single, “Designer Citizen”, alongside a charming video directed by James Slater.
 
Additionally, Hoop has announced news of a 10-date UK tour in May including a performance at London’s Union Chapel.

Today, visionary artist Jesca Hoop announces her new album Long Wave Home due out 1st May via Last Laugh and available to preorder now. Staying true to her folk roots, though never purely, Hoop delivers strikingly original songwriting showcasing her innovative vocals augmented by imaginative arrangements. Long Wave Home is energized and rings with the promise of a fresh new chapter for the artist. To accompany today’s announcement Hoop has shared the album’s compelling first single, “Designer Citizen”, alongside a charming video directed by James Slater.
 
Additionally, Hoop has announced news of a 10-date UK tour in May including a performance at London’s Union Chapel.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

Serge Hirsch / LeSerge is a multi-instrumentalist based in Paris.

He plays the violin and keyboards, and composes and produces his own music.

His music blends jazz improvisation, a rhythmic approach drawn from hip-hop, and the sonic experimentation of contemporary bedroom music.
His main band, a trio featuring Noé Bénita on drums and Yungccos on electric bass, aims to create music that is social, joyful and musically demanding, yet never becomes esoteric.
His debut album is set to be released in partnership with Roche Musique in early 2026.
As well as composing and performing his own music, he has collaborated with numerous artists, either as a string arranger or as a producer and pianist. (Bonnie Banane, Shygirl, Lossapardo, Lablue, Swing, Madone...)
He notably made a name for himself during FKJ’s 2020 European tour, where he performed all the support slots alongside electronic music producer CRAYON.
As a bandleader, he has built a solid reputation by performing at numerous venues and residencies at Le Silencio des Près in 2024, at Soho House and at Le Serpent à Plume. He also served as deputy musical director at Le Serpent à Plume during the venue’s early years from 2019 to 2025.

Translated with (free version)

Japanese City Pop and HipHop lovers rejoice. Off the L.P - First time on 7"

There comes a point in every bands life when originality stops being a virtue and honesty takes the wheel. On their 11th long-playing record: Forgeries (72-84)-(16)- return to the impulse that first dragged them into loud rooms and bad ideas: the urge to steal what we love and make it semi-unrecognizable through devotion. We have partnered with Heavy Psych Sounds Records to release a collection of covers that function less as homage and more as a possession to be given away. The artworkrendered by the ever-amazing Maraldcompletes the ritualiconicunsettlingand unafraid. Weve always believed that a great cover is not mimicry but revelation. Its finding a song that's already lived inside you since youth and letting it crawl outbruised and changed. From the early 90s onward-(16)- have treated covers as translations rather than as replicasacts of tribute and emulationfiltered through distortionfatigueand lived experience. These are songs that taught us how to standhow to falland how to keep going. In our collective headthis album exists because these songs demanded it. Because they screamed copy meand we listened. In the endForgeries (72-84) stands as both a thank you note and a thefta reminder that all music worth a damn is borrowedbrokenand passed on between friends. The selections on Forgeries 72-84 span eras and attitudesunified not by genre but by necessity. Each track is a document of obsessionof influence absorbed and re-expressed without permission.

There comes a point in every bands life when originality stops being a virtue and honesty takes the wheel. On their 11th long-playing record: Forgeries (72-84)-(16)- return to the impulse that first dragged them into loud rooms and bad ideas: the urge to steal what we love and make it semi-unrecognizable through devotion. We have partnered with Heavy Psych Sounds Records to release a collection of covers that function less as homage and more as a possession to be given away. The artworkrendered by the ever-amazing Maraldcompletes the ritualiconicunsettlingand unafraid. Weve always believed that a great cover is not mimicry but revelation. Its finding a song that's already lived inside you since youth and letting it crawl outbruised and changed. From the early 90s onward-(16)- have treated covers as translations rather than as replicasacts of tribute and emulationfiltered through distortionfatigueand lived experience. These are songs that taught us how to standhow to falland how to keep going. In our collective headthis album exists because these songs demanded it. Because they screamed copy meand we listened. In the endForgeries (72-84) stands as both a thank you note and a thefta reminder that all music worth a damn is borrowedbrokenand passed on between friends. The selections on Forgeries 72-84 span eras and attitudesunified not by genre but by necessity. Each track is a document of obsessionof influence absorbed and re-expressed without permission.

When five-time Grammy award winner Taj Mahal intersects with The Phantom Blues Band, it’s one of those rare joints that hits you before you even know you’ve been hit. They walk in, plug in, and the whole room shifts. Studio assassins, road lifers, groove keepers and somehow still hungry. They are an internationally renowned Two-Time Grammy Award winning group. Taj Mahal’s fearless, open-hearted spirit still shadows the whole thing with that genre-hopping joy. He leads you down the road with a history lesson and the Phantoms carry it with honor to the Griot.

Mahal sings and plays harp as he fronts an all-star lineup of legendary musicians with the three ringleaders for the Phantoms--Johnny Lee Schell, the soulful gunslinger with tone for days, Tony Braunagel keeps the whole ship steered straight and on time, every time, and Larry Fulcher, the anchor, the heartbeat, the quiet storm on bass. Additionally, Jon Cleary, with that unmistakable New Orleans piano swagger, Mick Weaver, a session master who’s playing slides in with an undeniable velvet magic, and in the horn section, Joe Sublett on sax and Les Lovitt on trumpet bring the orchestration into the full view of this genre. This band doesn’t ‘back” anybody. They lift you up, carry you, and dare you to rise higher. On this record they slide through blues, soul, R&B, and island color with the ease of men who’ve lived every bit of it. This is deep-groove, grown-folks music from a band that still plays like the night is young. ‘Time’ is their new release on Resonatin’ Records / Thirty Tigers and celebrates over thirty years of making this uplifting inspiring and aspiring music together.

Mancunian singer-songwriter Lusaint releases her brand-new LP ‘The Apothecary’, featuring the standout lead single, ‘Lie To Yourself’, and soulful, jazz-infused track ‘Summertime’.

Isle Of Men is the band led by guitarist Dirk Fryns, featuring Gunther Verspecht (Stash) and all-round keyboard maestro Tom Van der Schueren, Herman Temmerman (bass and production), Niels Delvaux (drums) and Sara De Smedt (backing vocals). They made an impressive debut in 2015 with the album ‘Voluntary Blindness’.

Here is what the press had to say at the time:
De Morgen ****: “Subtle night music that inhabits the same world as David Sylvian, The Blue Nile, Ray Lamontagne… an excellent debut.
Focus: *** “A fine Belgian debut with an album that willingly lets itself be enveloped by the quiet twilight of the night.
Het Nieuwsblad/GVA ***: “Refined, intimate songs carried by the deep voice of Gunter Verspecht”.
RifRaf: “An impressive nocturnal record for fans of, say, Talk Talk, Tindersticks, Nick Cave or Nick Drake. Welcome to the fragile world of Homo Melancholicus”.
Now, at last, there is an equally atmospheric and impressive follow-up with the album “The Soul Of Kindness”.

Kaash Paige’s 2 LATE TO BE TOXIC is a R&B heartbreak story told in real-time. The focus track, “What Happened 2 Us,” is a raw and hazy reflection on broken love, written from the wreckage of what once was. With her signature slow-burn cadence and a voice full of ache, Kaash peels back the ego and lets the pain speak. This track marks a shift into deeper, darker R&B while fans flock to her digital diaries and hotline for catharsis. The album closes the chapter that KAASHMYCHECKS cracked open.

Ed Sánchez-Gómez is a Costa Rican-born artist now based in Evanston, Illinois (USA). After a complex relationship with classical guitar at the University of Costa Rica, travels through Europe and Argentina (where he absorbed South American folk), and improvisation studies in Chicago, he has forged a deeply personal sound. Born from profound grief and the global pandemic, “Obras de misericordia” is an intense, moving acoustic album that blends artisanal shoegaze with infinite noise-pop harmonies, Latin folk textures (charango, mandolin, hammered dulcimer) and the languid beauty of John Martyn, The Declining Winter and the Elephant 6 Collective. It explores sounds beyond the guitar — adding musical saw, piano, violin, viola and cello — creating landscapes that shift between introspection and catharsis. It is the most hi-fi lo-fi album you will ever hear. Recorded by Ed between January 2022 and March 2024 in Evanston, IL and Peru, IN; mixed by Abel Hernández (Migala, El Hijo) and mastered by Santiago Quizhpe (Pullpush Studio, Madrid).
Influences from UK shoegaze/post-rock pioneers like Hood, and Disco Inferno add layered, atmospheric depth, connecting to the genre's British revival scene.
An essential title for indie, shoegaze, folk-experimental and RSD sections: perfect for in-store play, window displays and collectors who love intimate, boundary-pushing acoustic records with deep emotional resonance and Latin roots.

Out now via 7 Mater, in collaboration with The Circle Music for worldwide distribution, this special edition of Stolen Season Pt. I captures both the essence of the project and the spirit of the upcoming full-length Stolen Season Pt. I. This first pressing is destined to become a collector's item: numbered and limited to 250 black vinyl copies and 250 gold vinyl copies, each edition comes housed in a deluxe sleeve with an exclusive 30x30 insert that perfectly frames the visual world of the band. It is a striking presentation that mirrors the richness of the music contained within. The creative force behind From The Land is Anatoly Pakhalenko, best known as the frontman of the acclaimed dark folk ensemble Nytt Land.

Conceived in 2025, this new project serves as an alter ego for Pakhalenko, allowing him to explore the darker edges of country, blues, and folk traditions while weaving them into a world described as "a black and white landscape, tired of all this s**t that's going on around and gradually sinking into an endless sleep". Together with Aleksandr Rosliakov, Pakhalenko composed Stolen Season Pt. I between January and May 2025 at Nytt Land Studio, handling recording, mixing, and production duties himself. The result is an album that resonates with uncompromising artistic vision and raw emotional depth. From The Land 's universe draws inspiration from the haunting literary realms of H.P. Lovecraft and Edgar Allan Poe, as well as the surreal, unsettling imagery of David Lynch. This heady mixture of influences creates a soundscape that is equally cinematic and visceral, where ritual meets ruin, and folk traditions dissolve into the smoke of blues and country noir.

The album is a powerful reaffirmation of human creativity: "My music has always been about connection, bringing enduring old stories into conversation with contemporary life," Portman says. "This album is a collective, entirely human-made effort, and it's richer because of it." Renowned for her luminous songwriting and distinctive voice in contemporary folk, Portman steps into bold new territory with an album that charts a heroine's midlife journey through dark woods in search of wonder. Drawing on ballads and folktales, Dominion of Spells explores themes of burnout, misogyny, motherhood, miscarriage and personal transformation, weaving lived experience with mythic imagery and traditional folk narratives. The title track, Dominion of Spells , reclaims a 17th- century phrase once used to diagnose women as "disordered", drawing on the myth of the wandering womb and the long history of medical misogyny. Portman transforms these ideas into a vision of a freer, fairer realm where women's bodies are understood rather than feared. The first single, Turn Again , is a tender meditation on parenthood, inspired by her young son's imaginative shapeshifting games and echoing the Tam Lin ballad, where steadfast love breaks a powerful spell. Elsewhere, the album explores women's right to move safely after dark, genderswapped retellings of heroic quests, miscarriage, phone addiction and the restorative power of creative practice.

He's worked as an artist, producer, songwriter, and scorer for the past decade, "winning a MOBO (for his work on Bashy's Being Poor Is Expensive)", as well as being nominated for GRAMMY, Juno, and Ivor Novello Awards, along the way. Recently, Runkus felt a deeper calling towards the world of visual art, which has lead to working with Bahamian artist Tavares Strachan, whose multi- disciplinary output has earned him a MacArthur Genius Prize. With the new album, SUPERNOVA, which includes guest appearances by Sean Paul and Peter Tosh, they have reignited a seamless collaboration of music and art, following in the footsteps of pairings like The Velvet Underground & Andy Warhol, Kanye West & Virgil Abloh, and (closer to Runkus's home country of Jamaica) Bob Marley & Neville Garrick. Roots reggae, thumping bass, dancehall energy, and deep lyricism merge together to tell a story of life and death, the sheep and the wolf, the version of you that has to die for the next one to be born, all elements of SUPERNOVA

Fay Fife is frontwoman of the legendary punk bands The Rezillos / The Revillos, and has been a pioneer in Scottish music for decades. The Countess of Fife is Fay's current project.

The Eagles’ 1975 studio album, One Of These Nights, was a milestone album for the band, earning them their first GRAMMY® Award and becoming the first of four consecutive #1 albums. Rhino will release a Deluxe Edition of the album on April 10 as the band returns for the final weekend of their historic Sphere residency in Las Vegas.
One Of These Nights (Deluxe Edition) will be available as a a 3LP version, released the same day, will include the new album mix and the full concert recording. The lacquers were cut by Chris Bellman at Bernie Grundman Mastering.
Produced by Don Henley, the CD and vinyl editions include a new mix of the album by Rob Jacobs. Originally produced by Bill Szymczyk and recorded at Criteria Studios in Miami and the Record Plant in Los Angeles, One Of These Nights achieved quadruple Platinum certification and the single “Lyin’ Eyes” won the GRAMMY® Award for Best Pop Performance by a Duo or Group with Vocals.
The unreleased live recording captures the Eagles’ performance at the Sunshine Festival in Anaheim on September 28, 1975. Recorded at the end of the tour for One Of These Nights, it features Henley, Glenn Frey, Randy Meisner, Bernie Leadon, and Don Felder. Their set blends songs from that album (“Lyin’ Eyes,” “Take It To The Limit”) with hits from the group’s first three albums: “Take It Easy,” “Witchy Woman,” “Already Gone,” and “The Best Of My Love.” Joe Walsh also joins the group for the encore, performing his song “Rocky Mountain Way,” a few months before becoming an official member of the band.
The penultimate song is a rosing cover of Chuck Berry’s “Carol,” a live staple of the band at the time, marking the first time a recording of the song has ever been included on an Eagles album.
The Blu-ray that accompanies the CD set presents the album and the live performance in Dolby Atmos and high-resolution stereo. One Of These Nights (Deluxe Edition) and the Atmos mix of the original album will also be available digitally.

With Diving Inward, the first release under the alias Dziad, Aleksander Filipiak melds the frigid indifference of synthesised textures with exploratory re-imaginations of his first instrument as an industrial buzz saw of unpredictable metallic fluctuations. The sonic landscape is a tribute to a multiplicity of (once) cutting edge, experimental techniques from the golden age of electroacoustic composition, combined with the composer’s enduring love for organic and unpredictable textures, transportive folk motifs and hypnotic pads.

Recorded in the winter 2022, this amalgam of the tangible and imaginary, shudders and re-lives a sombre season of isolation and loneliness. The pieces stand as an ode to the optimistic acts of play and creativity; an antidote to a reality which, at times, feels tolerable at its best. With this release, Filipiak encapsulates emotions that are overdue to be left behind. Shelve them for another day.

In this context Jeroen Swinnen and David Martijn needed to find a musical concept to go hand in hand with the story. They opted for a string quartet and an arsenal of old analogue synths (of the series’ era). Thé perfect match as it turned out. Emphasize the beauty, hope and respect on one hand. Translate the elusive, unjust feeling that is addressed in the series on the other. Apart from these 2 central instruments, an old muted upright piano, played by Jeroen, and a guitar, played by David, were also used to express emotion even more.

The series, written and directed by Flo Van Deuren and Kato De Boeck, tells the story of Bibi and Ama, two lesbian girlfriends in their twenties.

Hoping to become a better version of themselves, they move in together at a flat in Brussels. Each in their own way, but under the same roof, they come to new insights: life has no manual, love even less and themselves even less so. The result is an intimate series full of humour and familiarity.

Musically the series is coloured by an exclusive soundtrack and homegrown songs: 7 female or non-binary artists from Belgium were asked to write a song. Lara Chedraoui & Patrix, Juicy, Miss Angel, Tessa Dixson, Oriana Ikoma, Ana Diaz, SPACEBABYMADCHA and Mick Lemaire crept into their musical pen. The series also features existing songs by artists such as Martha Da’ro, Aili, B1980 and Fatal Error to showcase a maximum of local musical talent.

Official reissue. Originally issued as 7" single in the UK in 1969 as Crab20. Comes with insert with liner notes.

The songs from Rudy Mills appeared on more than 30 different compilation CDs on Trojan Records.

Rudy Mills' music was also used for the the BBC series Plebs.

Whenever Emily Nenni is onstage, she welcomes everybody to the dancefloor. The California-born, Nashville-based singer-songwriter wants the honkytonk to be a place of escape, where fans can shed their troubles for a few hours and feel safe and free. “I’m always watching the dancefloor and making sure everybody’s being respectful.” Or, as she sings on the supremely funky title track to her new album Movin’ Shoes, “Here’s where you dress for you and dance the way that you want to.”

Movin’ Shoes is an album about how we treat each other and how we treat ourselves. Confident in its touchstones and compassionate in its insights, Movin’ Shoes eloquently and wryly blends southern soul from Memphis and Muscle Shoals with southern rock from Macon and outlaw country from Austin. Making Movin’ Shoes was a process of discovery for Nenni. Musically she found all new ways to combine the disparate artists she loves so much, and lyrically she found all new ways to relate to herself and to others. “We should at all times acknowledge and accept the fact that we’re imperfect people,” she explains. “We all make mistakes and we should all rethink the way we go about things. I am flawed. Everyone around me is flawed. But that’s not a bad thing. It just means we’re all human. This album is about making mistakes and learning from them. I’m always trying to put that into my songs.”

Whenever Emily Nenni is onstage, she welcomes everybody to the dancefloor. The California-born, Nashville-based singer-songwriter wants the honkytonk to be a place of escape, where fans can shed their troubles for a few hours and feel safe and free. “I’m always watching the dancefloor and making sure everybody’s being respectful.” Or, as she sings on the supremely funky title track to her new album Movin’ Shoes, “Here’s where you dress for you and dance the way that you want to.”

Movin’ Shoes is an album about how we treat each other and how we treat ourselves. Confident in its touchstones and compassionate in its insights, Movin’ Shoes eloquently and wryly blends southern soul from Memphis and Muscle Shoals with southern rock from Macon and outlaw country from Austin. Making Movin’ Shoes was a process of discovery for Nenni. Musically she found all new ways to combine the disparate artists she loves so much, and lyrically she found all new ways to relate to herself and to others. “We should at all times acknowledge and accept the fact that we’re imperfect people,” she explains. “We all make mistakes and we should all rethink the way we go about things. I am flawed. Everyone around me is flawed. But that’s not a bad thing. It just means we’re all human. This album is about making mistakes and learning from them. I’m always trying to put that into my songs.”

Call it soulful dream pop, proto-trip hop or downtempo jazz - "Tender Rain" is the follow-up LP to the successful "This Is" album and continues to deliver Ghia's unmistakable sonic magic. On this release, the band shares a selection of previously unreleased vocal songs alongside instrumental pieces, all carried by their trademark chilled and almost meditative atmosphere. Most of the recordings date from the early 1990s, while early demo versions of "New Love" and "Teardrops in Your Eyes" may reach back as far as the late 1980s.

The album opens with the title track "Tender Rain," where smooth vocal jazz harmonies merge effortlessly with soulful pop elements. The track originally appeared only on CD in 1993 on the small Mikado label run by renowned German guitarist Ulli Bögershausen. The band recalls that the piece was first pre-recorded using MIDI equipment and a Tascam 16-track recorder before being completed in the studio with drums by legendary drummer Mickie Stickdorn (Carsten Bohn's Bandstand, Cyklus, Elephant, Lake), percussion by Corinna Ludzuweit, and the final touch-Lisa Ohm's remarkable vocals.

At the time, Mikado was also looking for instrumental material for radio and synchronization use. They selected the track "Tropfstein" for a sampler CD and requested more pieces. In response, "und recken ihre schlanken Glieder" (roughly translated as "and stretching their slender limbs") was composed especially for the project, as Frank Simon remembers. Both tracks appeared on the now rare Mikado sampler CD under the alias z. Zt., short for "zur Zeit" ("at present" or "these days").

Several further pieces in a similar vein were created during this period, including the previously unissued "Auf unserm grünen Sofa," "Reise bei Nacht," and "Was ich Dir noch sagen wollte." These tracks are beautifully crafted downtempo pieces featuring smooth, jazzy piano lines combined with touches of ambient and New Age aesthetics. "Auf unserm grünen Sofa" stands out in particular and will likely resonate with all downtempo enthusiasts. Lutz Boberg recalls that many of these recordings were captured during a single afternoon in the studio, fueled by spontaneous ideas and creative momentum.

On tracks such as "Teardrops in Your Eyes," "New Love," and the haunting Dark Spirits Mix of Ghia's song "What's Your Voodoo?", singer Lisa Ohm delivers soulful pop performances with her clear and captivating voice. "Change Your Sex," the third track previously featured on the Mikado sampler, leans more toward late-1980s funk and was aimed at radio and DJs at the time. Its subject matter was relatively daring for the period, telling the story of someone contemplating a change of sex "to get rid of the troubles."

Together with "This Is" and "Curacao Blue", "Tender Rain" forms another essential chapter in the rediscovery of the band's work. More than thirty years after their creation, these recordings still sound strikingly fresh, reflecting a unique style that in many ways anticipated the rise of trip-hop in the early to mid-1990s.

After months of working exclusively on his own repertoire, Matmatah is slowly recovering from his 30th birthday by returning to his first love: covering other people’s songs !
Because Matmatah comes from there, from the steamy atmosphere of bars and clubs.
Back in the day, they played loads of covers. Oh yes, they certainly did.
So why not put a few of them together on an album?
It’s a must, isn’t it?
Except that… There are many ways to record an album of covers.
The band could have taken the easy route and covered the songs they loved in their early days. But that would be to misunderstand these lads. They needed to come up with a proper concept to justify such a project.
They came up with two:
To tackle styles that are diametrically opposed to their own, so they could better make them their own.
To broaden their linguistic repertoire and experiment with different sounds.
The result is a rich, joyful and socially conscious collection of 20 songs, written between the 18th and 21st centuries and performed in no fewer than 10 European languages. A fine tribute to the continent’s diversity.
To spice up this project, they’ve brought in the whirlwind that is Fanny Gillard on vocals for ‘Eisbär’ and ‘Putain Putain’, the powerful voice of Morgane Mercier on the eerie ‘Alison Gross’, mentor Patrick Marie for a space-age ‘Kan Ha Diskan’, and the immense Kevin Camus on the uilleann pipes and whistle for ‘The Winner Takes It All’.
Matmatah takes a wild ride, travelling across Europe and through time, having fun and cheekily reworking songs he never imagined he’d play.
Find the lynx!

Silvana Rossi emerges from the new wave of Italo revivalists with a sound that feels both timeless and sharply contemporary, where vintage drum machines, analog synth lines and nocturnal romance collide with a modern club sensibility. Rooted in classic Italo disco but filtered through today’s underground circuitry, her music speaks directly to selectors navigating the space between wave, electro and slow-burning techno. The tracks carry a distinctly personal edge—melancholy, desire, and late-night introspection wrapped in icy melodies and hypnotic grooves. This is music made for dimly lit booths, smoke-filled basements, and DJs who still believe in storytelling through vinyl.

A seductive opener “Elixir Of Love” built on cascading arps and a steady pulse, romantic but restrained, like a whispered confession over a rolling bassline. Perfect for setting the tone early set. Tension-driven and emotionally charged, italo anthem “Breakdown” balances crisp electro rhythms with a sense of inner collapse. A cold wave-leaning cut that hits hardest when the lights stay low and the energy turns inward. Shades Of The Night – a cinematic slow-burner drenched in shadow and atmosphere. This one is all about texture and space. Walk In The Night, another italo classic on the EP, stripped-back and hypnotic, with a confident groove that nods to classic Italo while staying firmly rooted in modern club aesthetics. “Bad Girl” brings a sharper, more playful edge, driving, stylish, and slightly dangerous. A weapon with crossover appeal for electro and wave crowds alike. A versatile tool for both warm-ups and deeper moments. Emotionally direct yet sonically controlled lush pads and restrained vocals create a sense of distance that pulls you in “Don’t Leave Me”. A melancholic highlight for DJs who know how to play with tension.

Twenty Years Ago, Jan Jelinek's Debut Album Personal Rockwas Released By Source Records. Under The Pseudonym Gramm, It Brings Togethereight Tracks That Have Not Been Available On Vinyl Since Their Original Release.faitiche Is Very Glad To Announce The Re-release Of The Album: Personal Rockwill Appear As A Double Lp Featuring The Original Cover Artwork. What People Wrote About Personal Rock Two Decades Ago: "situated Somewhere Between Jelinek's Much Loved Loop-findingjazz Records, Farben, Move D's Conjoint Project And Atom Heart's Most Immersivework For Rather Interesting, It's A Late Night Album Full Of Subtle Productiontricks And Melodic House Structures That Belong To The Pre-millennial Idmheyday, But Which Transcend Its Overly-masculine Templates." (boomkat) "a Serene Little Masterpiece" (de:bug) "though Many Producers Have Pushed Forward Theclicks-and-cuts Style Of Experimental Ambience Developed By Germanexperimentalists Oval (among Others), Few Have Been Able To Matchtheir Knack For Making Abstract Cuts Into Pieces Of Undeniable Beauty. Janjelinek's First Lp As Gramm Is One Of The Precious Few, And It'sobvious From The Opener." (allmusic) "organized In Organic Structures And Minimal Movements, Thetracks Get Into Utopian States And Super-desirable Moods, Offering Superiorcontentedness And Dependable Taste Of The Kind Seldom Sustained For A Wholealbum. (...) Subway-escalator-soul." (spex)

"In 1910, the illustrator George Herriman created the Krazy Kat comic strip. Ignatz, a vicious mouse, was Krazy Kat’s arch enemy, and his favourite pastime was to throw bricks at Krazy Kat’s head (who misinterpreted the mouse’s actions as declarations of love)
"Ignatz is the alter-ego of Belgian musician Bram Devens. Since 2005, he has released around 20 albums accompanied by guitar, in LP, CD or cassette formats, on labels such as (K-RAA-K)³, Ultra Eczema, Fonal, Mortaux vaches, Okraïna, among others. Ignatz has toured all over the world: Belgium, Germany, the Netherlands, France, Great Britain, Italy, Finland, Greece, Switzerland, Portugal, Lithuania, the United States, Japan, etc.
"Since the beginning of his journey as a singer-songwriter, Ignatz has played wonderfully and mysteriously with the combination of the similar and the unfamiliar, between the repetition and permanent reinvention with slight shift in accents... Now For two decades, when discovering his new songs, whether on record or in concert, his expressive and sonic universe can be recognized in seconds, and at the same time, he surprises every time. This is clearly also the case with ‘I Don't Know’, an album for which (after the cassette ‘Coffee, No Cigarettes’, Taping Policies 2017) he trades his guitar for the piano.
"In the mid-2010s, Ignatz inherited the family piano. As a self-taught musician, he explored the instrument and gave a piano concert in the small Flemish town of Geel, which was filmed by Jef Mertens (who also released the aforementioned cassette) and attended by Beata Szparagowska and Philippe Delvosalle from the label By the Bluest of Seas. After some years, it was in his home in Landen that Bram Devens recorded this haunted piano album, which is unlike any other piano record."

LP with printed Innersleeve with Linernotes by Eddie Piller (Acid Jazz) The compilation series “DJ's Choice” was launched in 2008 and has already enjoyed the participation of several high-profile curators, such as Keb Darge, Marc Hype, and DJ Suspect. A few years before the death of Unique Label founder Henry Storch in 2018, a DJ's Choice edition was created with his long-time friend and fellow DJ Eddie Piller. Unfortunately, it never came to fruition—as is so often the case, life had other plans, and sadly not all of them were pleasant. However, the idea was never completely forgotten, and with the help of Eddie and Henry's DJ partner in crime Sandra (Frollein Taube), a list of tracks that were on Henry's quick-select list for his sets was finally compiled.