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For nearly four decades, since its founding during the mid 1980s, the Belgian imprint, Sub Rosa, has continuously plumbed the depths of numerous, radical creative histories, assembling a catalog of releases that has almost no equivalent, while remaining nearly impossible to nail down. That said, for most of its run, Sub Rosa has been primarily recognized for its rigorous explorations of the lesser explored shadows of experimental sound practice (sound-art, sound-poetry, early electronic and electroacoustic music, free-improvisation, etc.), delivering a remarkable body of artifacts that have collectively helped to rewrite history in their wake. While it's always been impossible to anticipate where the label might take us next, threading their catalog are plenty of releases that throw further wrenches in the cogs, expanding our understanding of what they pursue, as in the case of a handful of titles, appearing as early as the 1980s, dedicated to ethnographic field-recordings from various parts of the world. Among the most striking and celebrated of these was 2017's Ethiopian Urban And Tribal Music: Mindanoo Mistiru / Gold From Wax, comprising an astounding body of recordings made by Ragnar Johnson and Ralph Harrisson in Ethiopia during 1971, reissuing material originally released by Lyrichord the following year. Now, Sub Rosa returns to the incredible work embarked upon by the pair and captured on that same trip with Ethiopian Musics 1971, comprising the recordings originally released by Ocora shortly after their completion, expanded in this edition to include an entire disc of never before released music. Widely regarded as some of the most important field-recordings ever made of indigenous Ethiopian folk music (as captivating and intoxicating as they are revelatory: providing insights into the roots of the country's singular traditions of popular music and jazz that have come to be celebrated the world over), this incredible collection is issued by Sub Rosa in a beautifully produced 2LP edition, complemented by a four page insert providing detailed descriptions of each song, as well as notes by the ethnomusicologists and recordists, as well as a 2CD edition, with a twelve page booklet. Insanely good and absolutely essential for any fan of field-recording, ethnomusicology, the music of Ethiopia, or the label's mission at large. Once again, Sub Rosa has defied our expectations and delivered a remarkably important intervention in the history of recorded sound.

Located in the Horn of Africa region of East Africa, few cultures are distinctly singular, while being so diverse (containing 80 distinct ethnic groups who speak 70 languages and 200 dialects) as that of Ethiopia. The home to some of the oldest surviving sects of Judaism, Christianity, and Islam (each contributing important aspects of its collective cultural body), particularly the country's culinary and musical traditions have become celebrated the world over, and (generally speaking) feel entirely independent of those of its neighbors. Given this, it's unsurprising that, during the summer of 1971, the young ethnographer, Ragnar Johnson, accompanied by Ralph Harrisson, traveled to Ethiopia to begin his brief career as a field recording ethnomusicologist, capturing material on reels of magnetic tape that would be subsequently released across three LPs for Lyrichord and Ocora, respectively, coming to form a cornerstone of documentation and study of the country's many indigenous musical traditions, as well as providing wide, global access to them for the first time. While Johnson's recording career was relatively brief, ending toward the end of the decade when he began to focus more on teaching in UK universities, with a focus on the anthropology of art and social anthropology, his impact on the field was lasting. Between 1971 and 1979, in addition to those he made in Ethiopia, he made hugely significant recordings in Yemen (also issued by Lyrichord before being reissued by Sub Rosa) and Papua New Guinea, which were originally released by David Toop's Quartz Publications to wide celebration, before being revisited by Ideologic Organ in 2023.

While it's worth noting that commercial releases of ethnomusicological recordings by labels like Folkways, Lyrichord, and Ocora were still in their relatively early days when he entered the field, Johnson's recordings quickly stood apart for their vivid qualities and clarity of space, allowing them to stand the test of time. As he later stated: "I used a Uher Report L stereo tape recorder, BASF quarter inch tapes at a recording speed of seven and a half inches per second with two directional microphones mounted to record an isosceles triangle of stereo sound," he reveals. "The location of the microphones and musicians was critical. The musicians were fully informed of all aspects of the recording process."

Johnson's recordings are extremely vivid, there is a clear sense of space and the cries of the flutes exist across the entire stereo field. It's a reflection of Johnson's skill as a field recordist that his recordings continue to be reissued over forty years later. "I used a Uher Report L stereo tape recorder, BASF quarter inch tapes at a recording speed of seven and a half inches per second with two directional microphones mounted to record an isosceles triangle of stereo sound," he reveals. "The location of the microphones and musicians was critical. The musicians were fully informed of all aspects of the recording process… I used to enjoy being in the moment and hearing something wonderful despite the stress of the vigilance required to ensure that the recordings were accomplished according to plan. The responsibility is to record and document the music as effectively as possible so that it has been preserved for posterity. It is better to actually record music than to sit in a seminar room debating the ethics of recording music." It is this very ethos and sense of clarity that can be encountered across the length of Ethiopian Musics 1971.

For the sake of clarity, the two LPs of material that comprise Ethiopian Musics 1971 should be regarded as a single body of recordings alongside those made in Ethiopia by Ragnar Johnson and Ralph Harrisson during the summer of 1971 (previously issued by Lyrichord and reissued by Sub Rosa), and as two that have, until now, remained historically distinct. The first LP gathers that material released by Ocora during the early 1970s on Musiques Ethiopiennes, while the second comprises (as far as we can tell) twelve never before issued recordings, expanding the journey and making this the definitive edition of the release with its incredible total of 23 recordings of songs, allowing it ever greater scope to achieve the recordists' modus operandi of capturing the broadest and most diverse cross section of Ethiopia's many musical cultures, ranging from different forms of urban music captured in Addis Ababa, documenting largely orally transmitted idioms within which lyrical content is given greater emphasis than the instrumental components (played on masenko fiddles, craar and bagana lyres, washint flutes and kabaro drums), to folk idioms hailing from the Danakil desert and the border regions with Sudan and Kenya. There are songs sung and played in bars, divination chants, laments, dances, Christian songs, and Amharic sung poetry, to only begin to scratch the surface.

Ethiopian Musics 1971 is one of those rare albums where each musical moment is pure, intoxicating gold, while also being greater through the sum of its parts. There are the many songs, forming a rich tapestry of remarkable range across the respective two LPs/CDs (moments that wondrously flirt with sonic abstraction; hypnotic rhythms; pulsing chant; melodies that, in structural arrangement and tonal combination, help us reframe how such a thing might be understood, and a great deal more), each imbued with a remarkable directness and emotive sensibility, and there is the stunning quality of these recordings themselves, transporting each sound to our ears as though we intimately share its creator's space, while being imbued with the pure heart and remarkable spirit with which they were made. As we said before, it's little wonder, once heard, why these recordings and this music feels as fresh and relevant (enduring more than 50 years) today as when they were made. Once again, Sub Rosa has raised the bar with this essential addition to the incredible work that Ragnar Johnson and Ralph Harrisson did back in Ethiopia during 1971, radically expanding our access to the sounds that they captured with these stunning, beautifully produced 2LP and 2CD editions. Absolutely engrossing from the first sounding to the last, this one can't be missed.

Random ReVINYL Edition. Black Mountain, the front-line soldiers for the Black Mountain Army, an arts collective from Vancouver, British Columbia, write, perform and record music that speaks (and sings) to this realization: that solutions are rarely simple, that the world is as complex as it is ambiguous, and that music sprinkled with an inoculating dose of madness may well be the Pied Piper that takes us all back into the primordial mountain, where our hearts can be made steady and our minds can be set free. Their debut self-titled record, like a space probe built of erector set parts and transmitting secret and arcane messages to earth by string, charts territories unknown yet remains grounded by the roots of classic rock and roll. It is easy to discern these roots: Black Sabbath, Animals-era Pink Floyd, Blue Cheer, Led Zeppelin and Can. Principal songwriter Stephen McBean's vocals are a smoother, bluesier amalgam of the voices of Neil Young, Mick Jagger and perhaps a James Brown loaded on cough syrup. And when Amber Webber's voice joins Stephen's, the combination brings to mind the potency and chemistry of Richard and Linda Thompson singing together on Shoot Out The Lights, or of Meat Loaf and Ellen Foley howling together on Bat Out Of Hell. Musical comparisons aside, the Black Mountain full-length is one part protest song, one part pop-cultural commentary, and one part sick-groove-rock casserole peppered with mesmerizing ballads and intoxicating ditties. "Modern Music" is the lead-off hitter and counts its way to the imposing and riff-rife "Don't Run Our Hearts Around". Immediately thereafter, the sludge-rock masterpiece "Druganaut" establishes the fecund heart and tone of the record. Black Mountain have also just recently released a 12-inch single (on Jagjaguwar), including an extended mix of "Druganaut" on the A-side. And the band's currently sexploitative counterpart The Pink Mountaintops, a band that also pipes into the prolific well-spring of Stephen McBean's mind, released their self-titled debut record (on Jagjaguwar as well) this past summer. A video by Heather Trawick of the song "Druganaut" is included on the CD version of the Black Mountain self-titled record.

The complete album + 2 bonus tracks - limited edition pressing 180g red coloured vinyl Contains new specially prepared liner notes by Penguin Guide to Jazz's writer Brian Morton and by Paris' prestigious Jazz Magazine . Unique cover photograph by renowned American jazz photographer Bob Willoughby (1927-2009). The complementing talents of Chet Baker (1929-1988) both as a trumpet player and as a singer are now well known. His trumpet and voice are extensions of the same musical personality, and once you have become familiar with both facets of Baker, you expect to hear them both. However, Chet Baker Sings was a revelation at the time and won Baker new fame and a new audience, which was less familiar with jazz than with pop music. Includes the bonus tracks "Let's Get Lost" and "Just Friends"

Recorded and mixed by Steve Albini at Electrical Audio in Chicago, the album captures Zu at their most raw and explosive -- where avant-jazz energy collides with the weight of experimental rock. Igneo (2002) by Zu is the band's debut studio album and marks the starting point of their distinctive sonic identity. Even at this early stage, many of the elements that would define their later work are already clearly present. The album emerges from a context deeply rooted in experimentation and exploration. Compared to their subsequent releases, the sound here feels more open and less tightly structured, with a stronger emphasis on improvisation and real- time interaction between the musicians. The trio--baritone sax, electric bass, and drums--develops a language that blends free jazz, noise, post- hardcore, and touches of contemporary composition.

Listening to Igneo, you can sense a balance between raw energy and expressive freedom. The baritone sax shifts between abrasive bursts and more spacious, stretched- out passages, while the bass moves from repetitive grooves into fragmented lines. The drums, in turn, alternate between tight rhythmic frameworks and looser, more fluid playing. There's a constant negotiation between control and release. Unlike the band's later, more disciplined records, the structures here feel more fluid and unpredictable. The tracks don't follow conventional forms; instead, they evolve like living organisms, marked by sudden changes, contrasting sections, and a persistent sense of instability. This gives the album a dynamic, almost volatile character. The title Igneo-- suggesting something fiery and primal-- captures the essence of the record quite well. The music feels warm, raw, and in continuous motion, as if it were constantly on the verge of erupting.

Recorded and mixed by Steve Albini at Electrical Audio in Chicago, the album captures Zu at their most raw and explosive -- where avant-jazz energy collides with the weight of experimental rock. Igneo (2002) by Zu is the band's debut studio album and marks the starting point of their distinctive sonic identity. Even at this early stage, many of the elements that would define their later work are already clearly present. The album emerges from a context deeply rooted in experimentation and exploration. Compared to their subsequent releases, the sound here feels more open and less tightly structured, with a stronger emphasis on improvisation and real- time interaction between the musicians. The trio--baritone sax, electric bass, and drums--develops a language that blends free jazz, noise, post- hardcore, and touches of contemporary composition.

Listening to Igneo, you can sense a balance between raw energy and expressive freedom. The baritone sax shifts between abrasive bursts and more spacious, stretched- out passages, while the bass moves from repetitive grooves into fragmented lines. The drums, in turn, alternate between tight rhythmic frameworks and looser, more fluid playing. There's a constant negotiation between control and release. Unlike the band's later, more disciplined records, the structures here feel more fluid and unpredictable. The tracks don't follow conventional forms; instead, they evolve like living organisms, marked by sudden changes, contrasting sections, and a persistent sense of instability. This gives the album a dynamic, almost volatile character. The title Igneo-- suggesting something fiery and primal-- captures the essence of the record quite well. The music feels warm, raw, and in continuous motion, as if it were constantly on the verge of erupting.

Big Crown Records is proud to present Adult Themes, the latest full length offering from El Michels Affair. This album takes the band's "Cinematic Soul" aesthetic literally and sends the listener on a journey through a whirlwind of moods and energies. With their 2005 debut album Sounding Out The City, EMA spearheaded an instrumental funk / soul movement that inspired a slew of bands and even lead to the creation of a few independent record labels. El Michels has since lent his signature sound to artists from Adele to Dr John, Lana Del Rey to Aloe Blacc, and a who's who list of others. In 2016 he co-founded Big Crown Records and has since produced the lion's share of its output. A short stint as the touring band for Wu Tang Clan in 2007 led to the cult classics Enter The 37th Chamber (2009) and Return To The 37th Chamber (2017). Adult Themes marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017 in between producing, playing, and recording on other artists' records Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of `60s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental / orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes." The album plays like the colors on an artists pallet. Songs like "Rubix" and "Villa" are densely orchestrated with the hard-hitting drums that El Michels Affair is known for. On "Life of Pablo", Leon's son makes his first appearance on record and intros a song with an epic arrangement and a moving mood. "Hipps" is a drum heavy ballad that could've easily fit on EMA's debut record, Sounding Out the City. Other compositions like "The Difference" and "Kill The Lights" are bare, melodic mood pieces with sparse drums and sophisticated chord movement. All of these tunes come together to make perfect backgrounds for dialogue and action. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With Adult Themes El Michels Affair has created a "choose your own adventure" in musical form.

Andy Crofts announces the release of his debut solo single “Blue”, arriving 17th April on all digital platforms and Ltd edition 7” coloured vinyl to follow in June. Known for a lifetime immersed in music, from leading The Moons to fifteen years playing and contributing to number 1 records as part of the Paul Weller band. Andy now steps forward with a song that signals a new chapter with quiet confidence and melodic clarity.

“Blue” is an uplifting, vibrant track that captures a sense of personal return. Upbeat yet reflective, the song carries the feeling of triumph, not in grand gestures, but in the quiet understanding that the most meaningful victories are often the ones experienced within. With its warm arrangement, memorable hook, and cinematic sense of movement, “Blue” encapsulates the spirit of an artist reconnecting with instinct, melody, and purpose.
The single is taken from Andy’s forthcoming solo album, soon to be announced, a collection shaped by years of experience, observation, and dedication to classic songwriting craft.
Due to the desire to release the single digitally without delay, the limited edition 7” vinyl will follow a few weeks later while it moves through the pressing process. These pressings are strictly limited, and demand is expected to be high.
NOW is the time to secure your copy before they all go. “Blue” is released 17th April on all digital platforms and limited edition 7” coloured vinyl in June. Don’t miss out!

THE NEW RELEASE FROM LUNATIC SOUL - THE ACCLAIMED SOLO PROJECT OF VISIONARY COMPOSER MARIUSZ DUDA - INCLUDES THE BELOVED EPIC 'TRANSITION II' + A BRAND NEW PREVIOUSLY UNRELEASED TRACK - PRESENTED ON JEWEL CASE CD WITH 12-PAGE PRINTED BOOKLET / LP This edition of "Transition II", features newly remixed & remastered bonus compositions from the seventh Lunatic Soul album, "Through Shaded Woods". The release includes such tracks as "Transition II," "Vyraj," "Hylophobia," as well as the previously unreleased recording "Realm of The Weeping Willows," whose first sketch was created during the 2020 recording sessions. "Transition II" turned out to be one of Lunatic Soul's favourite instrumental compositions. Lunatic Soul's founder & leader Mariusz Duda wouldn't be himself if he didn't add something previously unheard, so the release also includes a new piece, "Realm of The Weeping Willows," which began taking shape during the "Through Shaded Woods" sessions but was completed at the beginning of 2026.

THE NEW RELEASE FROM LUNATIC SOUL - THE ACCLAIMED SOLO PROJECT OF VISIONARY COMPOSER MARIUSZ DUDA - INCLUDES THE BELOVED EPIC 'TRANSITION II' + A BRAND NEW PREVIOUSLY UNRELEASED TRACK - PRESENTED ON JEWEL CASE CD WITH 12-PAGE PRINTED BOOKLET / LP This edition of "Transition II", features newly remixed & remastered bonus compositions from the seventh Lunatic Soul album, "Through Shaded Woods". The release includes such tracks as "Transition II," "Vyraj," "Hylophobia," as well as the previously unreleased recording "Realm of The Weeping Willows," whose first sketch was created during the 2020 recording sessions. "Transition II" turned out to be one of Lunatic Soul's favourite instrumental compositions. Lunatic Soul's founder & leader Mariusz Duda wouldn't be himself if he didn't add something previously unheard, so the release also includes a new piece, "Realm of The Weeping Willows," which began taking shape during the "Through Shaded Woods" sessions but was completed at the beginning of 2026.

Repress!

THE M.V.P.'s burst into life on the Northern Soul scene back in 1975 courtesy of Blackpool Mecca DJ Ian Levine and has long since divided opinion. Is it pop, is it soul, are they black, are they white, etc etc. Well, it's a rock record from 1971 and has nothing to do with soul... but everything to do with Northern Soul! It packed the floor at the Highland Room and was adopted as a Wigan Casino anthem and immortalized by Tony Palmer in his 1977 Granada TV documentary This England. It was reissued by UK Buddah, due to popular demand, driven in no small part by the TV show and its 20 million viewers. Now, some 40 years on, we present the iconic track, both stereo and mono mixes, as mastered at the time by Bell Sound's senior engineer Joe Breschie.

SALES POINTS:
All time Northern Soul Classics - Two fabulous sides
Massive appeal to ALL Northern Soul fans
As featured in the film Northern Soul

This third album by Ryo Fukui arrived a full 17 years after Mellow Dream, marking his first and only solo piano recording. Alongside signature pieces like “Scenery” and “Mellow Dream”, the album includes “Voyage” and “Nord”, both written during a trip toward the northern regions, as well as “Nobody’s”, a piece imbued with Fukui’s deep respect for his mentor Barry Harris. The selection is nothing short of a delight for fans.

Here, the depth and weight Fukui cultivated as a bebop pianist blend seamlessly with the profound “Hokkaido sensibility” that had always resided within him. It is a masterpiece that truly deserves to be passed down through time.

Chad R. Matheny veröffentlicht seit 1998 exzentrische, textlich dichte Underground-Popmusik, oft unter dem Namen Emperor X. Nach seinem Studium der Physik, Philosophie und Musikkomposition legte Matheny eine Pause von der akademischen Arbeit ein und verbrachte einen Großteil der letzten zwei Jahrzehnte damit, die Welt mit Bussen und Hochgeschwindigkeitszügen zu durchqueren, um an Orten Musik zu machen, die von einem kleinen, aber vollbesetzten Konzertsaal in Portugal über eine leere Messehalle im Norden des Libanon bis hin zu buchstäblich unterirdischen Metal-Bars in der ganzen Ukraine reichten. Er tourt oft allein mit Gitarre und Synthesizer, teilt sich aber manchmal die Bühne mit Weggefährten wie Ratboys, The Hotelier, The World is a Beautiful Place and I Am No Longer Afraid to Die, Foxing, AJJ, The Front Bottoms und Xiu Xiu. Er produzierte das neue Brian-Sella-Album ,Well I Mean", war Co-Produzent des Sub-Pop-Albums ,Bits" der Jangle-Punk-Legenden Oxford Collapse zusammen mit Eric Topalski von Don Caballero und Storm & Stress und komponierte Videoundermusik für gemeinnützige Organisationen wie Planned Parenthood und SEIU. In den Jahren 2011 und 2012 wurde Mathenys Ambient-Werk ,Keeling Curve" in einer Multimedia-Installation des Fotografen Joel Sternfeld verwendet, die im Rahmen einer Retrospektive im Museum Folkwang zu sehen war.

Mark Jenkin, the BAFTA Award winning director, editor, screenwriter, cinematographer and musician, presents the score to his new film, Rose of Nevada on Invada Records. Unique among British feature filmmakers for the analogue way in which he crafts his films - all three feature films have been shot on 16mm using a Bolex clockwork camera – as well as his multifaceted roles as the writer, director, director of photography and editor of the film, once more he is responsible for handling the sound design and composing the original score.

The new score mirrors the techniques employed in the film, with analogue synthesisers drawing the listener into nebulous hypnotic tones and delicate movements.
Composed, produced, engineered and performed by Mark Jenkin using synthesiser, guitar, percussion and loops & effects, the environmental recordings remind us of the context in which the music was originally borne, but as the score ebbs and flows between ambient tranquil seas and crashing storms, it affirms its presence as a powerful stand-alone piece of work.
The score’s physical release follows the Cornish director’s third feature film: the time-travelling Rose of Nevada cinematic release in UK and Irish cinemas on 24 April, with a BFI Blu-ray and BFI Player release in the summer.

Auf "What's This?" liefern CS Cleaners 11 Tracks verzerrten, neonfarbenen Art-Punk, der gegen die Absurdität des modernen Lebens wettert. Die Band ist beeinflusst von der Downtown-Musik New Yorks von der ersten vielfältigen Welle des CBGB über die Mutationen und Dekonstruktionen des No-Wave. Doch auch wenn der Sound von CS Cleaners in einer Musik verwurzelt ist, die manchmal ziemlich hart sein kann, nehmen sie sich selbst keineswegs ernst: "What's This?" ist in erster Linie Tanzmusik, wenn auch in einer Form, die wild genug für diese extremen Zeiten ist. Die Charaktere, die auf What's This?" porträtiert werden, sind oft in Momenten der Selbstzweifel und Panik gefangen. Wie der narzisstische Musiker auf der Vorab-Single "Come & Go", der total ausflippt, weil er befürchtet, das Rampenlicht zu verlieren. Ben Petrosor vermittelt Pathos in Zeilen wie "if I swallow my pride, I'll split in two", die Mitgefühl für einen unsympathischen Charakter in einer nachvollziehbaren Situation wecken. Wir erleben eine Vielzahl solcher Panikattacken auf "What's This?". Sie entspringen dem Überwachungsstaat der sozialen Medien, dem Druck, in einer zunehmend feindseligen Stadt zu leben, und natürlich der Überlastung.

ReVINYL Random Color Edition. Concrete is a bracing jolt of a song, racing forward on a tightly wound post-punk riff, its call-and-response vocals capturing the turmoil and schizophrenic internal dialogue of the song's subject matter."It's about someone who's trapped in a relationship and they're being pummelled into surrender," says singer and lyricist Charlie Steen. "It's not about a physically abusive relationship - more an emotionally and psychologically draining one. The call-and-response vocals between Steen and bassist Josh Finerty is the central figure's own internal dialogue. They are dealing with two different things that they don't want to address."The band cite The Fall, Country Teasers, Television Personalities and Wire among their biggest influences, and the icily claustrophobic sound of Concrete sets it in a lineage with Magazine, Joy Division. As a lyricist, Steen is a modern flâneur, forensically observing the lives of others around him as they unspool and fracture, with Hubert Selby Jr and Irvine Welsh his primary literary influences. "That graphic and harsh style of writing always interested me," he explains. "It's not about the shock factor; it's about the fact they are talking about these things in such great detail without stripping anything back."The London five piece have swiftly earned a reputation as one of the most visceral and exhilarating live bands in the UK, their combustible shows being honed through a heavy touring schedule in the UK and across Europe. Cutting their teeth on the squat-punk scene in the Queen's Head in Brixton in 2015, where they were taken under the wing of Fat White Family, the white heat of their gigs quickly landed them support slots with Slaves and Warpaint. They were also personally invited by Billy Bragg to play the Left Field stage at Glastonbury this year.Following two singles - the AA single The Lick/Gold Hole and Tasteless on Fnord Communications as well as the digital-only Theresa May-baiting Visa Vulture (described by Steen as "the worst love song ever") - Concrete is the first track to be released as part of their record deal with Dead Oceans."We started this band as a joke that went too far," deadpans Steen. "What we do is quite strange and quite weird, but I get to meet a lot of people and I get to hear a lot of things. I am interested in the surrealism of reality."

Kicked in the Teeth, relies primarily on rip-roaring punk rock & roll guitar riffs and hardcore drum beats. Zeke does one thing, and that one thing they

do very very well - incredibly fast, out of control punk rock & roll, executed with exceptional lead guitar work.

Kicked In The Teeth is available as a limited edition of 500 individually numbered copies on crystal clear & turquoise marbled vinyl and includes an insert.

The dogs bark and the heavy-metal caravan tears through everything in its path. What lies ahead is a twisting, high-voltage journey for anyone with a taste for contemporary sound, and this record offers no lukewarm sightseeing, no pre-retirement indie pop-rock playlist drift. You'll have to learn to dance off-beat, wringing out every neuron before the final rinse. Drink your sweat, not your tears, and burn off the bitterness: that's the intended destination of the trip. This monstrous album has a computer where its heart should be. Three humans are wired into it: Michel Cloup, Manon Labry and Julien Rufié. Layer after layer, they've fed this sandpaper-and-digital-custard mille-feuille. On the menu, heaped and hurtling by the wagonload, the beast is stuffed with screams, laughter, melodies, noise: a frantic feast. It even leaves you wondering who's driving whom. Who seized control? The flesh? The printed circuits? Michel as a Titanic-'n'-Roll conductor? Julien and Manon as demolition apostles? Doesn't matter. For now, it rips, it saws, it strafes, it smashes, without pause. Rock debris_post or not_grumbling Parmentier-pop mash, white-hot hip hop spinning out, electro-disco-kraut fissuring, furious new French chanson: everything shoves its way into the blender. The real free world is here. Michel veers between naïve chants of dwindling hope, barking tsunamis of black fury and other delights, recounting the world in full 360 degrees as well as the twenty metres outside his front door. As ever, he speaks of himself, of us, speaks a lot, speaks too much. The intensity barely drops below the danger line; even the lows are stratospheric. Foot to the floor, calmly. In the thick of it, you'll wander room to room through the small theatre of France's grand political tragicomedy (David, Goliath and Godzilla), the consultation chamber of our disappointments (2027), the community repair shop of our hopes (Catharsis), the literary gym (The Poison, The Antidote), the torture room (H&M, with old Toulousain comrade Fredo Nonstop), the nightclub in flames (Shame, RIP), the electronic shooting gallery (Maria, Background Noise), the XXL confessional (For Whom? For What?) before ending in the Munch Room, the chamber of the primal scream (SISRAHTAC). "In the end, there are no words left. It howls, it howls, and it doesn't stop."

Les Baxter The Passions (1954) featuring Bas Sheva is an experimental, avant-garde, exotica masterpiece with Bas Sheva"s dramatic vocals, ranging from moans, grunts, and shrieks to melodic singing...portraying intense emotions like "Despair" and "Lust," paired with Baxter"s complex, orchestral, and percussive arrangements. Dark, intense, and highly theatrical, it is often described as a cross between a 1950s film score and avant-garde music.Bas Sheva"s voice is like another instrument, wordless, anguished, or ecstatic shrieks abound, and blend well with Baxter"s usual adventurous scoring. Solid Purple colour LP:

Shady Nasty subvert expectations. In a world bound by modded cars, immigrant heritage and digital obsessions, Kevin Stathis, Haydn Green and Luca Watson craft a left-field breed of punk that pushes their formal training in jazz and classical music to its most uncustomary extremes. Influences like King Krule and Low Life surface not as reference points, but as undercurrents absorbed and reconfigured into something unmistakably their own. Debut album TREK has surpassed 2M streams - named one of Rolling Stone Australia's 50 Best Australian Albums of 2025. Fred again.. co-sign ("literally my favourite band in the world right now") drove a major viral surge, leading to collaborative singles "Air Maxes" and "HARDSTYLE 2" (with Fred again.. & KETTAMA), BBC Radio 1 Hottest Record. Sold-out UK debut at The Windmill, London; sold-out album shows across Australia; national support for The Streets (Sydney Opera House Forecourt, Palace Foreshore Melbourne, Fremantle Arts Centre).

Live dates continue into 2026 with Shady Nasty returning to the UK/EU as part of their TREK Tour, hitting up venues in London (Moth Club), Bristol (Strange Brew), Leeds (Hyde Park Book Club), Glasgow (SWG3 Poetry Club), Dublin (Whelan's), Cologne (Garagen), and Berlin (Mikropol), as well as Marrapalooza in Newcastle, Best Kept Secret Festival (NL), and Outbreak Festival in Manchester, before heading to Australia for shows in Brisbane (The Tivoli), Newcastle (King Street Bandroom), Wollongong (UOW Unibar), and Canberra (Fun Time Pony), then back to the UK for All Points East festival, curated by Tyler, the Creator, in August, and a full North American run supporting Militarie Gun (Sept-Oct 2026).

After years of delays and a very public, bitter dispute with Victory Records, Streetlight finally delivered their follow-up to Somewhere in the Between in 2013. The album is the band’s most ambitious in terms of song length and arrangement complexity, with several tracks stretching well past the five-minute mark. It carries a slightly more mature, weathered tone than earlier records, reflecting the turbulent period the band had endured to get it released. Despite the troubled road to release, it was warmly received and stands as a worthy closer to what many consider the band’s classic era.

United by a shared love of 1960s music and Garage Punk, the band has carved out a distinctive sound rooted in infectious riffs, vintage swagger, and raw energy. Their catalog sits comfortably alongside unearthed '60s Garage Rock and Psychedelic gems, delivering songs that jump between English and Spanish, instrumental and vocal, reflecting both their creativity and diverse musical influences. Onstage, THE KILLING FLOORS are electrifying. Their shows are a whirlwind of highvoltage energy, tight harmonies, and explosive performances that pull audiences straight into their world. Each member is a vital piece of a well- oiled Rock 'n' Roll machine, creating a live experience that's impossible to ignore and even harder to forget. And it's precisely that wild live- energy that has been transported onto their debut album "Los Angeles Chicano R'n'R"!

ROCK JUSTICE is a new hard rock/metal act featuring singer Maggy Luyten (Ayreon, Beautiful Sin, The Prize, ex-Nightmare) and guitarist Bas Maas (Doro, After Forever).

The upcoming debut album, You’ve Been Served, is the result of Bas Maas’s long-held dream. He teamed up with Maggy Luyten to shape the powerful, driving sound of ROCK JUSTICE. The album blends varied song styles, tied together by a nostalgic vibe and well-crafted production.

“The idea came to life when I was still playing in After Forever, where I didn’t get a serious chance to contribute to the songwriting. I had written a couple of songs that didn’t make the cut and realized that if I wanted to get my own music out there, I’d have to do it myself, or at least with other people,” says Bas. When he decided to form a band, he had two rules: he wouldn’t sing himself, and it wouldn’t be a female singer. Finding the right guy proved impossible and after several try-outs, one name kept coming up: Maggy Luyten. “Mag’s voice completely blew me away. I thought, ‘This chick sings like a dude and she delivers.’ Not long after that, we met at an Ayreon album presentation in Utrecht. She wanted to hear my songs to see if they inspired her. They did.” The rest is history. Maggy recalls with a smile: “When Bas came over to hear what I’d worked on, we both knew we had something. I still picture him driving back home: window down, our demo blasting, arm out, metal horns up, huge smile!”

WRWTFWW Records unleashes the first ever release of legendary post-disco, funk, soul and electronic UK trio Imagination's cult album Night Dubbing in (well deserved) double LP format. The limited edition full-length comes with pristine audiophile treatment and luxurious packaging : a 45rpm and Half Speed Mastered DLP housed in heavyweight silver cardboard sleeve.
Imagination's singular 1983 album Night Dubbing is a refined deconstruction of black British soul and club pop, filtered through the deep studio and mixing techniques of dub music. Elegant, restrained, and, in its very own subtle way, radical, the record reshapes choice selections from the group's stellar catalogue into an immersive and out-of-this-world listening experience.

The special mixes on Night Dubbing are built on time and space. Basslines elongate and dissolve. Vocals appear, vanish, and reappear like ghosts. Drums fall away into vast silences, while echoes, tape edits, and precise engineering manoeuvres smoothly slide across the stereo field, revealing themselves like magic over repeated listens. Far from simple extensions or 12" versions, Night Dubbing treats the studio itself as an instrument, opening new dimensions of sound.

Often cited as a foundational record in the genesis of the house genre, the album also features the historic Larry Levan remix of "Changes", a Paradise Garage anthem that helped shape the direction of club music for decades to come.

More than 40 years on, Night Dubbing remains a seminal work. Its influence continues to echo through contemporary dance music, offering a blueprint for how pop could be transformed into something darker, stranger, more physical - a timeless sound that drifts effortlessly from the dancefloor into space.

Important note : it sounds amazing played on 33rpm too !

Indie shops only. Limited red vinyl rerelease. 500 for the World (just 80 copies for the UK) After falling out with Sir Coxsone, the legendary head of the Kingston label Studio One, Lee Perry first founded his own band and then, in 1973, set up his own studio in his backyard. What was born out of necessity developed into a unique success story. With both the Upsetters and the Black Ark, Perry made music history - most notably with the 1976 release of the album Super Ape, on which he made the genre of dub bubble and boil from the mixing desk in previously unheard ways. For Perry, the studio is like a living organism. Whether he truly experiences it that way or simply lets too much ganja go up in smoke, for Perry the equipment is organic, empathetic, and intelligent. The catch is that the results sound exactly like that as well. Long before sampling was invented, he layered tracks of deep basslines, echoes, and reverb with various self-recorded sound sequences – often played in reverse - on top of, into, and beneath each other. In other words, Perry was the first producer who made the music instead of the band. Among other things, this earned him the title ‘Salvador Dali of Dub.’

Trace represents a pivotal moment in the evolution of Gridlock, bridging their earlier industrial roots with expansive ambient and IDM-influenced soundscapes.

Released in early 2001, Trace received critical praise and underground acclaim. Reviewers highlighted its blend of melodic drones reminiscent of Brian Eno with fractured beats and immersive ambient textures. Its evolving percussion and layered atmospheres marked a maturation of Gridlock’s original ethos, moving away from harsh industrial noise toward a more melodic, ambient, and cerebral sound.

The duo continued this trajectory on their final album, Formless, before disbanding, leaving behind a small but highly influential catalog. In tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s work with the blessing of Wells’ family.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 1 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
Opening track ‘Ever’ plunges us into deep waters with a sense of dubwise command. The momentum picks up on ‘Ocean’, where the vocal snippet "everyday life" circles around reverbed stabs and intricate hi-hat moves. ‘Motion’ sets the pace with its jumpy but rolling rhythm, leading straight into the eyes-down, party-time energy of ‘Disco Corner’.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 2 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
Given Beatrice M.’s reputation as a prolific collaborator, the LP naturally features a few heavy-hitting joint efforts. Bristol-based Sir Hiss features on the subby, 140bpm techno thumper ‘Juice’, while the LP title track, ‘Sinking’, brings forward Beatrice M.’s fresh take on influences from Tectonic’s past in a bass-driven 4/4 number that demands physical movement. ‘Dear Dubstep’ allows a moment to reflect, placing us in a spacious aqua-cave where atmospheric sounds are punctuated by wumping sub-bass, before we surface with ‘Help’ to catch our breath in the melancholy of the moment.

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 2 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
The album's lead single and sole vocal track, ‘In Touch’, showcases Beatrice M.’s split UK-France upbringing. The track unites French MC Kaba and UK MC Jinnal for a bass-driven anthem that seamlessly trades French and English lyrics. Next up is a vinyl exclusive track: the ‘Remedy Mix’ VIP of ‘Poison’, a rolling, bass-driven tech house/techno crossover version of a track originally released on the Tectonic Sound collection from last year.
‘Here’ sees Beatrice M. collaborating with Jay Carder to create a soulful broken-beat flavoured track as ‘Years’ rounds off the journey with contemplative melancholy, providing a deep and dubby closer.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 10

A1) GusGus - Crossfade (Maceo Plex Remix) (Original Release 2014)

Released in 2014 on the German label KOMPAKT, this remix by Maceo Plex features Ten Walls-like horns, vocals, and pumping drums, making it a true Ibiza floorkiller. The vocals are by Konstantin Sibold. This remix was only released as a white label (Kompakt Exclusive) and has yet to have an official vinyl release. Despite this, it remains a favorite among DJs and clubbers worldwide, regularly played at festivals and clubs.

A2) Plaything - Into Space (Original Release 2001)

This groovy track, released in 2001, contains a sample from Sheila & B. Devotion's Spacer, with Nile Rodgers as one of the producers. The original trackSpacer is an iconic disco hit from the 1970s, and Plaything put a contemporary spin on this classic. The track was a hit in Belgian clubs in the early 2000s, often played by prominent DJs. It has since been released on various labels and remains a timeless favorite in the electronic music scene.

B1) Ion - W.B. (Original Release 2002)

This trance classic by DJ Ion was first released in 2002 on the Belgian label B². The track quickly became a beloved classic within the trance community. Danny Casseau, the producer behind this track, is also known for other legendary works, including the trance classic Ion 98 - Tructure, which had a significant impact on the trance scene. W.B. is a pure, old-school trance track, crafted in the way only tracks from that era were!

This vinyl is extremely rare and hard to find, making it a sought-after item for collectors and trance lovers. It is still played in the sets of DJs who cherish the older trance sound, and it fits perfectly in contemporary sets as well!

B2) Subaltern - Forever (Ledge Forever Remix) (Original Release 2007)

This club banger was released in 2007 on the French label Voices Records and was a popular track in well-known Belgian clubs like Illusion and La Rocca. The Ledge Remix added an energetic, infectious vibe that made it a true hit on the dancefloor. It received an official vinyl release in 2007, but it is now difficult to obtain. Subaltern's Forever remains an unforgettable club classic still appreciated by electronic music lovers.

C1) Lykke Li - No Rest For The Wicked (Joris Voorn Remix) (Original Release 2014)

Swedish singer-songwriter Lykke Li scored a worldwide hit with I Follow Rivers, but also had great success with the powerful track No Rest For The Wicked. The Dutch producer Joris Voorn gave his own tech-house spin to the track in his known style!

Voorn's remix keeps the atmospheric mood of the original but adds a new, dancefloor-friendly dynamic that makes it suitable for the electronic music world.

This is the first time this remix is being released on vinyl since the original release in 2014, making it a rare and desirable item for both collectors and DJs. Thanks to the powerful mix of melody and rhythm, this remix of No Rest For The Wicked remains a timeless favorite that has found its place both in clubs and in vinyl collections of music enthusiasts and DJs.

C2) The Roc Project feat. Tina Arena - Never (Filterheadz Luv Tina Remix) (Original Release 2002)

This Spanish dance track hit Europe in 2003, thanks in part to the legendary remix by the Belgian techno duo Filterheadz. Brothers Bert and Maarten Wilmaers, known for their distinctive techno sound, gave the track their own twist with strong beats and an uplifting bassline, creating a timeless club hit that was heard everywhere in the early 2000s.

The vocals by Tina Arena add an emotional layer, while the Filterheadz Luv Tina Remix has stood the test of time and still gets everyone moving. At 12 Inch Lovers parties, this track never goes unnoticed and often brings the night to a high point. This track is a must-have for both collectors and DJs who love a mix of emotion, energy, and a solid techno sound.

D1) Soul Syndicate - Inside Of Me (Steel Union Remix) (Original Release 1995)

Speaking of a trance classic, this one is a true gem! Inside Of Me was released in 1995 during the golden years of Belgian trance music on the legendary Belgian label Aquatic Records. The Steel Union Remix by Zzino is an absolute favorite among trance lovers.

With its iconic sound and unmatched energy, this track is a true ode to the Belgian trance scene. It remains an unadulterated classic that still makes an irresistible impact, not only at retro trance events but also in the sets of contemporary DJs. Since its release, this remix has been hard to find, making it an even rarer piece of trance history. A track that has stood the test of time and is a must-have for collectors and fans of old-school trance.

D2) Ken Laszlo vs. Disco Dice - Hey Hey Guy (House Dub) (Original Release 2003)

Ken Laszlo, the Italian singer who became globally famous in the 1980s with the iconic Italo-disco hit Hey Hey Guy, received a re-release in 2003 on the house label Dubmental. This version was reimagined by Disco Dice, who gave the track a fresh house vibe with a more modern sound. Belgian DJ Jean, known for his influence on the Belgian nightlife scene, introduced this track into the clubs and transformed it into a club classic.

This release, although released in 2003, is now very rare and hard to find on vinyl. It's a hidden gem that continues to withstand the test of time, making it a valuable collector's item for lovers of both Italo-disco and house.

D3) Icehouse - Hey Little Girl (Infusion Remix) (Original Release 2002)

The Australian band Icehouse released the iconic track Hey Little Girl in 1982 on the British label Chrysalis. This synth-pop track was a big hit and still remains one of the classics from the 1980s. The original track was later included in the remix album Meltdown in 2003, where the Australian duo Infusion created a contemporary electronic remix that gave the track a new dimension.

The Infusion Remix adds a modern, danceable twist to the original synth-pop sound. This version surprised both fans of the original hit and lovers of electronic music, remaining a sought-after track in DJ sets.

This track has been unavailable on vinyl since its original release in 2003, making it a rare collector's item.

Grammy award-winning titan of dance music Purple Disco Machine joins the illustrious list of Defected House Masters with a celebratory compilation. The German producer, DJ and global household name Tino Pointek, AKA Purple Disco Machine, is the blueprint for what makes a successful dance music artist in the modern age; respected on the underground scene while achieving major crossover success with remixes for the likes of Sir Elton John, Dua Lipa and Mark Ronson. The crate digging kingpin of house and disco first landed on Defected over a decade ago, and has since delivered remixes of iconic tracks like Fatboy Slim’s ‘Praise You’ and the London label’s top tracks including Shakedown’s ‘At Night’ and ‘Coma Cat’ by Tensnake – as well as striking originals like ‘Beat Fantasy’. From edits of the classics to remixes of the modern, as well as uplifting originals, Purple Disco Machine has birthed a distinct sound that is instantly recognisable, one that is not afraid to reference or not reference and is always bursting with joy. Across Defected presents House Masters: Purple Disco Machine, the full breadth of the iconic German selector’s sound is felt from the 2019 smash hit ‘Dished (Male Stripper)’ to deep cuts like his re-work of Fallout’s ‘The Morning After’ as well as remixes of legendary tracks like ‘Lola’s Theme’ by The Shapeshifters and Spiller’s ‘Groovejet’ featuring Sophie Ellis-Bextor. Defected presents House Masters: Purple Disco Machine is here to showcase the sound of a bona fide electronic maverick in full.

Nonna Fab returns with the third release on his imprint, Movement and Soul Records, with a 5 track club-focussed EP 'Journey To The Outer Atmosphere'.

Following the success of his last release, we see a deeper dive into the more dance-floor orientated sound that Nonna is curating, spanning deeper soulful house across the release with influences of broken beat, jazz and percussive dance music.

The opening track 'Dawn Chorus' is a trip into a more natural soundscape and deeper arrangement of sound. A perfect track to take a steady dance-floor to higher heights.
The A2, 'Low Winter Sun', aptly named deep house music with no frills. Proper sub-bass tuned for tuned-up soundsystem use.
'Meditations' which is the final track on the A side has clear broken beat influences, percussive, deep and rhythmic. A breather for the dance floor.

The title track of the EP, 'Journey to The Outer Atmosphere' is a big peak time house journey to the cosmos. Expansive synths, 909 kit and if timed well, certified to blow the dance floor up. Clear François K inspiration here.
The final track of the release, 'First Light', is proper deep house music named suitably for an early sun rise roller with a huge hammond organ solo, enough to keep the leavers in the building.

Chet Is back! is the 1962 studio album by the undisputed master of the trumpet, Chet Baker. The album was recorded in Rome, Italy at RCA's studios. Chet is backed by a group of then up-and-coming European jazz musicians, which included Belgian saxophonist Bobby Jaspar, Belgian guitarist Rene Thomas, Italian pianist Amedeo Tommasi, French bassist Benoit Quersin, and Swiss drummer Daniel Humair

Chet Is Back! features compositions by Chet's contemporaries, like Thelonious Monk's "Well, You Needn't", Charlie Parker's "Barbados" and Sonny Rollins' "Pent Up House". The album also includes an original composition by Amedeo Tommasi entitled "Ballata in forma di blues". Although Chet's sweet and tragic vocals are not featured on this album, his soaring and lyrical trumpet playing makes up for it.

Chet Is Back! is available on audiophile black vinyl.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

Mutant, in partnership with Milan Records, and Sony Pictures, are proud to present the premiere vinyl release of legendary composer Joe Hisaishi (Spirited Away, Princess Mononoke, Boy and the Heron) debut American film score, for Koganada's 2025 film A BIG BOLD BEAUTIFUL JOURNEY.

A criminally underseen, and misunderstood, future cult classic ;A Big Bold Beautiful Journey s a capital E Earnest, heart-on-its-sleeve swirling romance that demands re-evaluation. But until it finds its audience, we are here to celebrate one of its most significant contributions to cinema - the debut American film score by the legendary Joe Hisaishi.

For those cinephiles who have yet to journey into the world of Studio Ghibli's animated output, you have deprived yourself of the works of one of the world's greatest living film composers - Joe Hisaishi. Scratching an itch left by the brilliant Yann Tiersen's score Amelie, Hisaishi's score is nothing short of sublime.

If that wasn't enough, this album also features five song performances by Grammy®-Award winning performer and songwriter Laufey, as well as a cover of The Who's song "Let My Love Open The Door" by Mitski.

Originally released in 1981 on the New Jersey-based Debbie Label, Sweet Magic is the one and only album by Lee McDonald. Produced by Ron Foster -
best known as a member of Ecstasy, Passion & Pain—the album is widely regarded as a standout modern soul classic, covering everything from uplifting
Philly-style dancers to sweet and mellow slow jams.

The album also features superb arrangements that update well-known classics into vibrant Philly soul, including The Carpenters’ smash hit “We’ve Only Just
Begun” and Ecstasy, Passion & Pain’s “I’ll Do Anything For You.” This reissue is pressed on limited yellow-colored vinyl inspired by the album’s iconic
illustrated sleeve, long cherished by rare groove collectors.

Black vinyl with Starlight Sparkle effect. Barry "Epoch" Topping returns with the long-awaited soundtrack to BIRDCAGE. The widely celebrated game is the debut release of POLYGON BIRD Games. BIRDCAGE is a fast-paced, vertical scrolling shoot 'em up that blends the explosive action of 90s arcade classics, with modern gameplay and storytelling. What is the value of a bullet, when you wield a sword? While players have been praising BIRDCAGE for transferring retro aesthetics into modern times, the incomparable soundtrack is always pointed out for the same reasons. Entering Barry Topping, who gained recognition for the famous Paradise Killer game soundtrack and lately continued to spread those funky city pop vibes with his very own project The Needs. But for BIRDCAGE it was time to stray from his "trademark sound" and explore a different sonic space he had always been passionate for as well.





[e] 5RAPTOR [FLEDGLING]



[i] 9RAPTOR [MOTHER]

2026 Repress

Here's to a special one..

Ashtar Afterhours is Kenneth Graham - originally from Los Angeles, he has been a defining presence in electronic music ever since the 90s. Buying his first classic synthesizer, a Yamaha CS01, in 1984, he delved into music production at an early stage. Kenneth put out over 40 releases over the years- under his own name as well as stepping up under various aliases- Estelle Montenegro, KG Beat, Exit Strategy and many others. Kenneth also formed some super-groups together with friends, his Sun Children / Sunkiss project- together with David Alvarado- put out highly influential music on legendary Peacefrog Records.

Body Music was originally released on Plastic City in 2001 and it has been a Smallville favourite since a long time, so we are super happy to present this beauty as a repress, as always with a full cover artwork by Stefan Marx.

All tracks written & produced by Kenneth Graham, B3 w&p by Kenneth Graham & Gabriel Ortega
Vinyl cut by Helmut Erler at Lathesville

Die Rock-Virtuosen Dance Gavin Dance aus Sacramento präsentieren die dritte Veröffentlichung ihrer „Tree
City Sessions“-Reihe. Wie schon bei den vorherigen Alben hat die Band auch für „Tree City Sessions 3“
neue Versionen ihrer früheren Dance-Gavin-Dance-Songs aufgenommen, alle mit dem aktuellen Sänger
Andrew Michael Wells.
Die CD enthält 12 Tracks. Die 2LP erscheint auf 140g schwerem „Velaris“-Farbvinyl und bietet auf
der zweiten LP 12 zusätzliche Instrumentalstücke.

Released to celebrate Miles Davis’ centennial, Miles ’56 collects together recordings from the year that Davis recorded his most influential work on Prestige. With cuts from “Cookin,” “Relaxin,” “Workin” and “Steamin”, this collection includes the Quintet of Davis, Coltrane, Garland, Chambers, & Jones. Released on limited 4-LP and remastered from the original analog tapes by GRAMMY-winning engineer Paul Blakemore the set Included new liner notes by GRAMMY-winners Ashley Kahn and Dan Morgenstern.