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Vladislav Delay, primarily known as a highly regarded electronic music innovator, steps ahead with his acoustic jazz quintet. Echoing the forward-looking vd musical vision always ahead of the curve, the new album does not fit into any specific category, forging a path of its own across the 10 tracks. Recorded at Candybomber Studio in Berlin, the album brings vd together with Maria Bertel, Lucio Capece, Derek Shirley and Max Loderbauer. This is shape-shifting, elastic music that exists left of any given timeline.

Based in Hailuoto in Northern Finland, Vladislav Delay has never fit into any given mould as an artist. His prolific, at times mythical output has elevated him to a veritable legend status in all music cycles appreciating a unique artistic voice. Be it his forward-reaching recent releases as Vladislav Delay on his own Rajaton imprint, his Ripatti alias, or playing metallic percussion with the Moritz Von Oswald Trio, Vladislav Delay always has A SOUND. And that sound is ever-evolving, as his new jazz album shows. What "jazz" is this? There are certainly liquid elements there in the mix, not unlike the ones heard on previous vd productions. Then again, this is acoustic quintet music by and large, but not any specific kind we have ever heard before. Isn't that the whole point of "jazz"? Whatever came before is a springboard, not a limitation.

PMF007 has landed

We are honoured to welcome veteran artist Dennis Walks to the Poor Man’s Friend label. Having cut his teeth with Duke Reid in the mid to late 1960s, Dennis Walks has been recording consistently for over 60 years.

Best known for his massive hits “Drifter,” “Heart Don’t Leap,” and “Margaret,” alongside the great The Mudies, Dennis brings a smooth yet powerful voice rooted in R&B and doo-wop influences. Combined with his intricate and thoughtful songwriting, he remains one of our favourite artists from the rocksteady and early reggae era.

“What A Pressure” is a vibrant, horn-led early roots reggae cut that captures the raw spirit and sonic identity of Jamaica’s foundational studio era. Driven by an upbeat tempo and undeniable energy, the track is elevated by rich, full-bodied backing vocals that perfectly frame Dennis Walks’s unmistakable voice. His delivery carries a weight of experience, bringing to life a set of beautifully constructed conscious lyrics that speak with both urgency and soul.

At its core, the production is propelled by a deep, rolling bassline that locks tightly with a heavily saturated rhythm section, creating a warm, analog feel reminiscent of classic recordings from Kingston’s golden age. The horns cut through with authority, adding brightness and drive, while the overall arrangement maintains a tight, authentic groove.

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

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

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

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

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

SACRIVERSUM were formed in 1992 in Łódź (Poland), playing old school Death Metal with progressive elements and atmospheric sounds, making their complex mixture special and unique. Their debut album „The Shadow Of The Golden Fire“ was released in 1994, at a time when a lot of Death Metal bands started to push their boundaries and became more experimental. Their music was a perfect fit along with legendary bands like PESTILENCE, DEATH, GOREFEST & ATHEIST. And this counts for SACRIVERSUM and their upcoming new album „Before The Birth Of Light“ even more. „Before The Birth Of Light“ will be released on May 8th, by their new label FIREFLASH RECORDS (HOLY MOSES, WOLF, RUTHLESS a.o.) and is available on CD, limited vinyl and digital. The album stands for raw Death Metal, with those incomparable Hammond organs. Death meets Deep Purple. Their sound is a mixture of the above mentioned acts and is not too far apart from the latest BLOOD INCANTATION album. Both combine tradition with fiction. You have to hear and experience this Death Metal gem. Since 2022, SACRIVERSUM are back and continue, where they ended up with their debut album. Those nine new tracks on „Before The Birth Of Light“ are possibly the best songs SACRIVERSUM ever composed – once you got into it, they don’t let you go. It is a dark ride into another dimension, another time and another space. You are captured in their own world, in a time before the birth of light.

VINDICATE, Black Veil Bride’s seventh album, casts a brilliant symbolic signal across the darkened skies. It’s a living will and testament to the band’s storied past, triumphant present, and unwritten future. VINDICATE harnesses the blend of grandeur and intimacy at the heart of the band’s melodic and metallic sound. Across timeless songs, VINDICATE conjures enduring archetypes, interwoven with themes of revolt and vengeance, and shades of John Milton’s epic 1677 poem Paradise Lost.

Guitarists Jake Pitts and Jinxx, drummer Christian Coma, bassist Lonny Eagleton, and frontman/vocalist Andy Biersack celebrated several milestones in recent years, including massive shows in London and Mexico City. “Bleeders” was a Top 10 hit at Active Rock radio and a several-month-long mainstay on YouTube’s Hard Rock & Metal chart (which tracks both current and catalog music videos) in 2024 and 2025.

VINDICATE is the first new Black Veil Brides full-length produced by Pitts and Biersack, exercising complete creative control while synthesizing the best of what they’ve learned from A-list producers. The album was mixed by Zakk Cervini (Bring Me The Horizon,
Evanescence, Bad Omens).

VINDICATE ushers in Black Veil Brides' most visceral, creative, thrilling, and uncompromising era yet, as the band continues to defy expectations and misconceptions held by casual onlookers. Black Veil Brides forever champions the isolated and the dismissed.
They’re an object of devotion and obsession for those who sing their anthems in unison, a diverse BVB Army that never surrenders.

VINDICATE, Black Veil Bride’s seventh album, casts a brilliant symbolic signal across the darkened skies. It’s a living will and testament to the band’s storied past, triumphant present, and unwritten future. VINDICATE harnesses the blend of grandeur and intimacy at the heart of the band’s melodic and metallic sound.
Across timeless songs, VINDICATE conjures enduring archetypes, interwoven with themes of revolt and vengeance, and shades of John Milton’s epic 1677 poem Paradise Lost.

Guitarists Jake Pitts and Jinxx, drummer Christian Coma, bassist Lonny Eagleton, and frontman/vocalist Andy Biersack celebrated several milestones in recent years, including massive shows in London and Mexico City. “Bleeders” was a Top 10 hit at Active Rock radio and a several-month-long mainstay on YouTube’s Hard Rock & Metal chart (which tracks both current and catalog music videos) in 2024 and 2025.

VINDICATE is the first new Black Veil Brides full-length produced by Pitts and Biersack, exercising complete creative control while synthesizing the best of what they’ve learned from A-list producers. The album was mixed by Zakk Cervini (Bring Me The Horizon, Evanescence, Bad Omens).

VINDICATE ushers in Black Veil Brides' most visceral, creative, thrilling, and uncompromising era yet, as the band continues to defy expectations and misconceptions held by casual onlookers. Black Veil Brides forever champions the isolated and the dismissed.

They’re an object of devotion and obsession for those who sing their anthems in unison, a diverse BVB Army that never surrenders.

To celebrate the 30th anniversary of its release, Happening Songs, the debut album by Dionysos, is finally being issued on vinyl for the very first time.

Recorded in 1996, the record captures the early days of a band still in its rawest form, already driven by a singular stage energy and a boundless imagination. Entirely sung in English, Happening Songs unfolds a free and inventive sonic universe where indie rock, dark humor, and surreal visions intertwine. Tracks such as "Wet," "Polar Girl," and "Screamin' Like an Egg" sketch the foundations of a poetic, strange, and deeply endearing artistic world that would become Dionysos' signature.
Long regarded as a cult album, passed from stage to stage and through word of mouth, it now returns in a brand-new vinyl edition, faithful to its original spirit.
This anniversary release is presented by EGGMAN RECORDS, the label founded by Mathias Malzieu, giving new life to this foundational work and inviting listeners to rediscover the initial spark of a project that has since become essential.
Thirty years on, Happening Songs remains the opening chapter of a unique artistic journey: inhabited, unruly, and profoundly free rock.

Eric Burdon: Vocals, Chas Chandler: Bass, Alan Price: Keyboards, John Steel: Drums, Hilton Valentine: Guitar, Steve Grant: Guitar and Zoot Money: Keyboards.

Recorded 31st December 1983 at Wembley Arena, London. Produced and engineered by Keith Grant. Advertising in Shindig & Record Collector

Mutant, in collaboration with Hollywood Records and 20th century Studios, is proud to present the premiere physical media release of Benjamin Wallfisch's score to the first of two 2025 Predator films, the animated anthology PREDATOR: KILLER OF KILLERS Benjamin Wallfisch had quite the task in scoring KILLER OF KILLERS.

Not only did he need to tackle one of the most iconic sci-fi titles in pop culture history, but he had to do so across multiple time periods, locations and genres. A Scandinavian arctic right of passage, a Japanese Feudal revenge plot, and a World War Two underdog dogfight - all bookended by an epic battle on the Yautja home planet where the far-reaching nature of the Predator finally reveals itself after 30 years of filmmaking.

All the while, Wallfisch nimbly navigates the spirit of each period, their cultural instrumentation, and the kineticism of each chapter, and the emotional stakes of each battle. It's a minor miracle of a score that we are honoured to celebrate.

Featuring original artwork by Oliver Barrett, featuring liner notes by the films director Dan Trachtenberg, and pressed on 140gm Red vinyl, this release is essential for fans of the series.

A physical media release of PREDATOR: BADLANDS featuring a score by Wallfisch and co-composer Sarah Schachner is forthcoming.

Myth? Legend? No need to pump this up, the music is self evident. As is the crew of Marfox, NK, Nervoso, Fofuxo, Pausas and Jesse, who shaped the universe as we know it. The simplest of elements for maximum (minimal) impact, an imperative burst of energy that perfectly echoes the title of Marfox's first EP: I Know Who I Am.

These are statements of personality directly stamped on the dancefloor. "Hard Tecno" (without the H, yes) embodies the crystal clear intention of the set: to light a fire wherever the beats fall. To make people smile and move. And this was (and is) achieved without the need for obvious smiley culture signposts. The music just came through with fierce enthusiasm. All were youngsters (Nervoso being the elder) in 2007, and youth is definitely a factor in the fearless display of bare bones dance music production. Raw, is it?

A second volume of DJs di Guetto on Príncipe was always going to happen. The tough part was deciding how to organize the bangers on the tracklist without ending up with a quadruple vinyl set. Thus separate volumes 1&2. Volume 1 (2023) was culled from the actual DJs di Guetto compilation (self released in 2006), whereas Volume 2 comes straight from the crew's archives, nearly 100% unreleased tracks produced in 2007.

The crew disbanded as such a long time ago, but the legacy stands as sacred scriptures stand. FL Studio and standard laptop and tower desktop PCs combined as raw materials; a no-fuss approach added by these DJs and producers who sound unequivocally rootsy and primeval, drinking from the source. Also punishingly minimal, dry and alien. Happy-sad, sweet-sour, nice-angry, soft-aggressive. Words fail us. It's 2026, new humans seem to beon the rise but some old ways are still enthralling.

The Family Men return with their second full-length effort “Co/de/termination”. Since the release of their debut “No Sound Forever”, they have played countless shows, both in their native Sweden and abroad, garnering a reputation as one of the most intense and uncompromising live bands around. A natural progression of their sound, “Co/de/termination” is a crystallized evolution of The Family Men’s sonic identity, pushing their intensity and precision to new extremes. “Co/de/termination” stands as a concise and deliberate statement, shaped by both urgency and restraint.

Saosin’s debut EP fuses razor-wire melodies, blistering drums, and Anthony Green’s unmistakably emotive vocals into a release that helped define early-2000s post-hardcore. Balancing chaos and catharsis, the EP pairs technical precision with raw feeling, delivering songs that feel both urgent and timeless.

Kicking off the collection, we have POISON IDEA performing their first ever gig as a high-velocity punk band on New Years Eve 1980 – truly an incredible find. “We put our gear in shopping carts and pushed it to the venue” Jerry recalls as well as the reaction from Portland’s first wave of hardcore kids, “They only had 30 seconds in a song to throw each other around and pogo, so they’d go for it. It came naturally, like the music possessed them”. The embryonic versions presented here of future POISON IDEA classics like “Give It Up” and “Castration” are played in a more quirky and herky-jerky manner than how they would appear three years later on their debut seven-inch EP, Pick Your King. This recording also holds the most unfiltered display of Germs vocalist Darby Crash’s influence on Jerry. “His voice gave me the license to go” states Jerry. “You didn’t have to be a trained singer. Just open up your soul and scream”.

The remainder of this release is culled from a recording done in June of 1981 at a birthday party for Kim Kincaid, vocalist for local punk group, Neo Boys. The event was held at the short-lived but groundbreaking punk venue for Portland, Clockwork Joe’s. “Clockwork Joe’s was like Peter Pan’s island of lost boys” Lang recollects, “There was a lot of booze, a lot of drugs and a lot of young kids”. Hearing this ferocious, tightly-wound set, one can only imagine the sweaty debauchery that occurred that night, especially during the pounding rendition of “Underage” presented here, yet another future Pick Your King track.

Fully seasoned Italian techno architect Claudio PRC loves Lee "Scratch" Perry and more electronic-leaning deep smiths such as Chain Reaction and Basic Channel who have influenced him over the years and now bring those vibes to the fore. 'Submerged' is immediately horizontal and glacial in pace, with pads that are just and pure and an energy that is impossibly cathartic. The Version on the flip drops in some gentle drums that bring a soft forward momentum. Two lovely excursions.

Hild unites US sound sculptor zake and UK-based rhubiqs in a transatlantic collaboration steeped in plenty of their signature patience and emotional gravity. Across four slow-burning movements, deep drones, hushed piano lines and glacial textures unfold with cinematic allure as vastness and intimacy coexist. Rooted in both artists' post-rock backgrounds, this record feels less composed than discovered, as if each passage emerges organically from silence. There is plenty of fragile beauty in the stillness and looming sense of loss, so this is the sort of record that has a profound effect despite its knowing restraint.

East London producer and DJ IZCO announces his debut solo studio album ‘POWERSCROFT’, set for release on 1st May via Brownswood Recordings. The album’s first single, ‘Strike a Pose’ featuring the vocals of Camille Munn offers an early glimpse into the project. To celebrate the release, he will go on a run of UK dates from March to May, culminating at London’s Jazz Cafe.
Named after the road where he grew up, ‘POWERSCROFT’ marks a defining new chapter for an artist who has spent the past decade shaping the sound of UK dance music. Drawing from jungle, broken beat, grime, garage, soul and dub, the album channels the energy of the dancefloor while remaining deeply rooted in memory, instinct and identity. It captures what it feels like to be inside IZCO’s world, where thoughts, memories and influences collide.

Hailing from East London, IZCO is a producer and DJ spearheading a new generation that is bringing soul back to the dancefloor. Shaped by the rich musical heritage of his hometown, he has developed a sound that feels familiar yet forward-looking, diverse yet distinctly his own. That sound has taken him across the globe, from New York to Tokyo, alongside standout sets at We Out Here, Outlook and Glastonbury.

IZCO began his journey making grime beats for local rappers including Capo Lee, Novelist and Reek0, before becoming a key figure in the UK’s evolving garage and dance music landscape. In 2018, he launched his long-running Rinse FM show and released his debut EP Tek 5, earning early underground acclaim. His production credits include PinkPantheress’ breakout track ‘Passion’, created alongside Jkarri, as well as collaborations and remixes for artists such as Katy B and Greentea Peng.
Beyond his solo work, IZCO is a label head, promoter and co-founder of the Brighter Days Family, a collective built on community, craft and cooperation. With ‘POWERSCROFT’, he steps fully into the spotlight, presenting his most personal and fully realised body of work to date. “This album is about channeling my true musical personality and character,” he says. “I’m marking a new chapter by paying tribute to my foundations.”

Killer Groove Records proudly presents the self-titled debut album by Italian cinematic funk trio Atabasca. A sonic journey where funk, psychedelia and desert groove merge into a timeless narrative suspended between rhythm and vision.


"Atabasca" marks the debut release from the cinematic funk trio, dropping March 27th on limited edition LP, CD digipack and digital formats, the latter featuring an exclusive bonus track. This is a project built on evocative imagery: each song unfolds as an open scene, an emotional landscape where listeners can step inside and write their own ending.

Lap steel, kalimba, percussion and guitars interweave with bass and drums, striking an original balance between tradition and experimentation that evokes unwritten soundtracks for worlds at once distant and familiar. The record navigates between melancholy and irony, tension and release, with a sharp focus on dynamics and sonic narrative.


Deserts, seas, imaginary villages, getaways, pursuits and collective rituals: "Atabasca" emerges as a collection of musical landscapes that unfolds through vivid, evocative imagery.

Jazz-funk, world music, afrobeat, psychedelia and the Italian Golden Age of movie soundtracks merge into a singular emotional geography: warm, analog and deeply human.

The musical journey opens with "Dune", a melancholic statement that leaves room for imagination, before igniting with "Kundela Mawedi" and its cascading lap steel over haunting vocal chants. "Paco" tips its hat to classic westerns, tracing a bandit's trajectory, while "Cameo" drifts back to childhood through minimal rumba and shimmering kalimba. The cinematic imagery continues in "Cacopoulos", a nod to Spaghetti westerns and Eli Wallach, built on raw drum patterns and distorted guitars. Intensity builds in "Khettara", where afrobeat rhythms and Middle Eastern textures intertwine, before "Hell Dorado" tears off in pursuit of the American dream's funk-fueled mirage. "Papambra" weaves hypnotic polyrhythms between kalimba and lap steel, while "Porpora" delivers a sensual, visceral tango of passion and tension. The digital edition closes with "Reprise", a sequel that stretches the album's central theme into an expansive, meditative interpretation.

The tracks were recorded in single takes, capturing the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the album at Velvet Room Mastering Studio in Brighton.

Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment. This is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals) and Valerio Pompei (drums, percussion, vocals).

Individually active for over twenty years on both the national and international scenes, the three Italian musicians came together in 2023 to create a project that merges experience, experimentation and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.

Atabasca's sound moves through jazz-funk, world and cinematic territories, weaving together afrobeat, desert and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


For fans of Khruangbin, Surprise Chef and instrumental psych-funk!

Tha God Fahim's timeless creative instincts have been evident from the moment his art began to circulate. Emerging unexpectedly from the epicenter of trap music, the Atlanta emcee quickly distinguished himself with sharp wordplay and atmospheric production that couldn't be further from the monotonous sounds echoing Around Him. With Just A Few Projects To His Name, Tha God Fahim Was Still A Hungry Young Talent On The Rise when he unleashed Tha Dark Shogunn Saga in late 2016. Among his most memorable early releases, the album kicked off an unprecedented creative explosion, as Fahim cemented his status with more than 50 projects released over the next two years. Followed by an equally compelling sequel released just a few
months later, the overall saga became an important moment in Tha God Fahim's rise, evoking shadowy street corners and smoke-filled hallways. Nearly a decade later, Fahim is expanding this series into a full trilogy with Tha Dark Shogunn Saga, Vol. 3. Reviving the unmistakable vibe of the original projects, the new collection finds our hero back in warrior mode, sharpening his lyrical blade over rich production from Cookin Soul, Nicholas Craven, Fortes, and Fahim himself.

40 Thieves have been part of the Leng family since 2011 during which time they have released many quality singles and EPs as well as their sole full-length album, 2014’s epic The Sky Is Yours. Even so, double A-side ‘Love Is’/’Let Me Show You’ still marks their first release on Leng for almost three years.

In keeping with their signature sound, ‘Love Is’ is trippy, hallucinatory and gently mind-altering, with psychedelic guitar sounds, echoing percussion, and a heady lead vocal courtesy of crew member and Alona, all of which rides a chunky dub disco bassline and chugging mid-tempo beats. Richard Sen, a DJ and producer known for his love of dubbed-out sonics and pulsating grooves, delivers a typically spaced-out and otherworldly rework. Rooting his revision to the dancefloor via an undulating electronic bassline that throbs away restlessly throughout, Sen stretches out the track and emphasises its more trippy elements before introducing dreamier chords and heady vocals with a brilliant interpretation.

On ‘Let Me Show You’, 40 Thieves step things up to deep house tempo while remaining firmly rooted in 21st century San Francisco nu-disco with rich, dubby bass guitar, tactile piano chords, futurist synths and knowing nods to Patrick Cowley productions of the late 1970s and early ‘80s. The track is presented in two forms: the superb ‘Vocal Mix’, where Alona’s vocal rises above the groove and intoxicating electronics, and a genuinely radical and out-there dancefloor focused ‘Dub’. Pushing the track’s wilder and more out-there elements to the max via stripped-back arrangements and a smorgasbord of effects, 40 Thieves re-wire the cut as a heads-down psychedelic disco chugger topped off with wonderfully loved-up chords.

• Jackie Dee’s ‘Who’ was one of many great tape finds from Detroit producer Dave Hamilton’s vault in the 90s and first came out on CD in 1999. In 2015 Ace licensed that version to Colemine Records in the USA who issued it on their First Light subsidiary. That disc is now deleted and fetching a high price.
• In recent years we have found the multi-track tape with an extended version of the recording and an instrumental take on it that features Dave Hamilton’s vibes-playing. The vocal side is a full one minute and forty seconds longer than the original release.

Superonda’s debut release, Aurora Spectralis, introduces the latest project from Mahatmos, a duo emerging from long-established practices in electronic music, sound design and composition for moving images. Released on 12” vinyl and digitally, the EP unfolds across four tracks of electronic ambient music shaped by atmosphere, con1nuity and restrained propulsion. Ambient textures open a broad emotional and spa1al field, while slow, insistent rhythms provide steady forward motion.
Superonda has created a space for Mahatmos to sharpen their focus on sound as material. Modular synthesis, analogue instruments and live processes techniques are balanced with precision and restraint, resulting in music that moves between progressive and hypnotic forms, informed as much by underground club culture as by cinematic composition.
Mahatmos is a Rome-based duo with complementary and deep-rooted practices. Gianluca Meloni brings a long-standing presence in techno and experimental music scene, with international releases and performances (as Laertes and as part of Modern Heads). Maurizio Loffredo contributes an extensive background in composition, production and sound engineering across popular music and film, with a refined sensitivity to timbre, structure and sonic narrative.
Superonda is a Rome-based label founded by artists engaged in deep sonic research and advanced technical exploration. Operating as an open platform, it connects collaborators working across recording, synthesis and composition, approaching music as a process-driven practice rather than a fixed genre. Each release stands as a distinct exploration, linked by shared sensibilities rather than formal constraints.
The physical edition of Aurora Spectralis is conceived as an extension of the work itself. Alongside a standard black vinyl pressing, a limited run of color and marbled copies has been produced, each one unique. Variability and tactility are embraced as part of the object’s identity, reinforcing the record as something to be experienced gradually, over time.

BRA (Big Room Ambient) is a new label dedicated to ambient and experimental sound, a space for open sonic exploration where electronics and distant musical traditions converge to create evolving soundscapes.

The label’s first release is Harmograph by Matteo Scaioli, a hypnotic and deeply organic work shaped by self-built synthesizers, experimental electronics and masterfully performed tablas. The album, with a run time over 35 minutes, unfolds as a fluid sonic journey, where rhythm and texture interact in a subtle balance between structure and improvisation.

With Harmograph, BRA begins its catalogue by looking toward unexplored territories of contemporary sound.

Shrouded in mystery when it first appeared, Tiger & Woods’ debut album quickly took on a life of its own. With little more than whispers surrounding the project, the music spoke loud enough: a set of extended disco constructions carefully tuned, remixed, over-dubbed, sliced and diced by the elusive duo of Larry Tiger and David Woods. What began as a cult phenomenon soon caused a stir across dance floors and record bags worldwide.
Now, for the first time ever, that legendary debut finally arrives on vinyl. Through the Green captures Tiger & Woods at the moment their distinctive language of groove first took shape. Rooted in the spirit of disco edits but already stretching beyond the format, the album blends loop-driven funk, house-leaning propulsion and the unmistakable bounce that would soon become their signature.
It’s the sound of two producers refining a craft that would later blossom on albums like On The Green Again, where their approach expanded into a wider palette of boogie, electronica, Italo and uptempo house. But here is where the story begins.
Before world tours, live sets and the creation of their own T&W Records imprint, there were these tracks: hypnotic, playful and engineered with a dancer’s instinct for tension and release. Each cut unfolds like a perfectly extended club moment, full of warmth, swing and that unmistakable Tiger & Woods sense of fun and function.
Years after its original digital release, Through the Green remains a cornerstone of modern disco-house culture. Pressed to wax at last, it finally receives the physical format it always deserved: grooves built for the turntable, the dance floor and the crate.
The mystery might be gone. The magic, however, remains very much intact.

Mystic Arts brings you two essential cuts from Gary Irwin (The Vendetta Suite / Hell YeahRecordings). Dating back to 1994 and 1995 respectively, both tracks were originally released on David Holmes' Exploding Plastic Inevitable label.

Waveforms In Wonderland is a bubbling, acidic brain-melter - inspired, as Gary recalls,by Richie Hawtin, Conemelt and falling out with a friend at a Primal Scream gig. Diary of aMicrochip moves further off-grid: an unplaceable hybrid where Detroit techno, electro, funk and ambient house intersect. Thirty years on, both tracks remain remarkably intact. Timeless.

Resonant Duality is an album built around Kyouzon, the Japanese idea of coexistence, where duality and togetherness are always present. The tracks move between light and dark, soft and loud, tension and release, but always come back to a feeling of sharing the same space. So Takahashi, originally from Yokohama, Japan, is a multidisciplinary artist who studied visual communication in New York. Since the late 1990s, he has been active as a composer and performer within electronic music, noted for his minimalistic melodies, sample manipulation, and unique sense of composition. Having released nine releases since 1999, he has lived and worked in Oslo, Norway in recent years, where "Resonant Reality" marks his tenth release. Charles Lynch, born in Tours, France, began his musical journey with classical piano at an early age before expanding his studies to art, visual communication, and design in Paris. Under the artist name A Saner Lynch, he has released two classical music albums, blending his background in classical performance with a contemporary artistic sensibility. The two musicians met in Oslo, Norway, a decade ago. Their shared interests in both classical and electronic music led them to collaborate, merging their distinct backgrounds and creative visions. Together, they compose music that reflects their combined influences, bridging the worlds of classical tradition and electronic innovation.

Closed For The Festival is MIDI Janitor’s fourth full-length and is the follow-up to the Holy To Dogs LP, which was originally released on cassette in 2024 on legendary Vancouver tape label Hotham Sound and then in a vinyl edition by Toronto’s We Are Busy Bodies.

The Midi Janitor’s new album, Closed For The Festival, is a biography of Jonathan Orr’s shadow self.

Born from memories of his childhood spent wandering rural Ireland in Ballymore, Donegal on his grandmother’s Christian commune, Closed For The Festival masterfully straddles the line between warped joy and sinister naivety. As Orr states, “the songs are always trying to get to that moment of taking your hand and walking you into the woods on a pretty spring afternoon and then abandoning you there to figure out ‘how do I get out of here??’”

Closed For The Festival recalls the skewed electronica of Boards Of Canada, the dusted syncopations of Heathered Pearls, and the long-buried treasures uncovered by the Sublime Frequencies label, but is never willfully nostalgic in nature - each track is an incantation in honour of ‘thin places’, where the presence of an eternal moment seeps into the present moment - the uncanny feeling of which has followed The Midi Janitor throughout his life and creative work.
- Steve Ramsay: Young Galaxy, Stars

Eight men pick up shiny brass instruments, lock into an unspoken groove and rotate genres like your favorite playlist shifting from jazz and R&B to hip-hop, pop and beyond with fire, focus and fluidity. New Orleans-bred staple The Soul Rebels expand musical boundaries with an unwavering commitment to originality. Far more than augmentation and accompaniment, the octet—Julian Gosin trumpet, MC, Marcus Hubbard [trumpet], Lumar LeBlanc III [snare drum], Derrick Moss [bass drum], Corey Peyton [trombone, MC], Erion Williams [saxophone], Paul Robertson [trombone] and Manuel Perkins Jr. [sousaphone]—pioneer the integration of their chosen instrumentation.

Featuring Special Guests: Sean Carey, Dee-1, Alfred Banks, Emeril Lagasse, Trombone Shorty, Kermit Ruffins, Mia X, DJ Jubilee, Cheeky Blakk, Tonya Boyd-Cannon, New Orleans Citywide Youth Choir, Jaelyn Langston, Wild Wayne, Kango Slim, PJ Morton, Big Freedia, Denisia, Branford Marsalis, Brandee Younger, KES, Kayla Jasmine, Matisyahu, Robert Glasper, Fabriq, Tarriona "Tank" Ball

Gylt: from Old English. A crime, sin, debt, a fault. Formed in 2023, Gylt is a 5 piece crossover hardcore band based in LA. Focused on the cost of redemption and the weight of what remains after harm. Their songs examine penance, absolution, divine punishment, and the burden of existence. Their new EP “In 1,000 Agonies I Exist”, is their answer to the moral reckonings of subsistence in a cold and punitive world.

Commitment is an inevitability. Guitarist Jake Smith and drummer Pierce Jordan knew each other for years as friends and musicians in Philadelphia who desired to explore a more straightforward and hard-hitting sound as songwriters in positions they’d played in the past, but never together. Smith and Jordan spent months playing together and getting a feel for each other’s styles and viewpoints, specifically not making choices about a name or which influences to prioritize until the lineup was complete. As plain as it is that Commitment is about creating a pathway to new experiences, it’s also about strengthening existing relationships. For the band, Smith dragged his lifelong friend Zach Bailey out of rock n’ roll retirement to take up bass guitar. While not wanting to make any immediate decisions about other members, Smith and Jordan knew they wanted someone who had never played in a band before. A newcomer in any position results in a fresh perspective and approach, and at the front of a band typically includes a raw energy that often can’t be reproduced. They found this in Tati Salazar. Tati had mainly existed as a solo musician under the name The Childlike Empress (now known as Le Siren) and had built a significant listenership doing so. True as can be to the world of music, but new to singing in a hardcore punk band, Tati jumped in feet first, fitting in so naturally as the band’s vocalist that the rest of the band initially struggled to practice or even correctly perceive their new material without them.

It would be easy to pigeonhole Footballhead’s unapologetically-buttrock-inspired record Weight of The Truth as simple nostalgia bait. Why wouldn’t millennials lust for the days of Halo and energy drinks in carpeted basements they’re not convinced they’ll ever be able to afford for themselves? Beyond that, why would the zoomers that now intently follow not try and chase the high of hyperreality in a bygone world that looks, to them, downright utopian when compared to the present?

What sets Footballhead’s capital-R Rock sound apart from contemporaries is - in addition to just sounding better - a desire and an ability to thread the needle between paying homage to a quasi-idyllic past and pursuing an earnest future. Footballhead wears their 2000s-era influences on their waffle-knit longsleeves, with power chord drives and pummeling choruses, all sequenced together like the teeth of a skeleton key able to unlock core memories for people who’ve either been there or people who simply wonder what being there was like. Both the anthems and ballads on Weight of The Truth are waxed and polished to perfection like the lip of a favored skatepark ledge.

But underlying all that, even more impressively, is a grit and substance derived from years spent in the Chicago DIY scene, exposing themselves to different styles and influences equally out of necessity as out of interest. It bleeds through on every track. You can bullshit your way into a vibe but, as the band shows on any number of recent releases, including singles off their upcoming second LP: you can’t fake heart. With an ear to the past but an eye to the present, Footballhead invites you to remember what it meant to give a shit back when the world felt simpler - and what it might feel like to do so again.

It would be easy to pigeonhole Footballhead’s unapologetically-buttrock-inspired record Weight of The Truth as simple nostalgia bait. Why wouldn’t millennials lust for the days of Halo and energy drinks in carpeted basements they’re not convinced they’ll ever be able to afford for themselves? Beyond that, why would the zoomers that now intently follow not try and chase the high of hyperreality in a bygone world that looks, to them, downright utopian when compared to the present?

What sets Footballhead’s capital-R Rock sound apart from contemporaries is - in addition to just sounding better - a desire and an ability to thread the needle between paying homage to a quasi-idyllic past and pursuing an earnest future. Footballhead wears their 2000s-era influences on their waffle-knit longsleeves, with power chord drives and pummeling choruses, all sequenced together like the teeth of a skeleton key able to unlock core memories for people who’ve either been there or people who simply wonder what being there was like. Both the anthems and ballads on Weight of The Truth are waxed and polished to perfection like the lip of a favored skatepark ledge.

But underlying all that, even more impressively, is a grit and substance derived from years spent in the Chicago DIY scene, exposing themselves to different styles and influences equally out of necessity as out of interest. It bleeds through on every track. You can bullshit your way into a vibe but, as the band shows on any number of recent releases, including singles off their upcoming second LP: you can’t fake heart. With an ear to the past but an eye to the present, Footballhead invites you to remember what it meant to give a shit back when the world felt simpler - and what it might feel like to do so again.

The Yawpers planted their flag at the intersection of the delta, the dive bar, and the mosh pit. We’re proud to drag their most feral albums back to the turntable.

Four years after American Man, the band moved to Chicago’s Electrical Audio to record Human Question live to tape with producer Alex Hall. The result was a record Americana UK called a “shambolic rock and roll” masterpiece, earning a 10/10 for its refusal to polish its own edges. While American Man was a “frantic folk stomp,” Human Question shifted into what Punk Rock Theory dubbed “pedal-punk,” a noisy cocktail of psychobilly and gospel, presented here on sunburst splash vinyl

These records aren’t just artifacts of a specific scene; they are honed to a shiv point, designed to cut through the noise of an oversaturated market. Restored and remastered with original posters dropped in for good measure, these are loud, lean, and necessary.

The Yawpers planted their flag at the intersection of the delta, the dive bar, and the mosh pit. We’re proud to drag their most feral albums back to the turntable.

American Man, produced by Cracker’s Johnny Hickman, is “part blues, part rock, part folk, all slathered with early 80s punk attitude” and “a success on every level” according to the geniuses at American Songwriter. We’re not arguing and you have no right to, either. This one’s earned our esteemed Barrel Select designation, pressed on Bloodshot-Red vinyl.

These records aren’t just artifacts of a specific scene; they are honed to a shiv point, designed to cut through the noise of an oversaturated market. Restored and remastered with original posters dropped in for good measure, these are loud, lean, and necessary.

The Bay Area’s electro-pop underground gets a neon-lit revival with a limited repress of The Limousines’ cult-classic 2010 debut album, Get Sharp, on frosted pink vinyl.

The album features the single “Internet Killed the Video Star,” a blog-era anthem with an instantly recognizable synth line and a self-aware chorus that captured the anxieties and possibilities of the digital age. Heavy rotation at alternative radio juggernaut Live 105 helped transform the song into a regional hit and an indie-dance mainstay.

“Very Busy People” is a high-energy critique of hyper-productivity and modern ambition, personifying a band that synthesized sharp songwriting, glossy synth hooks, and cultural commentary. Together, these elements mark a moment when Bay Area forces aligned to launch a record that continues to resonate.

UK Shoegaze legends, now on baby blue vinyl!

“Future Ruins achieves everything an admirer could ask of the reunited band’s new album…Swervedriver now posses a melancholic, autumnal undertow that suits them like a little distinguished grey in the whiskers…a career-best peak…Future Ruins pulls off a canny trick, perfectly channeling their past, while making sense in the present” – 4 stars, MOJO

“The spacious, Neil Young-ian rumbling of the title track and the bulked-up power-pop of ‘Spiked Flower’ both see co-founders Adam Franklin and Jimmy Hartridge venture beyond the template of Raise and Mezcal Head without making the faithful worry they’ve ditched their distortion pedals” – 7/10, Uncut

“That first song, ‘Mary Winter,’ is a heavy wave of swirling guitar fuzz offset by the soothing balm of Franklin’s voice.” – Stereogum

Singer, songwriter, guitarist and producer Butch Walker started out as a member of acclaimed band Marvelous 3 and has since embarked on a solo career, with equal successes as both artist and producer. In addition to five studio albums released since 2002, he was named Producer of the Year by Rolling Stone in 2005. Many of his songs have been hits for other artists, including Weezer’s #1 Modern Rock smash “If You’re Wondering If I Want You To… (I Want You To),” as well as Pink, Katy Perry, Avril Lavigne, Panic! At The Disco, Fall Out Boy, and many others. In 2010 he accompanied Taylor Swift for her live duet with Stevie Nicks at that year’s televised Grammy Awards, and also released his latest artist record, I Liked It Better When You Had No Heart, under the name Butch Walker & The Black Widows.

Every mother has a unique story. One thing is true for every mother, though: There’s no deadline quite like a pregnancy.

Award-winning Toronto singer-songwriter Abigail Lapell was pregnant with her first child when she booked studio time on Vancouver Island to make an album about motherhood. The nine songs on Shadow Child — one for each month of gestation — had to be ready before then, and her return flight was booked on the last day she could safely fly in her third trimester.

Working with producer Colin Stewart (Dan Mangan, Black Mountain), Lapell finished her songs in the studio and on rural walks beside the Pacific Ocean. She enlisted some of her favourite singers, all British Columbians, all mothers: Frazey Ford, Jill Barber, Pharis Romero. “They’re all people with unique, distinctive voices,” she says, “which is what I’m drawn to.”

Musically, Lapell was looking for a stark, acoustic sound, as opposed to 2024’s Juno Award-nominated Anniversary (recorded in Niagara with Great Lake Swimmers’ Tony Dekker) and 2022’s acclaimed Stolen Time (recorded in Montreal with Howard Bilerman, featuring E Street Band saxophonist Jake Clemons).

Lapell’s road to motherhood was fraught, involving years of IVF and a 2023 miscarriage — that she experienced on stage while on tour. (She finished her set.) Her son was born in November 2024. The song cycle of Shadow Child covers joy and loss, using metaphors from Maritime tragedy, “little cannibals,” reproductive health, acquiring language, and lives altered by the arrival of a newborn. The title track refers to ultrasound imaging of “a liminal person that doesn’t quite exist yet,” says Lapell. “Their status is ontologically blurry.”

“Fools” is from a new Drop Nineteens album to come in 2026. The track sees the band in swooning shoegaze mode featuring layers of glide guitar beneath gentle vocals sung by Paula Kelley & Greg Ackell, who calls the track “a snake let in under the door.” Chris McLaughlin (Kendrick Lamar, Beyoncé, Bon Iver) delivers a searing mix that’s both metallic and oozing with warmth. This is an extremely limited edition of 75 7”s featuring hand-screened covers.