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Underoath sind seit fast zwei Jahrzehnten eine wegweisende Stimme im progressiven Heavy Rock. Nur sehr
wenige können mit ihnen mithalten, wenn es darum geht, immer wieder an die Grenzen zu gehen oder sich
kreativ weiterzuentwickeln. „Voyeurist“ ist eine Rückkehr zu Underoaths Heavy-Metalcore-Wurzeln, die sie
in den 2000er Jahren zu einer der größten Bands in der Metal-Welt machten. „Voyeurist“ ist ihr neuntes
Album und das erste, das die Band komplett selbst produziert hat. Es wurde im Studio von Gitarrist Tim
in Tampa, FL aufgenommen und enthält 10 Tracks, die schwer, aber dennoch experimentell und manchmal
wunderschön sind. Während das letzte Album „Erase Me“ aus dem Jahr 2018 eine Abkehr von ihrem
Sound war und eher ein geradliniges Rock-Album, kehrt dieses zu den beliebten Metalcore-Wurzeln der
Band zurück, von denen die Fans so begeistert sein.

Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

In celebration of its 10th anniversary, Aesthetical Records is honoured to reissue Peau Froide, Léger Soleil, the groundbreaking collaboration between Finnish electronic music luminary Mika Vainio and French experimental music pioneer Franck Vigroux. Originally released in 2015, this new edition revives a work of unparalleled sonic intensity and textural exploration. The album is set to release on double vinyl and CD on May 24, 2025.

This iconic album is the result of a three year recording process that began after Vainio and Vigroux’s first live performance in Paris in 2012. Their collaboration serves as an intricate balance of minimalist meditations and maximalist energy, pushing electronic music into radical new directions. Peau Froide, Léger Soleil is a journey through psychic resonance and spatial abstraction, constructed through Vainio’s intense, brutalist grooves and Vigroux’s explorations in tonal extremities. Spanning a total of nine tracks, the album unfolds like an odyssey, densely layered yet free from structural limitations, traversing vast emotional landscapes where each sound feels at once intimate and tectonic.

Beginning with the ominous, bass-heavy textures of “Deux,” Vainio and Vigroux establish a dynamic atmosphere, setting the stage for the intense soundscapes to follow. “Mémoire” introduces ghostly voices that weave through thick waves of sub-bass and distorted noise, while “Souffles” explores uncharted sonic territories with its microtonal landscapes and spectral ambiance. Vigroux’s mastery over spatial abstraction comes to life in “Le Souterrain,” adding an atmospheric weight reminiscent of Ennio Morricone’s stark loneliness or Neil Young’s Dead Man soundtrack. In contrast, tracks like “Parabole” and “Le crâne tambour” unleash fierce, maximalist grooves, making them some of the most aggressive and memorable moments in Vainio’s discography.

Peau Froide, Léger Soleil represents a landmark in its sonic identity, embodying a vision of uncompromising, avant-garde sound design. This anniversary reissue on Aesthetical honours that legacy while inviting new listeners into Vainio & Vigroux’s collaborative universe—a space where electronic music becomes both weapon and sanctuary.

The 10th-anniversary edition promises a fresh listening experience, preserving the legacy of two artists who have redefined the boundaries of sound.

The official soundtrack to Jean-Cosme Delaloye's documentary about the life and career of Detroit techno pioneer Carl Craig, Desire: The Carl Craig Story is set for release on digital platforms on 20th June 2025, with 2x12” Vinyl and CD editions to follow on 18th July 2025.

The collection, coming via his prolific and seminal Planet E Communications, features music from across Craig’s vast catalog, including several tracks that have never previously seen full digital release. Its selections span his many aliases and projects, offering a rare glimpse into the full scope of his groundbreaking career. rare glimpse into the full scope of his groundbreaking career.

Among the rare and remastered tracks featured is No More Words - originally released in 1991, newly reissued on vinyl and available digitally for the first time. A foundational track in the Detroit techno canon, No More Words captures the emotive synths and tight grooves of Craig’s sound that would soon resonate across dance floors worldwide. Its reissue marks a moment of reflection on the genre’s roots and evolution.

Another remastered track from Craig’s extensive archive is The Truth, a deep cut from Craig’s discography under his Designer Music alias, now widely available for the first time a quarter-century after its original release. The film’s end credits are scored by the contemplative Meditation 4, an ambient production previously only available on Craig's 2013 Masterpiece compilation CD for Ministry of Sound.

Iconic remixes such as his Grammy-nominated rework of Junior Boys’ Like A Child is included alongside lesser-known but equally epic remixes such as his sublime 2012 mix of Slam’s Azure, which is employed for the film’s title credits and had previously only seen a limited release. Also featured across the soundtrack’s multiple formats are iconic Carl Craig productions under his 69, Psyche/BFC and Innerzone Orchestra aliases, and collaborations with Moritz von Oswald and Francesco Tristano. Oswald and Francesco Tristano.

The soundtrack serves as a companion to the new documentary directed by Jean-Cosme Delaloye and produced by Sovereign Films, which follows Carl’s journey from Detroit’s middle-class roots to global stardom, set against the city’s decline and recovery. The film explores his work at the intersection of music, art, and culture, from his collaborations with Bottega Veneta to his Party/After-Party installation, acquired by the Detroit Institute of Arts and exhibited at MOCA Los Angeles. MOCA Los Angeles.

Featuring interviews with Gilles Peterson, Roni Size, Laurent Garnier, DJ Minx, Kenny Larkin, Moritz von Oswald, and James Lavelle, Desire highlights Carl’s championing of Detroit’s Black creative excellence and the often-overlooked African-American roots of electronic music.

David Douglas and Applescal both share a deep passion for the road. In the summer of 2023, they decided to come together to write a track. Full of inspiration and atmospheric ideas, this evolved from a rough concept into a collection of tracks. What initially began as an idea for a single track quickly grew into the full-fledged electronic album 'Démarrage'.

MEMBERS ONLY is back with more freaked out weirdo edits to excite your night. As lo-fi as ever, volume 7 of the series leans hard into disco territory with 3 heavily chopped tracks harkening back to RON HARDY's legendary tape edits at THE MUSIC BOX. For those who know.

Roundabout is a four-piece collective from Austria that blends influences such as NuJazz, R'n'B and Neo Soul into a sound driven by groove, complexity and emotions.

All songs written, composed and performed by Roundabout: Moritz Lindner, Alexander Danninger, Manú Kreutzer and Henrik Stöllinger.

All tracks produced by Roundabout. Mixed by Paulo Germano. Mastered by Sam Irl. Recorded at Lindner Studios.

Artwork by Leonel Perez Mayoral. Vinyl design by Neue Sachlichkeit.

Featuring:
Timon Grohs - Guitar (1,2,3,4)
Jamie Leeming - Guitar (5)
Matthias Zeindlhofer - Trombone (1,5)

Mexico City based "street jazz" maestro Soni Orbita is on a spiritual quest in sound. Jazz is what he uses to communicate messages of love and freedom, and this new album for Departamento does just that across 8 magnificent new tracks. They are brilliantly complex in their arrangements but also hugely accessible thanks to their universal grooves and emotions. Elements of house, funk and disco all feature with piano anchoring each piece. The result is a deeply personal and meditative body of work that invites introspection while moving the body and soul with endlessly rich harmonies. This is bold, brilliant jazz for anyone seeking a path to higher consciousness.

In a flurry of angular beats and space age synth licks, Livity Sound welcomes Willis Anne to the fold under the guise of a new alias, FOREIGNER. Operating within the thriving scene around his current base Naarm, Anne brings a live, jammed-out focus to machine-rooted electronic performance that translates into his productions. All four tracks on this new EP crackle with improvised energy, whether it manifests in the dramatic synth shapes on 'Last Peoples' or tangled up in the beat exploration on 'Visible'. At its core, the EP makes its mark thanks to the clarity of Anne's ideas as he swerves the temptation to over-work the sound, ringing true with the immediate, spacious approach of Livity Sound's many-sided catalogue.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

“Electric Park” by Mathias is a five-track tech-house project that blends history, whimsy, and Detroit’s rich musical legacy. Inspired by the vibrant past of Electric Park, an iconic Detroit amusement park, the music captures the joyful energy of rides and attractions while offering a modern sonic twist. Upbeat and whimsical, the tracks reflect the birthplace of Techno and celebrate the city’s innovative spirit. Mathias invites listeners to both revel in the present and connect to the past through pulsating beats and playful rhythms, highlighting how music bridges history and culture in meaningful, electrifying ways.

Rigby On The Run drops Rug Rally on Vienna's Studio Bahöö, blending UKG grooves, grainy breakbeat, and off-grid soundsystem experimentation. Built on instinct and late-night energy, the tracks lurch, glide, and hum with low-end pressure and emotional weight. No face, no origin story-just raw motion and mood.

Pioneering British electronic musician Mark Van Hoen is set to release his latest solo album, The Eternal Present, on 23 May 2025 via Dell'Orso, a remarkable collection of tracks spanning nearly three decades of recordings from 1998 to 2024.
The Eternal Present embodies its philosophical title, inspired by Joseph Campbell's concept that "Eternity isn't some later time... Eternity is that dimension of here and now that all thinking in temporal terms cuts off." The album explores music as the ultimate expression of existing in the present moment, transcending time and creating a sonic experience that is simultaneously "spectral, ghostly, melodic, harmonic, and decayed."
An influential contemporary of Aphex Twin, Autechre, LFO and Boards of Canada, Van Hoen is best known for his solo work as Locust in the mid-'90s, which helped push post-rave electronic music into newly challenging realms. His extensive discography spans releases on influential labels including R&S, Touch, and Editions Mego. Van Hoen has worked on numerous collaborations throughout his career, including with Nick Holton and Neil Halstead of Slowdive under the moniker Black Hearted Brother—their album Stars Are Our Home was released in 2013.
The Eternal Present continues the lineage of Van Hoen's most significant works, with artwork by Ian Anderson (Designers Republic) reflecting the album's "eternal present" concept with a mysterious visual approach, allowing listeners to form their own imaginary landscapes. The mastering by Stefan Betke (Pole) enhances this document of the evolution of the artist over the years as he continues to hone his signature sound. Using a host of instruments including analogue synthesisers and employing various recording approaches, Van Hoen's equipment changed dramatically over the years—from early DSP processing used on his first solo record on Apollo ‘Playing With Time’ to various synthesisers, modular systems, tape machines, and digital workstations—contributing to the album's rich sonic diversity.
Throughout The Eternal Present, ideas are woven together through spoken word quotations and abstract vocals featuring notable collaborations from Rachel Goswell on the Slowdive cover "Shine" (from 1998), Megan Mitchell (Cruel Diagonals) on "Somewhere", and session vocalists Clare Dove and Dorothy Takev on "No-One Leave" and "It's Not You (In A Way)" respectively. The use of cleverly assembled vocal samples from an "undisclosed but very famous female vocalist" on "Multiplex" (2016) and the indistinct vocalisations on the Cabaret Voltaire-influenced "Only Me" (2017), constantly challenges and disorientates the listener through fluctuating, ever-changing musical elements.
The album was recorded across multiple locations including Somerset, London, Los Angeles, and New York—even beginning compositions during flights and in airport lounges—reflecting Van Hoen's changing personal circumstances, environments, and situations throughout the years.
Of Indian-Jamaican descent, Van Hoen was born and raised in England, absorbing diverse musical influences from his neighbors—African-Jamaican on one side and Punjabi Indian on the other. "Each family played their own music frequently, and I absorbed it." His musical foundations include Brian Eno, Kraftwerk, OMD, Tangerine Dream, Japan, Cabaret Voltaire, and Cocteau Twins, later finding inspiration in My Bloody Valentine, LFO, and '90s producers Robert Leiner and CJ Bolland.
These eclectic influences are evident on The Eternal Present, which contains snapshots of different periods in his life, with changing circumstances across decades creating a variety of textures and sounds. As Mark explains: "It holds the same sonic signature as many of my solo releases and early Locust albums. It's a natural development that has taken place in the last few decades. It's even related to the earliest music I made as a teenager, although perhaps more sophisticated."
“What a remarkably affecting, majestically broad and captivating work it is..what strikes you most is the album’s myriad diversity. Outstanding” (Electronic Sound)

“Whether channelling mid- 70’s Eno, early Aphex Twin or Neu! his vivid sounds shimmer with emotional weight” (Mojo 4*)

"Musically, Van Hoen belongs to a distinguished family tree. Originally influenced by the likes of Brian Eno and Tangerine Dream, and later presaging both Autechre's glitch and Boards of Canada's pastoral IDM." (Pitchfork)

2026 Repress

RAWAX proudly presents Ricardo Villalobos' Salvador "Trilogy"!
The three Masterpiece records which came out between 1998 - 2000 on Frisbee Tracks,
are part of Ricardo's own series on RAWAX including new tracklistings!

Highly recommended!

Toy Tonics ITALOMANIA Vol. 3 is a compilation dedicated to NEW ITALIAN DISCO. (Not Italo Disco.) 14 young contemporary Italian producers made new organic disco, indie dance, pop house tracks with Italian vocals. Everything on this compilation has been produced in 2024. Fresh dance music by Italian artists Paul Older, Riva Starr, Valentino Vivace, Sam Ruffillo & Fimiani, Kymono, Mille Punti, Mind Enterprises, Bruno Belissimo and legendary cosmic disco pioneer Daniele Baldelli + french italo hitmakers Dov'e Liana. The ITALOMANIA compilation was initiated by Toy Tonics boss Kapote. Italo-German producer, DJ, keyboarder and head of Toy Tonics and Gomma records. ITALOAMNIA is a MANIFESTO to show the status of Italian Disco of today. Kapote invited the most relevant Italian producers to make new tracks with Italian vocals and show different styles of modern Italian disco with Italian vocals.

Italian Disco is not Italo Disco. The last years the trashy pop music of the 1980’s called Italo Disco (with English lyrics) had a big revival. But this compilation is about something else: It’s about this Italian Disco. Because the popularity of good Italian pop music is rising all over the world. And Toy Tonics want to show a new way to combine Italianity with dance culture. Its funny that also in France, Swiss and Germany there are new artists singing in Italian. Let’s not forget: The culture of party, dancing, show bizness and pop music would be unimaginable without the heritage and creativity that Italians contributed Italy is not just the country of good food, beaches and high fashion, but it’s also the original country of dance music. Since the ancient roman times the Italians have been the kings of entertainment. And if it comes to music; The DISCO wave of the 1970ies and the Pop music of the 1980ies has been co-created by Italians (and Italoamericans in New York).

Das Debütalbum von Leroi Conroy, das zu gleichen Teilen von der Sensibilität des goldenen Hip-Hop-Zeitalters und verlorenen Filmszenen aus den 60er und 70er Jahren geprägt ist, wiegt schwer und hat Jahre der Entwicklung hinter sich. Die ersten beiden Tracks des Albums wurden 2017 als 45er veröffentlicht und in den folgenden Jahren von DJ Premier, Raekwon, Ghostface Killah, Macklemore, Phantogram und vielen anderen gesampelt. Aber nach der Veröffentlichung verbrachte Terry Cole alias Leroi Conroy einen Großteil seiner Zeit damit, sein Indie-Soul-Label Colemine Records zu vergrößern und Platten für andere zu produzieren (Okonski, Parlor Greens, Wesley Bright, BlackMarket Brass, Kendra Morris, Rudy De Anda, Delvon Lamarr Organ Trio, Andrew Gabbard), anstatt seine eigenen zu machen. Jetzt, acht Jahre nachdem viele der Rhythmustracks auf dem bewährten Tascam 388 aufgenommen wurden, erscheint Leroi Conroys Debüt-LP, "A Tiger's Tale". Das Album ist als hypothetischer Soundtrack zu einer alternativen Erzählung von Rudyard Kiplings The Jungle Book konzipiert. Die Erzählung ist das Bestreben des Menschen, die Natur zu zähmen und sie seinem Willen zu unterwerfen... und die Antwort der Natur. Das Album ist eine Mischung aus triumphalen Instrumentalpartituren und absolut düsteren, dunklen und manchmal dissonanten Moodytracks. Das zugrundeliegende Element der Hip-Hop-Sample-Kultur ist durchweg offensichtlich, und es besteht kein Zweifel, dass viele dieser Tracks in den kommenden Jahren geflippt werden. Klanglich reiht sich die Platte nahtlos in die Reihe vieler anderer Colemine Instrumentalisten ein: dreckige Lo-Fi-Drums, schmetternde Bläser, Wah-Gitarre, Hammond-Orgel und jede Menge cineastische Einsprengsel wie Flöte, Nylongitarre und Vibraphon. Das Schlagzeug stammt von Coles langjährigem Mitarbeiter Rob Houk und ist das Rückgrat des Albums. Und mit einigen Beiträgen der Colemine-Künstler Kelly Finnigan und Jimmy James ist die Platte wirklich eine Familienangelegenheit. File Under: To Be Sampled.

+ 7 tracks for the first time on vinyl
* 5 tracks previously unreleased

- Following on from the success of the 2024 editions of The Age of Consent and the incredible viral activity for 'Smalltown Boy', London Records follow up with Forbidden Fruit - a remix compendium to The Age of Consent. Similarly to 1995's Hundreds and Thousands album, The Age of Consent has been re-interpolated to create a new remix album - traversing Hi-NRG, House, Italo Disco and more - while working together as a cohesive listening experience.

The debut album from Addy Weitzman, ‘Light Months Will Fly Over Us’ explores new-wave, romantic pop and art rock with elegance and ambition, drawing from Weitzman’s scattered network of collaborators, as well as a “frighteningly vast” personal archive of compositions. Sequenced by Seth Troxler and released on his Slacker 85 label, it represents a pivot in musical direction for the imprint, and a showcase for the songwriting craft Weitzman honed as a member of cult electro duo Footprintz, and Montreal synth-pop projects The Beat Escape and Dawn to Dawn.

The title Light Months Will Fly Over Us is derived from a line in a poem by the Russian writer Anna Ahkmatova. Weitzman was immediately struck by its “hopefulness, its mystery… it gives the feeling of being suspended, hanging in a dream-like state”. This interpretation has been translated to the album, rich in memorable songwriting that nonetheless invites the listener to lean in further. Delicately mixed by engineer Pierre Guerineau, known for his work alongside Marie Davidson, each of the eight tracks gently interrogates life’s greater mysteries; fear, love and salvation, each defining and revealing the human soul.

Opener ‘End of The Line’ invites us into an immediately lush space of lounge lizard existentialism, soft brass and piano helping Weitzman introduce “where the journey begins and the fantasy dies”. Across orchestral arrangements arranged by Adam Wilcox, whose sensitive, ambitious compositions are weaved throughout the album, ‘Beyond The Speed of Life’ brings to mind the laments of Scott Walker. Navigating vulnerability via grandeur, Weitzman’s earnest vocals flourish in wide-eyed call-and-response with the object of a transcendent love affair.

Alongside collaborator, Richard Lamb, the next chapter of the LP plunges into contrasting machine-driven moods; the wry, bubbling ‘Entertainment Is All I Wanted (And I Found It)’ is imbued with the playfulness and experimentation of 80s electronic pioneers such as Fad Gadget, while the tougher, icier ‘Stranger To Your Kind’ shifts in a more instrumental direction, recalling Weitzman’s dancefloor experience, as well as contemporaries such as Matthew Dear.

Album centerpiece and striking first single ‘Running & Returning’ is the first of a suite of three tracks in collaboration with Weitzman’s The Beat Escape and Dawn to Dawn bandmate, Patrick Boivin. Blending lush saxophones and angular guitars with a wistful melodic touch and lyrics, its irresistible art-rock rhythm provides the foundation for one of Weitzman’s most involving vocal performances.

It’s followed by an anthem for existential absurdity: ‘Ice Cream Candle’ provides a driving acceptance that “the more and more you learn, the less you understand”; Weitzman submits to this uncertainty with equal grace on ‘No Man’s Land’, as baroque invocations of “words swept through the fields” and meeting “where the water lilies grow” give way to a blistering guitar solo, humbly riding hypnotic percussion.

For the compassionate finale of Light Months Will Fly Over Us, Weitzman narrates the experience of ‘Gabrielle’, a woman slipping between rooms between shuttered blinds in the towering city, “where cigarettes and roses fill the air.”

As lyrically delicate as it is musically ambitious, Light Months Will Fly Over Us is a sublime debut album, enriched with care, love and much-needed enchantment.

From the sunny shores of Miami, Florida, Fat Produce is leading the charge in today's soul-jazz scene. Their latest release features two classic tracks, "No Way" and "54-46 Was My Number," which are beautifully molded into Fat Produce's unique sound led by guitarist Addison Rifkind and drummer Michael Duffy. This limited 7" single offers a preview of what’s to come from this rising trio.

The influence of Boogaloo Joe Jones is undeniable, so incorporating his 1970s classic "No Way" into their repertoire was a fitting tribute for the band. With a deeper sound and an infectious groove, Fat Produce pays homage to this musical giant, guaranteed to get everyone moving on the dance floor. On the flip side, "54-46 Was My Number" is a reimagination of a Toots & The Maytals original, transformed into the instrumental style of a soul-jazz guitar trio. Rifkind's lyrical guitar work breathes new life into Toots' original vocal melodies, embodying the essence of soul-jazz and crossing genres to keep the spirit of feel-good music alive.

Both tracks were recorded on a Tascam 388 at Studio Del Sol in Boca Raton, Florida, by Travis Acker and mixed at The F-Spot HQ in Los Angeles by D.M.C. With upright bassist Nestor Del Prado joining the duo on this album, Fat Produce's forthcoming sophomore LP is set to be released in October 2025.

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' departure in 2022, this reunified version of Pelican allowed the band to tap back into the spirit of their formative era and build something distinctly new with Flickering Resonance. While longtime Pelican fans will recognize the album as an update to the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it at first," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, we're more willing to acknowledge all the suits we're wearing."On Flickering Resonance, Pelican doesn't attempt to reinvent itself as much as emphasize the elements that were so often overlooked. Though Pelican's thick sonic backbone remains intact, the songs on Flickering Resonance show a more humanistic side of the band. Tracks like "Evergreen" and "Indelible" tease Pelican's doom-metal roots, but these songs feel equally, ebullient and truthful, playing like Texas Is The Reason songs transmuted into a post-rock landscape. Recorded with longtime musical compatriot Sanford Parker, who recorded their first EP, Pelican begins this new chapter of their career with an album that's neither full reinvention nor back-to-roots revivalism. After so much time apart, and with so much life having been lived between the original Pelican lineup's last recording sessions together, the band approached it with renewed vigor and a more communal spirit."There was more room for openness and critique with the understanding that we're all trying to craft the best song possible and that every suggestion is valid until it's proven invalid," says Shelley de Brauw. That process allowed everyone to embrace the material with a shared vision. "We didn't move forward unless we all wanted to move forward, and that felt like real community building," says Schroeder-Lebec of this unified approach. "I went from seeing it as my art and my craft to our craft that we were shaping together."In doing so, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes. Songs like "Cascading Crescent" and "Indelible" don't languish in what's been lost, these tracks see the band embracing what remains in their hands instead of lamenting what's slipped through their fingers. It's a concept that's mirrored in the artwork of Christian Degn that graces the cover of Flickering Resonance. It's a piece built off the concept of flame meditation, and how the smallest flames can often bring about the biggest transformations. A song like "Flickering Stillness" exemplifies this feeling through its sonic expanse, putting the band's sonic density and hyper-focused clarity on display, but with an emphasis on the profound human connections that have kept Pelican going all these years. "When Laurent left and we were able to carry it through, there became a real sense of gratitude for the fact we still have this artistic outlet and a community of people who want to be a part of it" That feeling of deep, grounded appreciation isn't just one that's within the band members, it's expressed in every track on Flickering Resonance. Because at the very core of Pelican, are four individuals who have grown both separately and together, and always will.Like a distant light faintly glowing in the darkest night, Flickering Resonance is a reminder of all that has passed us by, but also all that is still to come.

JOVA! LIVE! LOVE! is the perfect album for anyone who wants to relive the emotions felt during Jovanotti’s legendary shows!
Recorded during the PalaJova2025 tour dates, “JOVA! LIVE! LOVE!” is a Best Of album composed of 27
iconic tracks from Jovanotti’s career. Inside are all the historic hits, including ”Il più grande spettacolo
dopo il Big Bang”, ”Ragazza Magica” and ”L’ombelico del mondo”, but also more recent tracks such as
”I love you baby” and ”Un mondo a parte”.
The album is available in two unmissable formats: Triple LP and Double CD.

Tracks include unearthed fragments of BLADDER FLASK, circa ’80s by Richard Rupenus, a founding member of THE NEW BLOCKADERS.

STEVEN STAPLETON, ANDREW LILES, RICHARD RUPENUS.





New studio album “Backside” on vinyl by Nurse With Wound, includes unearthed fragments of Bladder Flask by Richard Rupenus, circa ’80s, also released on Cd in 2024 (there is also a DIY “lathe cut”).
Cover art by Babs Santini.


The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask’s debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (Orgel Fesper Music) was distributed by United Dairies.


Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he’d unearthed from “Bladder Flask”, an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steven Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask’s sense of the absurd in this new opus “Backside”.



“As the closest release style-wise to classic old NWW in decades, the album’s opening track ‘Backside’ could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It’s quite an intense listen, but totally enjoyable. ‘Chernobyl Picnic’ feels more like ‘Cooloorta’-era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted ‘Soliloquy For Lilith.’ An excellent release, especially for jaded old NWW fans who want more in the style of ‘the good old days’ (Alan Freeman)”.

In 1995, when Cobweb-day was released, Fabrice Laureau was 24, Nicolas Laureau 21, Ludovic Morillon 22, and Quentin Rollet, who had just joined them on this new album, was 21. Prohibition, founded in 1989, had already released two albums: Turtle in 1993 and Nobodinside in 1994, on the Distorsion label. Cobweb-day, literally "Spider-web Day," is poetic, satirical, and libertarian. A title conceived by Nicolas to express all the feelings and themes explored on the album, this neologism also echoes the artwork on the cover. The lyrics describe, in vitriolic poetry and with a touch of self-deprecation, a world based on the powers of commodification and order, on submission to modern Molochs. Thirty years ago, it addressed themes such as the trade in minds and bodies, Kafkaesque justice, state violence, and Western blindness. Is this a coincidence that might raise a smile? Fabrice and Nicolas were both conscientious objectors at the time the album was written. The deceptively childish drawing that adorns the cover was created by Fabrice in 1989. It evokes African art and the skyscraper where the brothers grew up. Its title? "Glances on the Horizon." Yet, in these naive eyes, locked in a rhizomic matrix, there is the disturbing sensation of being observed, scrutinized, or perhaps imprisoned. This is Cobweb-day. During this period, the band spent its entire life touring with the British post-punk trio Headcleaner and the furious Lyon-based Condense. Their correspondence, followed by a meeting in 1994 with Guy Picciotto, singer-guitarist in Fugazi, led to a series of concerts with the Washington, DC quartet, around the time of the album's release in the spring of 1995. Quentin Rollet gradually joined the band, first on stage and then on the records. The concerts of this era often ended with long improvisations featuring saxophone, sitar, bass, and drums. Prohibition had emerged from the shadows, but chose to continue evolving underground, with the Laureau brothers creating their label Prohibited Records. Cobweb-day serves as the first reference. Thirty years ago, then. The album was recorded at Ark Studios near Paris in January 1995, along with eight other previously unreleased tracks. This new mix was created at Black Box Studios by Peter Deimel and Nicolas from 24-track analog tapes in August 1998, shortly before the release of 14 Ups & Downs, Prohibition's fifth and final album, and their US tour. All tracks were remastered by Fabrice and Nicolas Laureau in March/April 2025.

Official reissue of this sought-after Canadian psychedelic hard-rock album from 1970.
Formed in Toronto in the late 60s, It’s All Meat (the name was taken from a dog food commercial!) soon caught the attention of influential character Jack London (frontman of pre-Steppenwolf band Jack London and the Sparrows) who managed the band and secured a deal with major label Columbia Records.
After recording their first 45, the proto-punk MC5/Stones sounding “Feel It”, the band started working on their first album with the tandem of Jed MacKay and Rick McKim as main songwriters.
“It’s All Meat” was released in 1970 and offered a powerful mix of garage-rock, psychedelia and early hard- rock, drawing influences from bands like the Stones, Country Joe & The Fish, Doors, Velvet Underground... tracks like “Roll My Own” or the lysergic “Crying Into The Deep Lake” are now considered classics of the genre.
Sadly, the band would split soon after the LP was released.
*Original artwork in gatefold sleeve *Remastered sound in 24-bit domain *Insert with liner notes by Plastic Crimewave and rare photos / memorabilia
*Download card with non-LP singles and rare tracks
RIYL: STONES, MC5, DOORS, JEFFERSON AIRPLANE, NEW YORK DOLLS,
“One of the classic Canadian rarities. It’s All Meat deliver ballsy Stones influenced hardrock with some psychedelic west-coast moves” - Patrick Lundborg (Acid Archives)

Active between 1970 and 1976, the Bolton Iron Maiden (originally known as Birth and then Iron Maiden) was a psychedelic hard-rock band formed in Bolton by Ian Boulton-Smith (Beak) on lead guitar, Derek George Austin on bass and Paul TJ O’Neill on drums / vocals.
Influenced by contemporaries like LED ZEPPELIN, CREAM, FREE, GROUNDHOGS OR ANDROMEDA, their music blended blues, hard rock, and progressive elements.
They soon built a strong reputation supporting acts such as UFO, Bedlam (with Cozy Powell), CARAVAN, THIN LIZZY... In 1976, the band disbanded following the death of guitarist Ian Boulton-Smith from cancer.
In 2005, Paul O’Neill revived interest in BIM by releasing two albums, “Maiden Flight” and “Boulton Rides Again”,which compiled studio and live recordings. The proceeds from these albums were donated to Cancer Research and Macmillan Cancer Support. With the blessing of the more famous
Iron Maiden and their manager Rod Smallwood, the band adopted the name “The Bolton Iron Maiden” to avoid confusion.
For the first time on vinyl, “Maiden Flight” collects their previously unreleased studio recordings from 1972 plus raw as f*ck live tracks circa 1975.
*Insert with detailed liner notes and rare photos / memorabilia / *Download card with extra (live) bonus tracks

Back to the 80s: A Holy Grail of Italo Disco Returns on Vinyl

Oh, those magical 1980s… an era forever entwined with iconic music that still stirs the soul. For the young, it’s a source of fascination; for those who lived it, a flood of unforgettable memories. And when you combine that nostalgia with a collector’s thrill and the magic words “Italo Disco”, only a handful of legendary labels come to mind. One of them? Sensation Records: the experimental sub-label of the iconic Disco Magic, headquartered at Via Mecenate 78/A in Milan. Known for its distinctive blue label, Sensation was home to less commercial, often bold and boundary-pushing releases – tracks that dared to be different.

Today, Vintage Pleasure Boutique dives deep into the vaults of Sensation Records to revive one of the genre’s most coveted treasures: Marylinlove – “Another Love.”

Produced by none other than Bruno Mosti – a mastermind behind some of the most sought-after Italo tracks of the era. This is more than a reissue. It’s the return of a true cult classic, a holy grail for collectors and genre lovers alike.

If you know, you know. And if you don’t, this is your moment to own a piece of history. Don’t miss your chance to grab this stunning vinyl reissue, before it disappears again.

Das Debütalbum von Leroi Conroy, das zu gleichen Teilen von der Sensibilität des goldenen Hip-Hop-Zeitalters und verlorenen Filmszenen aus den 60er und 70er Jahren geprägt ist, wiegt schwer und hat Jahre der Entwicklung hinter sich. Die ersten beiden Tracks des Albums wurden 2017 als 45er veröffentlicht und in den folgenden Jahren von DJ Premier, Raekwon, Ghostface Killah, Macklemore, Phantogram und vielen anderen gesampelt. Aber nach der Veröffentlichung verbrachte Terry Cole alias Leroi Conroy einen Großteil seiner Zeit damit, sein Indie-Soul-Label Colemine Records zu vergrößern und Platten für andere zu produzieren (Okonski, Parlor Greens, Wesley Bright, BlackMarket Brass, Kendra Morris, Rudy De Anda, Delvon Lamarr Organ Trio, Andrew Gabbard), anstatt seine eigenen zu machen. Jetzt, acht Jahre nachdem viele der Rhythmustracks auf dem bewährten Tascam 388 aufgenommen wurden, erscheint Leroi Conroys Debüt-LP, "A Tiger's Tale". Das Album ist als hypothetischer Soundtrack zu einer alternativen Erzählung von Rudyard Kiplings The Jungle Book konzipiert. Die Erzählung ist das Bestreben des Menschen, die Natur zu zähmen und sie seinem Willen zu unterwerfen... und die Antwort der Natur. Das Album ist eine Mischung aus triumphalen Instrumentalpartituren und absolut düsteren, dunklen und manchmal dissonanten Moodytracks. Das zugrundeliegende Element der Hip-Hop-Sample-Kultur ist durchweg offensichtlich, und es besteht kein Zweifel, dass viele dieser Tracks in den kommenden Jahren geflippt werden. Klanglich reiht sich die Platte nahtlos in die Reihe vieler anderer Colemine Instrumentalisten ein: dreckige Lo-Fi-Drums, schmetternde Bläser, Wah-Gitarre, Hammond-Orgel und jede Menge cineastische Einsprengsel wie Flöte, Nylongitarre und Vibraphon. Das Schlagzeug stammt von Coles langjährigem Mitarbeiter Rob Houk und ist das Rückgrat des Albums. Und mit einigen Beiträgen der Colemine-Künstler Kelly Finnigan und Jimmy James ist die Platte wirklich eine Familienangelegenheit. File Under: To Be Sampled.

* Speaker distressing early 1990s UK dub from The Disciples.
* `Chant of Freedom and `Armageddon' are dubplate cuts only ever heard before in sound system dances.
* The original versions of `Chant of Freedom' tracks appeared on 10' on the Boomshackalacka label in 1995, while `Armageddon' is previously unreleased on any format.
* Disciples, along with the likes of Sound Iration, Manasseh, Alpha and Omega and Conscious Sounds are the forerunners of what became known as the UK roots/dub scene.
* Highly regarded for their custom built dubplate cuts for Jah Shaka. Disciples have a sizable following worldwide, particularly in the UK, France, Germany and Japan.

Accomplished Polish beat-maker Emapea has made memorable appearances on many Cold Busted label compilations – such as in the IWYMI and Bust Free series – and has been selected for inclusion in Mark Farina’s next Mushroom Jazz installment. All this activity has mouths watering for the debut full length album from Emapea, and the appearance of Seeds, Roots & Fruits doesn’t disappoint one bit. Featuring sixteen exceptional tracks ranging from hip hop to acid jazz to psychedelic trip hop in the style of Mo’Wax, Emapea’s long player is indeed, as a wise man once said, “a journey into sound.” Seeds, Roots & Fruits rises above the average beats album to reveal the enduring depth of this young producer

Fresh from the lab, BLACK PRINT is finally here—a sonic formula meticulously crafted by Detroit’s SCAN 7 to awaken minds and ignite souls. This release delivers five distinct tracks, including a collaboration with acclaimed Detroit DJ/Producer AMX, aka The AM. Each track is a universe unto itself, bound together by rhythm and energy, guiding you toward a singular truth. To truly grasp the message, dive in. Listen deeply, surrender to the sound, and step into BLACK PRINT.

Schweiengötter nehmen menschliche Gestalt an und veröffentlichen ,Debütalbum"? Wenn man in einer Kleinstadt aufwächst, muss man entweder seine Freizeit kreativ gestalten oder man radikalisiert sich im Internet. Über dem San Fernando Valley von Los Angeles erhebt sich der süße, schwüle Sound von The Toxhards. Mit halb Psych, halb Prog, halb Rocktheater und halb Indie (das sind vier Hälften) hauchen The Toxhards dem längst obsoleten Genre des ROCK 'n' Roll neues Leben ein. Von ,existenziellen Doom-Bops" bis zu mitreißenden Hymnen über Schweinegötter, bieten The Toxhards einen genreübergreifenden, elektrischen und exzentrischen neuen alternativen Sound. Ihre Musik wird bereits auf TikTok Reels millionenfach angeklickt, ihre unterhaltsamen Bits und Sketche millionenfach geschaut (135k Follower auf TikTok, 75k Follower auf Instagram und 13k auf YouTube). Im Laufe der zwölf Tracks plus vier Zwischenspielen folgt ,Your Neighborhood" dem Protagonisten Adam und seiner Unzufriedenheit mit dem Leben - er hat Freundin verloren, ihm fehlt der Mut, seinen Ambitionen zu folgen - und er beginnt, die schlimmste Version seiner selbst zu werden, die er nur sein kann: ein unsicheres, reaktionäres Individuum, das Trost darin findet, sich in dunklen Online-Ecken über ,andere" zu beschweren. Ursprünglich aus dem Midwestern, nun in der smoggefüllten Höllenlandschaft des San Fernando Valley von Los Angeles lebend, ist die Band auch für ihre unterhaltsamen und mitreißenden Live-Auftritte bekannt, bei denen sie aufblasbare Schweinekostüme tragen, T-Shirts verschenken, unveröffentlichte Songs präsentieren, Kaffeepausen einlegen, Instrumente tauschen und gelegentlich einer ausgedehnten Jam (oder zwei oder drei oder...) fröhnen. Mit jeder neuen Veröffentlichung und bei jeder Show beweisen sie, dass sie die Zukunft von was auch immer sind. The Toxhards haben uns viel zu erzählen und zu bieten. 2023 bei Hopeless Records unterschrieben und direkt ihre erste Single "(The) Coffee Song / October" veröffentlicht.2024 gab's die limitierte und aktuell ausverkaufte Vinyl-Compilation ihrer bisherigen Songs und Singles zwischen 2022 und 2024. Obwohl es sich um eine Zusammenstellung handelt, betrachtet die Band es als ihr "eigentliches Debütalbum", aber nun ist "Your Neighborhood" dran! Für Fans von Ween, Car Seat Headrest, White Reaper, Pigeons Playing Ping Pong, symphonischen Weezer, Indie-Prog, Alterntive Pomp, Psychpunk....

Strut present the first international release in over 30 years by legendary Afro-jazz group Oneness Of Juju with their new album Made Through Ritual on 11th July 2025.

In 1975, the late DJ / producer and jazz distributor Jimmy Gray and James “Plunky” Branch joined a musical revolution, founding Black Fire Records and releasing the label’s debut album, the classic African Rhythms by Oneness of Juju. This July, Plunky brings this important musical relationship full circle with Made Through Ritual, produced by Plunky’s son Jamiah “Fire” Branch and Jimmy’s son Jamal Gray.

The album takes a novel approach to beat culture. Working from demos created by Jamal using a selection of original jazz samples, Plunky took the tracks, replayed and re-interpreted the arrangements using live musicians. “The album explores the art of deconstruction and reconstruction in music - sampling, sequencing, and live improvisation merge with multi-track recording to craft intricate harmonies and arrangements,” explains Plunky. “The process became a ritualistic expression of creativity and transformation.”

The resulting album is a fascinating listen. Opening with the meditative soul chant ‘Share This Love’ voiced by regular Oneness vocalist Charlayne “Chyp” Green, the album opens out into a series of jazz vignettes including the title track, ‘In Due Time’ and ‘Free Spirit’. The powerful album closer, ‘Children Of The Drum’ celebrates black culture and legacy through the poetry of Roscoe Burnem.

Released on 1LP and 1CD with specially commissioned cover artwork by contemporary Ivorian artist Maxime Manga, Made Through Ritual represents an important new chapter in the Oneness story. The album will be supported by a selection of European tour dates during Autumn and Winter 2025.

SEVEN welcomes Seoul-based Suman, whose vocal-driven signature sound marks our seventh release. This EP, exclusively showcasing the talents of Korean artists, features longtime affiliates of Seoul's club FAUST and early friends of SEVEN. The B-side is enriched with two remixes by female artists, DAMIE and Mars Parck. While the opening track drives forward with a more energetic, fast-paced vibe, the remaining tracks on the A-Side embrace dreamy, laidback house grooves accented by slightly cheesy yet classic vocals - perfect for a daytime dance.

Frappé's classic jazzy and funky house EP is FINALLY available on vinyl. 5 tracks from Art Of Tones, Georges, Robby&Stupid Flash, Basile de Suresnes and Ten Fingerz tilting towards the historical influences at the very roots of House music: jazz, piano and funk.

Basile de Suresnes' "So Good" EP is now available on vinyl. The digital release has become an instant hit, with the title track being playlisted by Laurent Garnier on his Fabric mix. The 2 tracks and its remix are now expected to fly off the shelf at record stores, don't sleep on this one!


The title track proves once again that the parisian producer is a master at bringing a disco cut into House music territory. The epic violin sample gets straight into the head while the groovy bassline call the feet to dance, the vocal adding a pinch of sexiness this great, dancefloor-orientated tune.
« Ask me to dance » is as catchy as it is funky, the samples are layered and filtered with flair and savoir-faire. It certainly will become both a DJ’s delight and dancer’s favorite.

Closing the EP with style is Naux’ remix of « So Good » : the lyon based producer uses chopped vocals and a strong bouncy bassline, adding his own flavor to the track while completely respecting the orginal work. Great job.
Frappé and Basile de Suresnes Strike again and dam it is (so) good !

Punk is the Preacher, Rock`n`Roll is the Teacher! Mäd Lynx ist die deutsch-schwedische Punkcore (Hard) Rock Band um Heicore & Anni, die zwischen Berlin und Stockholm 2020 im Umfeld von The Baboon Show und Mona Reloeaded geboren wurde. Ihr Sound ist beeinflusst von Motörhead, Misfits, und The Runaways, feinster & purer MÄDCORE, wie sie es selbst nennen, eine Mischung aus Hard Rock, Rock und Punkrock. Die Debüt-EP, welche auf dem 2022 Kassettenlabel Tape Or Die erschien, brachte ihnen viel Kritikerlob und eine erste Reihe von Live-Shows ein. Die zweite EP - benannt nach einem Song von der ersten - mit fünf neuen Tracks (auch als Kassette bei Tape or Die) kommt nun als limitiertes, einseitig bespieltes 12"-Vinyl (klassisch schwarz, nummeriert) über Smith & Miller Records.

Originally released in late 2012, the third John Foxx And The Maths album brings together collaborations with The Soft Moon (the post-punk psychedelia of the title-track); Gazelle Twin (including the strikingly beautiful 'Changelings'); New York duo Xeno & Oaklander and Ghostly International's Matthew Dear, plus a Pink Floyd cover and some new Foxx/Benge material. This includes the rich analogue glow of 'Walk' and apocalyptic ballad 'Only Lovers Left Alive'. Meanwhile, regular Maths live band member Hannah Peel plays violin on 'My Town’. This new vinyl reissue includes only the vocal tracks from the album.

A Study of Losses", das siebte Studioalbum von Beirut, ist eine Odyssee mit 18 Tracks. Das Projekt entstand im Frühjahr 2023, als Viktoria Dalborg, Direktorin des schwedischen Zirkus Kompani Giraff, Condon fragte, ob er Interesse hätte, die Musik für ihr nächstes Projekt zu liefern, eine Show, die auf einer Adaption eines Romans der deutschen Autorin Judith Schalansky basiert. Die Hauptthemen in Schalanskys Buch "Verzeichnis einiger Verluste" und in der Adaption für die Zirkusshow befassen sich mit dem Konzept des Verlusts und der Vergänglichkeit von allem, was uns bekannt ist: von ausgestorbenen Tierarten, verlorenen architektonischen und literarischen Schätzen bis hin zu abstrakteren Konzepten des Verlusts durch den Prozess des Alterns. "A Study of Losses" reist durch elf Songs und sieben erweiterte instrumentale Themen, die nach den Mondmeeren benannt und von der erschreckenden Geschichte eines Mannes inspiriert sind, der davon besessen ist, alle verlorenen Gedanken und Schöpfungen der Menschheit zu archivieren. Musikalisch jedoch taucht er wieder in Chorgesang, Renaissance und andere Stile ein, die seine frühe Arbeiten inspiriert haben, sowie in Variationen von Klängen und Ideen, die sich auf eine seiner Lieblingsplatten, "69 Love Songs" von The Magnetic Fields, beziehen. Mit einer Länge von fast einer Stunde ist es das bei weitem umfangreichste Album, das Beirut je gemacht hat, und es gehört fraglos zu Condons bisher schönsten Arbeiten. "A Study of Losses" ist das zweite neue Beirut-Album innerhalb von nur zwei Jahren und die Fortsetzung eines weiteren, charakteristisch produktiven Kapitels für Zach Condon. Nach einem halben Jahrzehnt, das er damit verbrachte, sich von hartnäckigen Halsproblemen und einem drohenden mentalen Zusammenbruch zu erholen - was ihn daran zweifeln ließ, ob er jemals wieder vor Publikum auftreten würde - folgt "A Study of Losses" auf "Hadsel", das "einen neuen Anfang für Beirut" markierte, lobte Pitchfork und nannte es "eine aus Verzweiflung und Einsamkeit geborene Platte, die sich dennoch voller Leben anfühlt". Während sich "Hadsel" um eine gewaltige, antike Kirchenorgel drehte, die Condon während eines dunklen arktischen Winters in Nordnorwegen entdeckte, wird "A Study of Losses" durch Streichquartette und Arrangements der Cellistin und "No No No"-Mitarbeiterin Clarice Jensen aufgehellt. Geschrieben und aufgenommen von Zach Condon in Berlin (DE) und Stokmarknes (NO), wobei die Wurzeln des Albums in Schweden und Deutschland liegen, erweitert "A Study of Losses" auch die weite Welt, die er durch die Musik von Beirut aufgebaut hat, seit er das Projekt als neugieriger und umherziehender 14-Jähriger begonnen hat. "Als ich zum ersten Mal angesprochen wurde, einen Soundtrack für einen Zirkus zu schreiben, kam zunächst ein gewisses Trauma der 'Elephant Gun'-Ära hoch", erklärt Condon, als er Ende 2024 ,Caspian Tiger' von "A Study of Losses" vorstellt. "Ich war jahrelang in eine Schublade gesteckt worden, in der ich ein skurriles Zirkuskind war, voller sepiafarbener Bilder von Groschenromanen und vielleicht Löwendompteuren mit Schnurrbärten. Es hätte nicht weiter davon entfernt sein können, wie ich mir die Musik vorstellte, die ich machte. Es ist also eine Ironie, dass ich das Projekt von Kompani Giraff so verlockend fand."

ETNOBOTANIKA - remember them? Well, now it's KOSMOBOTANIKA!

But rest assured - it's still the same excellent band from Ruda ?l?ska, only this time instead of a forest full of ghosts or a land of fairy tale creatures like a Fruwajacy Przestepca the duo of producers takes us on an interstellar journey!

The artists' third album, just titled KOSMOBOTANIKA, is an over forty-minute work skillfully composed from a multitude of various samples, and genre-wise presenting the sounds of deep house, trip-hop, breakbeat, ambient and even jazz. This is electronic music with a very cinematic, visual and imaginative character, something at which ETNOBOTANIKA has undoubtedly achieved mastery confirmed by their first two very well-received albums. This cinematic style (electronic concept album?) is reminiscent of the classic albums of the genre's progenitors from the UK like The Orb (first releases) or The KLF (the iconic "Chillout" album), but also the French Motorbass.

The Silesian duo does it their own way, of course, with a local twist. Thus, in the cosmic journey our guides will be in-sampled familiar voices from Polish television, cinema, radio and dusty vinyls (yes - samples from Mr. Kleks in Space had to be on the album, of course :) ).
There is no shortage of atmosphere-building instrumental fragments here, but also quite song-like tracks with catchy melodies and vocals. Fans of the band will certainly be satisfied.

What is there to say - ETNOBOTANIKA has created another classic, which simply must be on the shelf :) Trust them and let yourself be taken on a cosmic journey - satisfaction guaranteed!

Seit seiner Debüt EP „Same Kind Of Different“ im Jahr 2017 hat Dean Lewis weltweit über 13 Milliarden
Streams und Dutzende von Multiplatin-, Platin- und Gold-Zertifizierungen erhalten.
„The Epilogue“ stellt sowohl den Höhepunkt einer unglaublichen bisherigen Reise als auch einen Vorboten dafür dar, wohin er als nächstes gehen könnte. Dean sagte zu diesem Album, “On this record, I
started to get rawer and more acoustic again. I was trying to rekindle the simplicity of why things worked.
I knew what I wanted to hear, so I embraced what made the first Album special”.
Das Album enthält 12 brandneue Tracks, inklusive der gerade veröffentlichten Single “All I Ever Wanted”.
The Epilogue erscheint nur als Deluxe Version Highlighted Yellow 2LP

This Chicago-based artist isn't just reconstructing soul music; they're reimagining it for a new generation. The album intertwines Soul Music’s rich history with contemporary production, creating a sound that's both familiar and fresh. St. James' unique vocals are rich and expressive -
soaring and soulful, conveying every emotion with raw intensity. But it's the songwriting that truly sets "Soul Nepotism" apart.

The album tackles weighty themes of personal struggles, family and heartbreak, but also celebrates the importance of freedom and self-confidence, all with a refreshing honesty and cleverness. Tracks like “Cocky (Can’t Tell Me Nothing” showcase St. James' sharp wit, while ballads (grooves) like “Saved By The Bell(s)” delve into the complexities of his past and self-discovery.

One of the most striking elements of "Soul Nepotism" is the use of vocal harmonies. Erthe doesn't just sing; he orchestrates a choir within the recording. The layers of harmonies are meticulously crafted and at times, swell like a full-fledged gospel choir, infusing the songs with an undeniable spiritual energy. This gospel influence adds another layer to Erthe's genre-bending mastery, creating a truly unique and unforgettable listening experience.

Promising label newcomer IGLO returns to Figure with his second EP this year, building on a distinct sonic identity shaped by a background in classical music and live performance. Across five tracks, he further refines his mix of atmospheric depth, precise rhythms, and melodic nuance.
This time, his own voice takes on a more central role, adding a personal and expressive layer to the productions. On opener Computed Love, restrained, longing vocals blend into squelchy synths and minimal grooves - hauntingly beautiful, yet gritty with rumbling machine funk. Determined follows with a more menacing tone, its sharp percussion cutting through a bleak, shadowy atmosphere - perfect for building tension on the floor.
On the flip, IGLO switches up the mood: Enter the State runs on hypnotic loops and chopped-up piano riffs, peppered with cheeky, spoken-word style vocals that nod to ghetto house traditions. It breaks into an irresistible, swinging groove that hits with full force.
Offering a smooth counterpoint, Enlighten drifts into dubby terrain. Soft, ricocheting vocal snippets and warm chords conjure a hopeful, human glow - a bouncy balm for the soul, without losing its forward momentum.
Digital bonus track Find Yourself closes the EP on a spacious, almost sci-fi note - twinkling synths and airy melodies float above crisp textures, like a breath of fresh air at the end of a long night.With X49, IGLO deepens his connection with Figure and sharpens his unique voice - equally grounded in introspection and dancefloor impact, continuing to shape a sound that's thoughtful, bold, and marks him as one to watch.

Milky Clear Vinyl. Helen Marnie, Mira Aroyo, Daniel Hunt and Reuben Wu - formed in 1999 and sparked an entire movement in music pop culture powered by vintage synths and electro-rock engines. Originally released in 2001 by Emperor Norton Records in the US and Invicta Hi-Fi in the UK, ''604'' is the debut album from the Liverpool formed electronic outfit Ladytron. Named after the area code for British Columbia, the album features break-out tracks 'He Took Her to a Movie' (inspired by Kraftwerk's very own 'The Model'), 'Playgirl' and 'Discotraxx'.

LTD Repress !

LIZZ is back on PlayedBy with Chapter II, a compilation of new and unreleased artifacts and other treasures from his dense catalog. Diverse and expansive, it captures his versatile musicianship and ever-evolving production style.

Broadly speaking, there are two types of tracks produced by LIZZ: on one hand rallying for the right to party, and on the other, nostalgic odysseys, sometimes lustful and sometimes wistful. Chapter II has a bit of everything. Thirteen tracks of club heat varied narrative that is worth listening to carefully.

Opener "Seamless" and its steady snare keep spirits high while the spacey keys provide a trippy, out-there vibe. On the flipside, "Clasic Dewan" uses elements we've heard before - warm pads, a percussive organ, and a looped vocal sample - but still makes for a great dancefloor track. Both tracks are a throwback to LIZZ's tried and true Terrafirma.

"Cynelmoon" unravels a labyrinthine universe twisting in and out of misty existence, with its snake-like rattles winding through a maze of synth bleeps.

Refreshing and zippy, "Dip Si M" stands out as a gritty reinterpretation of a great space and sounds like the most fun he's ever had on record. On the other hand, "Chemical Chords" is ethereal, meditative, with a hushed musicality that is almost stoic.

LIZZ takes the listener on a journey of vertiginous peaks and deep valleys as he leads "Round Around" into spiraling locked down looped club music.

Listening to "Nothing with Nothing" feels like a video-game on its own. It’s a bundle of joy and energy, peaking with a crescendo of color.

On "69" the energy builds with such careful, gradual restraint that even the most active listener might wonder how they ever got to this point. Chopped up shards of melody and vocals combine to create a kaleidoscopic funhouse with a strong Perlon-esque flavour.
"Roaki" is the dreamy track with an irresistible groove, where LIZZ combines smooth synth pads with dubby and distorted electronic drums that add a sense of cyberpunk feel, reconfirming's Playedby's fanaticism for this project.

A bubbling, percussive roller marks the beginning of "Jazzohub" and skyrockets from there. The track hits with an inviting vocal that dissolves into a fluid swirl of layered hand drums.
"No More High" is a a real banger. This one bounces hard with a bass-heavy beat and a military snare, leaving you no choice but to tip-toe with its groove all night long.

Chasing an ever-vivid muse,"Electronic World" hits with its drumming rhythms, labyrinth of synth bleeps and bold vocals reminiscent of tunneling club nights.

Closing track "I Am Cross" brings an unusual kind of dark atmosphere to the fore: it's cavernous and enveloping, almost as if the rhythm was an afterthought.

Chapter II is every bit as ambitious as its predecessor. Across thirteen tracks, LIZZ approaches the dancefloor forms of his earlier work with a fresh and voluptuous groovy attitude. Somehow, individually, we must reclaim our own experience.\5

The Funeral Pudding originally came out as a CD-only release on the Dutch label Brinkman to promote Thinking Fellers Union Local 282’s 1994 European tour. For the domestic release, the band chose Chicago’s Ajax Records—which had already released two TFUL282 singles in 1990—to press a 12-inch mini-LP. Comprising a selection of songs masterfully recorded and produced by Greg Freeman right after the sessions that yielded 1993’s Admonishing The Bishops EP, The Funeral Pudding could be thought of as a sister release to that EP; indeed, the band originally considered combining tracks from both sessions into a single album. Had it been released, that record would’ve followed the pattern of the previous album in which the band’s pop and avant-garde leanings are yoked together cheek by jowl. Instead, Admonishing showcases the band at its most accessible while The Funeral Pudding flaunts their more expansive, abrasive and absurdist side without forfeiting the earlier EP’s miraculously high standards for songwriting and sonic clarity. What makes The Funeral Pudding a unique feather in the Fellers’ cap is that most of the tracks are sung by bassist Anne Eickelberg and guitarist Hugh Swarts—a notable departure from the Davies / Hageman vocal dominance on most of the other albums. With Eickelberg’s soaring vocals leading the proceedings, tracks like “Waited Too Long” and “Heavy Head” are some of the most beloved in the band’s discography. And “23 Kings Crossing” is a whiplashinducing psych / prog stunner that adds another metric ton to the burden of proof demonstrating that TFUL282 was creating some of the most thrilling, enduring and sonically autonomous music of its era.

Bulbous Monocle focuses its lens further into the legacy and archives of the Thinking Fellers Union Local 282. These Things Remain Unassigned—a phrase coined by Brian Hageman, one of the band’s musical snake appendages emanating from its Medusa crown—is presented as a double LP (gatefold jacket with a twelve page libretto). It gathers together the band’s singles, compilation tracks, outtakes and never before released gems encompassing the arc of TFUL’s musical corpus. Every track has been surgically remastered by Mark Gergis (Porest / Sublime Frequencies / Mono Pause) with his signature craftsman approach. This collection is an auditory and visual feast. The extensive booklet included features band ephemera, concert flyers, photographs, and commentary about each track from Mark Davies. Beyond the rare singles and unreleased tracks from the TFUL archives, are cover versions from such disparate artists and composers as Ennio Morricone, Krzysztof Komeda, The Residents, The Shaggs, Caroliner Rainbow and Pérez Prado. “…In addition to these compilation one-offs, there were also a few studio recordings that were never quite completed or released. Throw in an alternate mix or two and the handful of singles that came out on various labels over the years, and you end up with what I feel works well as its own body of work, a bunch of adopted oddballs that somehow fit together as a family. I hope youʼll agree with me that these things are now no longer unassigned, but part of a somewhat cohesive whole, stitched together into something mysterious and glistening.” —Mark Davies (2023)

Proudly presenting Maravilhosamente Bem the powerful, female-centred third album by Brazilian singer, songwriter, actress, and creative director, Julia Mestre.
Alongside being a member of the Latin Grammy-winning Brazilian supergroup, Bala Desejo, Julia has been steadily building a solo career where her unique vision and alluring soft, sultry voice take centre stage. Drawing inspiration from ‘80s ballads, MPB, pop and disco productions, each song on this third album finds Julia creatively exploring different characters and tones.

A love-song-driven LP at its core, Maravilhosamente Bem holds a playful mirror up to blissful days gone by, artfully reimagined with Julia’s own modern twist. An album filled with love and nostalgia, it pays homage to her love of classic female disco divas such as Donna Summer, Sade, Alcione, Lady Zu, and the Brazilian rock queens Rita Lee and Marina Lima. Of that latter pairing, the late iconic Brazilian vocalist and musician Rita Lee (Os Mutantes) is referenced in the music video for the first single, ‘Sou Fera’, blessing Julia with a magical guitar. Marina Lima then provides guest vocals on the album’s closing track, ‘Marinou, Limou’, with her name transformed into a mantra by Julia.

Channelling a lo-fi ‘80s ballad aesthetic, Julia navigates a multitude of themes across the nine sublime tracks. From the sexy, whispered performances on vintage horror movie-inspired tunes ‘Vampira’ and ‘Pra Lua’ to the delicate, fragile love lullabies of ‘Sentimento Blues’ and ‘Cariñito’, and the seductive disco diva embodiment on dance tracks ‘Veneno de Serente’ and title track ‘Maravilhosamente Bem’. Another hidden highlight is the palette-cleansing mini-suite, ‘Interlúdio dos Amantes’. A luscious strings instrumental piece that lends to the beautiful Sade-esque ‘Seu Romance’.

Produced by Julia and longtime collaborators Gabriel Quirino, Gabriel Quinto, and João Moreira, Maravilhosamente Bem sees Julia embarking on a new era of her musical career. This sensational third album is a captivating showcase of the creative vision and versatility of one of Brazil’s finest stars.

Released on Mr. Bongo (ROW) and Altafonte (Brazil).

Lifelong friends Richard Lowe and Rob Bendelow formed their first band “Lammergier” during the mid 1970’s together with bassist Barry Yates. Following their first love performance in 1977 the band gigged extensively across the British midlands. The standard of these performances combined with their unique brand of symphonic rock saw “Lammergier” amass a large and loyal following. Then a new decade arrived changes were made, the music remained the same, but they called themselves “Saracen”.

After several months on the road Saracen decided it was time to record an album, and in October 1981 they released “Heroes, Saints and Fools” to critical acclaim. Saracen tracks received regular airplay on Tommy Vance’s Friday night rock show and the single “We have arrived” was recorded. In 1983 line-up changes occurred and the band eventually stopped touring in 1985.

Two decades later and the band re-appear with a vengeance and the release of “Red Sky” in March 2003 put the band firmly back on the map, and it was a rework of some of the old classics with new tracks added. The band regained its popularity, and a further three albums have emerged to critical acclaim, namely “Vox in Excelso”, “Marilyn” and “Redemption”.

With renewed interest in the vinyl format of recorded music “Vox In Excelso” has been re-released in 2025 as a numbered limited edition with new artwork and now “Red Sky” is to follow, again with new artwork. These are beautiful works of art and the recordings sound fresh and vibrant, its classic progressive rock brought into the present day and it doesn’t get better than this..

"World of Pooh immensely brightened the dark corners of San Francisco, California during the years 1983-1990, with their most recognized guise being the MMF trio that existed & thrived during the years 1986-1990. This is the lineup you’ll hear documented on this exceptional collection of 45s, compilation tracks and assorted ephemera. The band has ranged from being a footnote for some (“is that the band Barbara Manning was once in?”) to a fondly-regarded memory for others (“the Land of Thirst album is a forgotten classic”) to a turnstile, door-opening band for still others — like me. They arrived in my life as they were slowly exiting theirs, and I eagerly attended a half-dozen shows of theirs circa 1989-90 around San Francisco moments after I moved there. They were instantly my favorite local band, one I was instantly duty-bound to see whenever & wherever they played. Their jagged and discombobulated take on underground pop music was exceptionally fertile, feral and fetching, and it served as a personal gateway drug that flowered my own appreciation for many different kinds of subtle musical tension.
I also spent at least five glorious years watching Jay Paget, who drummed for World of Pooh and later the Thinking Fellers Union Local 282, ply his rhythmic trade with much aplomb. He was always a steady hand behind the musical wheel of innovative bands who often threatened to careen off course. And I’ll admit to an untoward admiration of (and fascination with) World of Pooh founder, guitarist and singer Brandan Kearney from the moment I met the guy. Not only was he exceptionally friendly and welcoming to a carpetbagging interloper quickly trying to horn in on his scene (me), he was at once one of the most quick-witted, self-deprecating, highly intelligent & musically conversant people I’d ever met. Everything he and his band were doing, along with the mind-boggling DIY gunk he was pushing through his record label, Nuf Sed, and via his multiple other bands (among them: Caroliner & Archipelago Brewing Company, with several more to follow), made me extremely curious and not a tiny bit jealous about these wiser, weirder and musically more daring freaks who were making art, love & war in the relatively grittier & non-gentrified San Francisco of the day.
What I’ve learned in the 35 years since the band broke up is just how highly regarded they were (and remain) by not only those who saw them, but by a now-considerably larger group of humans who’ve subsequently heard & loved their records. I know that their place in the late 1980s was a small but special one, and I’ve seen plenty of online clamoring for more, more, more about this ephemeral and poorly-documented band. And rightly, here it is, lovingly assembled: their two hard-to-come-by 45s, a handful of comp tracks, and a quartet of phenomenal songs just coming to light for the first time, including that Half Japanese cover that dimly existed in my memory as a live song they naturally pulled off with sangfroid, from a time and space when we were all a little younger. - Jay Hinman"

This album released in 1957 showcases Chet Baker's trumpet skills alongside Bobby Jaspar on tenorsaxophone. The recordings for the album took place between October 25, 1955, and February 10, 1956, at Studio Pathe-Magellan in Paris and features a mix of cool jazz and bop styles with tracks like "How About You," "Once in a While," and "Alone Together." The ensemble of musicians on this album includes notable names such as Jean-Louis Viale on drums, and Benoit Quersin on bass; the album highlighting Baker's distinctive trumpet tone and his collaboration with talented European musicians: "I Get Chet" is a significant work in his discography and reflect his mastery in the cool jazz and bop genres. The tracks are characterized by its relaxed tempos and lighter tone, and bop, known for its complex rhythms and harmonies, it is praised for its lyrical and cool jazz elements. For this and other reasons and considered a gem from Chet Baker's Paris sessions, showcasing his talent during a pivotal time in his career.

Metroplex Records welcomes Pascal Hetzel to the label. The Berlin-based producer and DJ (who is also half of the duo CYRK) delivers something a little different for Juan Atkins' label institution. The EP serves four slices of funky, dub-infused and chord-driven techno, aimed squarely at the dance floor that pay tribute to the Motor City legacy while carving out their own euphoric permutation of classic Detroit techno tropes. Four tracks to heat up dance floors worldwide!

The latest hype from the Will & Ink cult is the Ottagone series. Over the past couple of months, the ever-prolific techno imprint has started dropping unannounced batches of no-nonsense, dancefloor-oriented techno grooves. Dub-heavy and club-ready, the full series is a goldmine for passionate techno DJs -- but until now... digital only. On the Ottagone Selected series, the most wanted tracks are pressed on vinyl for the first time. Essential techno gear for DJs who like to groove.

The next instalment on Fragrance comes from label head and versatile producer Effy. The recording contains three "nostalgic" but forward thinking tracks primed for worldwide dancefloors.

Vacation Records finally lives up to its name — after years of throwing parties and pushing wax across Indonesia, the collective-turned-store-turned-label now drops its first official 12". VAC001 is here, and it's a punchy four-tracker pressed to vinyl and primed for peak time.

Side A is helmed by label head Angga, who delivers two tightly-wound cuts: the tough, acidic stinger ‘Failed System’, followed by the psychedelic and hypnotic builder ‘Extension’. These tracks channel Angga’s ear for raw basslines and left-of-centre rave magic, honed over years behind the decks across Indonesia.
Flip to Side B and Seoul’s Jesse You takes the controls. Kicking off with ‘Cherry Lights’, a pulsating ride for strobe-lit hours, Jesse then closes the record with ‘DJR’, showing off his knack for bending sonic layers without breaking the groove.

What started in 2022 as a simple mission — bringing electronic music’s vinyl culture closer to home rather than waiting for overseas digs — has grown into something much bigger. Now, with VAC001, Vacation Records cements its place as a platform connecting Indonesia’s scene with the rest of the world, one release at a time.

Originally released in 1989 on the band’s own Thwart Productions label, Tangle was the first vinyl release from Thinking Fellers Union Local 282. Coming after their debut cassette, Wormed, By Leonard, it shows the band leapfrogging stylistically into a more mature phase of their patented surreal compositional modus operandi. Tracks like the opener, "Sister Hell," foreshadow the band's later evolutionary mutations and was a minor hit in the underground circuit at the time. The rest of the album is a sleek maelstrom of crackpot dissonance, noise-rock power balladry, schizo-telepathic improv and some of the finest underground music of the era. In short, Tangle is a template and Proclamation of Intent that presages TFUL's classic 90s releases. Originally produced by their longtime engineer and thaumaturge, Greg Freeman, this reissue is impeccably remastered from the original master tapes by Mark Gergis. New and contemporary artwork ties a saucy bow around this astonishing reissue.

This is a live album by the legendary soul singer Marvin Gaye, released in 1963 that captures the energy and charisma of Gaye's live performances during a period when he was establishing himself as one of Motown's premier artists

The album includes live renditions of some of his early hits and popular songs of the time and the live performances showcase Gaye's dynamic stage presence and his ability to connect with the audience. "Recorded Live On Stage" features a mix of upbeat tracks and soulful ballads, refecting the versatility of Gaye's vocal and musical style: it was released during a formative period in Marvin Gaye's career helped cement his reputation as a compelling live performer, which would be further solidifed with subsequent recordings. The album is considered an important document of Marvin Gaye's early career, capturing a time when he was evolving into a major star and his ability to bring a different dimension to his studio recordings through live renditions: "Recorded Live On Stage" remains a cherished album for Marvin Gaye art lovers and for those interested in the history of live soul music performances.

Emerging from their subterranean recording studio The House of Vibes, The Grip Weeds have delivered a tour-de-force with Soul Bender, their ninth full-length studio album and their first newly-recorded original tracks since 2019's Trip Around The Sun. This astonishing record finds the band pushing their recording, arranging and songwriting skills into new and evocative territory. On Soul Bender, The Grip Weeds continue to expand: Musical and sonic experimentation abounds, resulting in a record that is bigger and more dramatic than ever; melodically inventive, yet accessible with lyrical imagery and hooks firing at you from all directions. Most impressive of all is that The Grip Weeds are entirely self-contained: From production, engineering, mixing and artwork, Soul Bender represents a complete and total vision of intent. If you like the fearless bold intensity of rock from the classic era yet reimagined for the 21st Century, Soul Bender is for you. Heard on Sirius XM's The Underground Garage, The Beatles Channel and indie/commercial radio worldwide.

This album is notable for being Wilson Pickett's debut album and includes his early work before he became widely known for his later hits and marks Pickett's early steps in the music industry, showcasing his raw talent and emotional depth

The album features a mix of R&B and soul, with Pickett's powerful vocals being a standout element: the production of the album is relatively simple and straightforward, focusing on Pickett's vocal performance and the instrumental backing. Pickett went on to become one of the most infuential fgures in soul music, and "It's Too Late" stands as a testament to his early talent and potential. The album is often appreciated by fans and collectors of early R&B and soul music. The album's success helped Pickett paved the way for his future success in the music industry: "It's Too Late" is often cited as an infuential album in the development of soul music, showcasing Pickett's distinctive vocal style and the fusion of R&B and gospel infuences. Also for this reason Pickett's emotive performances and soulful performances on tracks like "If You Need Me" and "It's Too Late" infuenced countless artists in the soul and R&B genres.

‘Mormaço Queima’ is where it all began for Ana Frango Eléctrico. Raw, quirky and lo-fi, it’s a debut album brimming with attitude and youthful energy, characteristics that would go on to define their sound. Previously released digitally in Brazil in 2018, with a private press CD version in 2020 and later a Brazilian vinyl version in 2022, here at Mr Bongo we felt it deserved a much-needed worldwide edition for all of us to savour.

A charming, idiosyncratic blend of MPB, Tropicália, and indie from a talented singer-songwriter, multi-instrumentalist and producer who would later become one of Brazil’s brightest international stars. ‘Mormaço Queima’ has a cool, laidback, swagger channelling ‘90s bands such as Pavement. The arrangements feel loose and easy, the opener, 'Farelos' (Crumbs), seems to ebb and flow on a razor's edge before the percussion and Antonio Neves' trombone draws the song into a structure. Another highlight is 'No Bico Do Mamilo', which has a free-flowing vibe, Ana pushing, pulling, and playing with the song's energy, keeping listeners constantly on their toes. Tracks such as 'Roxo' lean more into a punk attitude, with the pendulum swinging from easy-going to frenetic. The longest song on the album 'Picles', continues to sway the pendulum this time moving from DIY punk-funk into a psychedelic workout

Co-produced by friends and fellow future collaborators Guilherme Lirio, Gustavo Benjão, Marcelo Callado, and Thiago Nassif, ‘Mormaço Queima’ is a playful showcase of Ana Frango Eléctrico’s distinctive style. Plotting Ana's musical career, it's clear they are not one to be pigeon-holed, nor to be confined to a single genre. Instead, they are ever evolving and this captivating debut album was the building block for a career that has already seen them gain multiple Latin-Grammy awards and tour the world with their music.

Support from: Dino Lenny, Sabo, 1979, Alex Neri, Cioz, Just Her, Lonya, Hyenah, Nhar, Don Diablo, Luke Garcia, Underspreche, Francesco Chiocci, Adriatique

Undiscovered Recordings is a London- and Naples-based independent record label founded in 1994. Showcasing new and exciting production talent, Undiscovered was founded by a crack team of music industry experts, the two Angelos, Doug and Mario, in the midst of the dance music movement of the 1990s.

The Angelos met while working at UMM and Flying Records. Founding Undiscovered allowed them to move
away from the traditional dance music of the time and to highlight lesser-known artists and styles. Angelo
Tardio, in-house A&R, capitalised on his trail-blazing career as a DJ, as the founder of iconic label U.M.M., and his production career as Kwanzaa Posse, where he collaborated with huge talents such as Mano Negra, Manu Chao, King Chango, MC Solaar and Les Negresses Vertes, to name just a few. Doug Osborne, British DJ & Producer and co-founder. Angelo Bernardo brought his years of experience in the music industry to take over the business side of the company, and Mario Nicoletti came on board as a true living musical encyclopaedia and expert. Alberto Faggiana joined in 1998 to contribute his industry know-how to curate the legal and administrative aspects. And so the Undiscovered team was complete.

Undiscovered has since moved with the times, from classic dance genres into Balearic chill-out, all the while
maintaining its goals to showcase emerging producers and artists. After a long hiatus, and following a number of forced changes in the company, Undiscovered are back in full force. Kwanzaa Posse achieved success back in the 90's with such hits as "Wicked Funk", "African Vibrations" and "Musika!", all of which attracted collaborations with remixes by Massive Attack, Jam & Spoon, and Ralph Falcon & Oscar Gaetan - aka Murk Boys. Now the production unit responsible for such seminal tracks is back with a magical new track called 'Mali Chant'.

On the latest instalment of his VALA series, Finnish techno explorer Kaspiann tunnels into heads-down, mind-warping rhythm tracks of the highest order. Alongside his appearance on respected platforms such as Delsin Mantis and Optic Portal (alongside Spekki Webu), VALA affords Kaspiann the space to explore the depth and breadth of his sound with steely focus. The four tracks on VALA 4 are teeming with tactile textures and intricate detail that feel familiar and abstract all at once, perhaps best described by the titles that indulge in a little Finnish word play. ‘Sammalkämmen’, literally translated as ‘moss palm’, feels like a fitting reflection of the spongy mid-range matter on the opening track, while the humid, dense atmosphere of B1 cut ‘Suohunaja’ could indeed conjure a sense of ‘swamp honey’. From ‘Sienikieli’s tunnelling rhythmic intrigue to the intricately arranged, expressive percussion of ‘Niin Vain’, Kaspiann continues to broaden his vocabulary within the language of deep techno, triggering ineffable sensations from carefully sculpted sonic forms and strapping them to incisive rhythms.

Air Texture proudly announces its latest artist-curated compilation, “Hardwired,” assembled by Berlin-based musician JakoJako. This expansive collection celebrates the implicit connection between hardware-focused electronic producers, featuring contributions from Rødhåd, Acid Pauli, The Field, Neon Chambers, and many more.

“Hardwired” draws its conceptual foundation from synthesizer terminology. As JakoJako explains: “A hardwired synth has connections already soldered into the machine—it comes with certain functions without needing to patch cables externally. As a hardware producer, I feel whenever I meet someone who creates music as I do, we have this immediate connection, like a hardwired synthesizer. There’s no need for small talk—we can speak about gear.”

This metaphor of pre-established connections forms the emotional core of the compilation, celebrating the community of hardware enthusiasts who share an intuitive understanding and appreciation for machine-based music creation.

JakoJako has established herself as one of electronic music’s most intriguing voices, exploring the territory between technical precision and emotional expression. Her artistic approach balances rigorous knowledge with unrestrained intuition, creating works that reach beyond genre boundaries.

A Berghain resident with performances at Dekmantel and Fusion, to the Royal Albert Hall and the Barbican, JakoJako has released music on prestigious labels including Tresor, Mute, and Leisure System, and crafted remixes for artists like New Order and Martin Gore. Her deep relationship with analog and modular synthesis, including her ongoing connection to Berlin’s SchneidersLaden, informs her distinctive sound.

Following her recent Mute album “Têt 41,” this curation for Air Texture provides further insight into the musical universe that has shaped JakoJako’s artistic vision.

“Hardwired” showcases 23 tracks for its digital release, with a select 9 tracks pressed to vinyl. The collection spans the spectrum of contemporary electronic music while maintaining cohesive focus on hardware-driven production approaches.

Highlights include collaborative works between JakoJako and fellow producers Mareena and Frank Wiedemann, alongside contributions from established artists like Rødhåd, Acid Pauli, and The Field, plus emerging talents representing the hardware renaissance in electronic music.

Founded by James Parker Healy, Air Texture emerged from New York City’s late ’90s rave scene, carrying forward the fundamental PLUR (Peace, Love, Unity, Respect) ethos with a collaborative and curatorial focus. Air Texture has evolved from its roots in Manhattan’s club era and Brooklyn’s warehouse scene to embrace a global perspective, working with producers across diverse styles and regions worldwide through the label and its PLace: nonprofit series.

comes in deluxe black Priplak jacket with postcard
The Techno Wave" was the first single released in 1990 by this famous project created by Jens Lissat and Ramon Zenker (Hardfloor). One of the most well-known tracks of the so called Frankfurt Tekkno scene that invaded Germany during the early 90s. This re-issue includes the original Castle Mix", the b-side The Bass is on Fire' and a new killer remix prepared by Ancient Methods who described The Techno Wave" as "one of the influential tracks that brought me alongside Zoth Ommog and R&S into techno".

** Comes with download code **

Compiled from over 250 tracks created between 2017 and 2024, Juxtapose is Windu’s first ever release — a freeform, shapeshifting snapshot of sound. It is released by adventurous electronic music label topo2 on March 14, 2025.

The record is pressed on 180 grams of ICCS-certified bio-vinyl, housed in a heavy full-colour sleeve, and comes with a download-code to the full release and five digital-only tracks.

Mastering is done by Isabel Schröer at Scape Mastering and artwork by courtesy of Kees de Klein. Mixing is done by our dear friend Pascal Pinkert and Poetry by equally dear friend Eelco Couvreur.

A double pack from Mammo, six tracks digging deep. General Patterns is the first time he’s released a record outside of his own constellation of labels and identities. Something new.

You can file this one under (dub) techno too if you like. Linked to the music he’s made as Puddlerunner last year in some ways, or the texture of tracks like Variable. It was compiled with Short Span following the completion of intense work on the ambient album Landmarks under his given name, and quickly brought together an extended set of stripped back, patient, wonderfully rewarding sound. Really beautiful. Some mossy earthy texture, some starlit night skies.

Mastered by Miles.

Art from The Designers Republic. The beginning of a new visual series and system for Short Span.

The Australian master of the dark synth arts is back and – boy – he is out for blood.
We’ve been missing Marc Dwyer solo project Buzz Kull since his latest single Last In The Club from late 2019 and since back then we knew he was up to something. At first glimpse, the minimal wave days of We Were Lovers seem far away now that Marc has gone full Club Body Music with his upcoming new album, but there is a thread that binds Buzz Kull hits from the past such as Into The Void, Avoiding The Light and New Kind Of Cross with these ten new cuts: a thread of darkness proper to the most handsome man in the game and that’s here to stay.

Echoes of 90’s era Front 242 and Front Line Assembly will resonate from tracks like Fascination and Dead Inside; elements of early body music flirting with the dark side of British synthpop will rave from the grooves of Dancing with Machines and Man on the Beat, while late 80’s Belgian new beat cellar-like vibes rise from Do You See and Burn it to the Ground.

But Buzz Kull’s third full-length is not just about music subgenres we all know and love, it’s about a feeling that comes alive only with the dark and drives you through the small hours just to leave you drained and filled at once. The creature of the night is on the loose, the sticky dancefloor its natural habitat, its lust for the upside-down world of the club can’t be cured.

Format Details: 12” matte jacket, orange & blue side A/B effect colour vinyl, dust sleeve & marketing sticker.

Originally released in 2002, Daylight EP was the follow-up to Aesop Rock’s critically-acclaimed Labor Days album, a cult classic released only six months prior. The EP was built around its titular opening song, “Daylight,” one of the standout tracks from Labor Days, and continued expanding upon the range and depth of Aesop’s multi-talented gifts for writing and producing. In addition to the title track, Daylight EP also included its counterpoint, “Night Light,” an alternate version in concept whose paraphrased lyrics simultaneously refer back to– and stand in stark opposition to– the original's, over darker, more menacing production. The tracklist for Daylight EP boasted seven songs plus a hidden track for a total of eight, and collectively featured production by Blockhead, El-P, Blueprint and Aesop Rock himself, as well as guest appearances from Vast Aire (Cannibal Ox) and Blueprint.
At the time of its initial release, Daylight EP was only offered in CD and digital formats, while the vinyl was stripped back, available only as a three-song 12” single. Now, Rhymesayers Entertainment is pleased to present the complete EP on vinyl for the first time ever, pressed on two-color side A/B effect orange & blue vinyl to complement the original artwork. Finally, fans and vinyl collectors everywhere can own this integral piece of Aesop Rock’s legacy and enjoy the genius behind this project.

Future Past Techno from retro scientist Tom Carruthers. 4 tracks of jacked beats, bleeps, dark bass and soaring strings to rave till dawn like it's 1989.

''Earth Dog Records presents ''Bongdrift,'' the 10th addition to our discography and the latest release from Milan's Inner Lakes. Spirits drift through an early-morning haze, chasing the pulse of the after-hours. Crunchy, tightly wound drums immerse themselves amidst aqueous textures and ghostly vocal fragments, rippling through the mix like transmissions from another realm. All four tracks are built for the heads-down, eyes-closed moments-- where the floor becomes a world of its own, guided by rhythm, shadow, and repetition.''

On the occasion of the celebration of the tenth anniversary of our work, in cooperation with PGP-RTS, we prepared a quite special edition: Max And Intro-Return To The Future 1984-1994 LP collects 12 tracks of this legendary Belgrade synth-pop group on high-quality 180-gram vinyl, remastered from the original master tapes with a handful of extras: the record comes with a rare interview from 1985, a lyrics sheet, and phenomenal unreleased photos by Goran Basarić and Max’s Poster.

Mancunian-based record shop Haunted Dancehall is happy to reveal the first addition to its new label: Would You Kindly, a four tracks EP by rising talent Jibz, crafted in his Parisian home studio and designed for (haunted) dancefloors.

Digging into techno, electro and progressive territories, Would You Kindly kicks off with Flat Pillow, a dancefloor-tailored track with evolving drum patterns, thick basslines and a definitive haunting feel. Then, Inari offers relentless rythms along with energy-loaded synths, reminding us that the whole EP was first thought as a live jam.

On the flip side, Lane Gank gifts us with broken beats rythms and spatial soundscapes to take us in a videogame-like trip. Finally, the EP closes on Anaphylaxis, blending numerous influences to wreck clubs and festivals, and acting as a keepsake of the contagious energy of the whole release.

Proper Monday Number is an electronic duo from Brighton, UK featuring Suzi Horn of cult DFA act Prinzhorn Dance School and producer Christoph Boseley. Their Deep clean your house EP is a sure shot of cynicism-defying DIY dance-pop spanning five tracks in 15 minutes, not a second or minute wasted. The ingredients may be familiar - mid-2000s electro and bassline, 90s house, those shitty, overused speakers in your teenage bedroom - but the attitude is ever forward. Fun with a purpose.

After a three-year hiatus from releasing new music, Błoto knew they had to make up for the long wait with a flood of fresh material. Their fruitful recording sessions at Studio Pasterka produced a wave of new tracks—like mushrooms springing up after the rain. These sessions have already brought us two 7" singles, the Grzybnia LP, and now, rounding off this chapter, comes the final piece: the album Grzyby (eng. Mushrooms).

Anticipation for new Błoto releases reached a fever pitch. Vinyl collectors quickly snapped up all copies of the singles Szlam / Ścieki and Bakteria, the latter featuring a guest appearance by DāM-FunK. In less than six months, nearly all copies of Grzybnia were sold out—setting a record pace for Astigmatic Records. In the meantime, the album was nominated for a Fryderyk Award in the Alternative Music category. Though Grzybnia didn’t take home the prize, Błoto did win a Fryderyk for their track “Godzina W”, featured on the WAWA album dedicated to the Warsaw Uprising. It’s been an electrifying time for the band, filled with shows across Poland and abroad.

the second record came down2earth.

d2e002: low orbit experimentation
three dance floor oriented tracks by denial.

25th anniversary edition of the widely acclaimed tribute album celebrating the music of Brian Wilson & The Beach Boys. 24 exclusive tracks. New remaster on 2 LPs in a gatefold sleeve with extensive liner notes and many rare photographs.

The first solo release from MPC wizard and Dutch DJ Iceberg (aka Benjamin Berg) knocks itself into existence. Five tracks of unforgettable swing from the young producer, each packed with enough saturated crunch to make Roger Linn proud. If there’s one thing we know for certain, it’s that this record hits the mark right on time — surely an ode to sequencers and the attitudes of times past.

After offering the label a beautiful closing composition on its various artists compilation Reflection EP, Rotterdam live act, producer, and DJ Mata Disk returns to Polychrome Audio with LFH-Proxy EP. Featuring two original club tracks and their interpretations by producers Eversines and Jopie, this project further cements Julian Determann’s singular musical identity while opening it up to new dimensions and patterns.

A1. Life Force Harmonizer (“LFH”) opens the dance by capturing the sweet nostalgia experienced during club morning hours. Mata Disk’s sound palette is here in full display, the energy carried by sharp drum design and a propulsive bassline is lifted by melodious pads offering the track its tenderness. On the B1, Rotterdam producer Jopie creatively re-imagined these feelings, stripping down and reshaping LFH onto a track flirting with breaks and IDM progressions.

With Proxy, Mata Disk dims the light slightly, with a drum workout track to keep the dance alive. The very progressive and low-end focused build-up paired with a tension-building synthesized lead offers the A2 track a smooth build-up. De Lichting member Eversines elegantly switches the sound narrative, transforming Proxy into a dark electro-leaning tech house track carrying the same tension. Adding emotion into the mix with an anthemic melodic lead, Eversines’ Proxy Ziggo Mix serves as a perfect closer.

Sleeve Records is back with the reissue of a rare and iconic Cuban album by Los Chikichaka aka "Los Caneyes".

All tracks are composed by "Maestro" Juan Pablo Torres. Get ready to enjoy latin psychedelic rhythms that intersect with afrocuban, jazz-funk, psychedelic, latin jazz and bolero.

Step back into one of the most exciting years in pop history – a time when boundary-pushing alternative anthems, flawless dancefloor fillers, global megastars and fresh faces all collided on the charts. NOW - Yearbook 1997 celebrates an unforgettable year of hits with 43 massive tracks across a 3-LP set pressed on gorgeous green vinyl.

LP1 kicks off in style, with the stunning jazz-drenched ballad from legend George Michael, ‘Older’, before Natalie Imbruglia's huge debut single ‘Torn’. The Cardigans had a #2 smash with ‘Lovefool’ and Hanson hit the US & UK #1 with ‘MMMBop’. ‘Barbie Girl’ from Aqua and the Spice Girls’ anthemic ‘Spice Up Your Life’ were both #1s, and Boyzone’s ‘Picture Of You’ was a huge hit and featured in the film ‘Bean: The Ultimate Disaster Movie’. Eurovision glory happened for the UK in 1997, and winners Katrina And The Waves with ‘Love Shine A Light’ close the first side…while over on the other, a second George Michael classic from his ‘Older’ album, the beautiful ‘You Have Been Loved’, opens ahead of another contemporary masterpiece ‘Secret Garden’ from Bruce Springsteen. Texas scored a UK top 5 with ‘Say What You Want’, and Sheryl Crow had a top 10 hit with ‘A Change Would Do You Good’. Paul McCartney’s ‘Young Boy’ is next before ‘Ready To Go’ which gave Republica a Top 20 chart debut, and closing the first LP, Robbie Williams’ ‘Old Before I Die’, which became his second smash as a solo artist.



LP2 kicks off with Radiohead’s defining ‘Paranoid Android’, ahead of Kula Shaker’s hit cover of ‘Hush’, and alt-pop from Embrace (‘All You Good Good People’), The Charlatans (‘North Country Boy’) and The Seahorses (‘Love Is The Law’) before the side closes with Oasis’s huge #1 ‘D’You Know What I Mean?’ – the lead single from their third album ‘Be Here Now’… Flip the LP over and discover some of 1997’s dancefloor gold – opening with the club juggernaut and #1 ‘Professional Widow’ from Tori Amos, remixed for single release by Armand Van Helden, along with Olive’s UK #1 ‘You’re Not Alone’ and the huge ’97 ‘Now Voyager’ remix of ‘You Got The Love’ from The Source feat. Candi Staton. En Vogue’s powerful ‘Don’t Let Go (Love)’ is up next, ahead of ‘I Wanna Be The Only One’, a #1 for Eternal feat. Bebe Winans. LP2 finishes with pure pop gems from 911 with ‘Bodyshakin’, Backstreet Boys with ‘Everybody (Backstreet’s Back)’ and Steps with their debut hit ‘5, 6, 7, 8’.



The final LP opens with Pet Shop Boys’ and their brilliant version of the musical classic ‘Somewhere’, ahead of the genre-blending #1 ‘Your Woman’ from White Town, and the atmospheric ‘Out Of My Mind’ from Duran Duran. Suede’s plaintive ‘Saturday Night’ leads into three of the years’ electronic dance music highlights: Orbital provided the theme to the remake of ‘The Saint’, Moby with his re-imagining of the classic film-series theme: ‘James Bond Theme (Moby’s Re-Version)’ and The Chemical Brothers with the massive ’Block Rockin’ Beats’ completing the side…Turn the LP over for the final side featuring the debut from All Saints with ‘I Know Where It’s At’, and fabulous dance-pop from Whitney Houston with ‘Step By Step’, and both Ultra Naté and Dannii Minogue enjoyed euphoric hits with ‘Free’ and ‘All I Wanna Do’. Pan-European smash ‘Encore Une Fois’ from Sash! is followed by Ricky Martin’s global success ‘María’… but the final word on the collection goes to Elton John. His superb ‘Something About The Way You Look Tonight’ was one half of the biggest selling single of – not only 1997 – but of all time and ends the collection on a perfect pop high.



NOW – Yearbook 1997: A celebration of the diversity and creativity in the charts of a truly magical year in pop.

Gilles Peterson presents International Anthem is a compilation chronicling the legendary London-based radio host, DJ, label head, curator and cultural impresario"s long-standing affinity for and interaction with artists and music from the Chicago-born record label International Anthem. The tracks on this compilation were chosen by Peterson via an extensive review of track lists from his broadcasts on BBC Radio 6 Music, Worldwide FM, and various syndicated radio programs. The compilation also includes a previously unreleased track recorded live on the Peterson-founded online radio station Worldwide FM. This album is released via International Anthem as part of their "IA11" series of releases and events - where the label celebrates their eleventh year of existence by looking back on their first ten years while establishing new standards for the next ten years.

Atlanta Based Band Rujen And their Album "Velvet Dream".
Velvet Dream is more than a collection of songs - it’s a cosmic nudge sent to remind you that your future begins with a choice. You close your eyes and a vision begins to form: a life just beyond your reach, patiently awaiting your arrival. It’s the version of yourself you imagine when you tune out the noise and tune in to the things that make you feel. With their Broc Recordz debut, Rujen aim to open doors through that very threshold with 11 tracks of 70s-tinged space rock that thoughtfully weave together lyrical themes of time, personal agency, and the pursuit of silencing self-doubt.

Art Academy was a short-lived but impactful project masterminded by Stephan Kessler (of Aircrash Bureau), releasing just one single in 1990 on the iconic Suck Me Plasma imprint, a sub-label of Music Research. "The Banker”, co-produced by Holger Wick (Konzept), delivers a sharp fusion of techno and EBM, capturing the gritty, forward-pushing energy of early '90s German electronic music.

Limited edition of 300 copies on black vinyl and 200 copies on clear red vinyl, offering all original tracks along with the highly sought-after HWSK Mix of “The Banker”, previously only available on CD.

Art Academy was a short-lived but impactful project masterminded by Stephan Kessler (of Aircrash Bureau), releasing just one single in 1990 on the iconic Suck Me Plasma imprint, a sub-label of Music Research. "The Banker”, co-produced by Holger Wick (Konzept), delivers a sharp fusion of techno and EBM, capturing the gritty, forward-pushing energy of early '90s German electronic music.

Limited edition of 300 copies on black vinyl and 200 copies on clear red vinyl, offering all original tracks along with the highly sought-after HWSK Mix of “The Banker”, previously only available on CD.