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Limitierte Reissue des 2021er Minialbums "Fate In Seven Lessons" der US-Dark-Wave-Band Cold Cave auf neonviolettem 180g Glitzervinyl. "Fate In Seven Lessons" ist ihre bisher härteste und romantischste Arbeit – Gitarren treffen auf Synthesizer in einer Flut grüblerischer Klänge, dezenter Psychedelia und düsterem Pop, eingehüllt in minimalistische Poesie. Das gelungene Werk bescherte ihnen einen Support-Slot auf Depeche Modes Europatournee 2023. Singles wie "Prayer From Nowhere", "Night Light", "Psalm 23" und "Promised Land" erforschen Sehnsucht, Liebe und die Räume dazwischen – eine stille Intensität, die nachklingt. Gemastert und für Vinyl geschnitten von Bob Weston beim Chicago Mastering Service.

Limitierte Reissue der 2018er 10" EP "You & Me & Infinity" der US-Dark-Wave-Band Cold Cave auf sonnenblumenfarbigem 180g Glitzervinyl im 12"-Format. Vier Tracks zwischen Cold Wave und Synthie-Pop, durchdrungen von Romantik, Isolation und Sehnsucht. Minimalistisch und doch emotional, zurückhaltend und doch strahlend – Musik für alle, die auf der Durchreise verloren sind. Mit dem hymnischen Live-Klassiker "Glory", einem Song über Veränderung und das schwache, beständige Licht der Hoffnung.

“The hand knows best,” the painter Margaux Williamson says. “A shape produces itself, where I go toward what is intuitive, rather than logical.” The shapely, intuitive songs that comprise Ada Lea's third album, when i paint my masterpiece, are surprising, imagistic, tactile. They stand before us and we feel their brushstrokes. Alexandra Levy holds her guitar against the backdrop of a sea of her paintings on the album cover and it’s tempting to ask: is painting a metaphor here, for music or life? No! As ever, she resists tidy metaphors. She’s a master of this kind of thorny lowercase title that germinates and grows with time. In a real, profound way, music and painting go hand-in-hand as she unveils a new style of subversion and surrealism inspired by her transdisciplinarity.

Levy is a Renaissance woman, and Ada Lea’s albums have been swelling in scope alongside the evolution of her artistic life. Her recent turn toward pedagogy—teaching a songwriting course at Concordia University and co-facilitating a community-based group called The Songwriting Method—weaves another vivid thread into her multifaceted practice. Her debut LP, what we say in private, blurred the lines between interior and performative worlds. Her sophomore record, one hand on the steering wheel the other sewing a garden, featured vignettes centered on Montreal. On this sprawling and ambitious album, written over three years and whittled down from over 200 songs, she asks: what happens when you… pause? How can a life be held suspended in song? The album is a kaleidoscopic exploration of the transformations art can bring: the vision of an uncompromising artist dancing bravely and freely between registers and across mediums.

The album marks a reset—a quiet revolution. After years of relentless international touring, Levy felt an urgent need for community and renewal. Gruelling road schedules with very little support left her wondering: who am I really doing all this for? The system was uncaring and broken, and so it was that she came to envision a new healthy and healing mode of musical genesis. “For me, that looked like resting, extending my creative reach, going back to school, studying painting and poetry,” she explains. “Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.” This need for a more deliberate creative renewal was rejected by her existing systems of support, so she began the search for an alternative.

London’s melodic punk outfit Burnt Tapes have released their most powerful and emotionally chargedrecord to date: New Lungs. Out now via Lockjaw Records, the album is a cathartic journey throughmental health struggles, lost connections, and the desperate hope for renewal.

Produced by Daly George (Creeper, Milk Teeth), New Lungs was recorded in two parts — split between the rustic isolation of an old stable-turned-studio in Aldershot and the famed Ranch Studios in Southampton. The band took a more collaborative, experimental approach to writing this time, building tracks piece by piece and capturing the visceral energy of their live shows.

Sonically, New Lungs builds on the grit and heart of 2019’s Never Better, but cranks up the intensity. Think big, anthemic sing-alongs, driving guitars, and a heavier edge, without losing the melodic honesty fans have come to love. Thematically, the record deals with the toll of depression, anxiety, broken relationships, and the disorienting struggle of trying to move forward while feeling stuck in the past.“

This album nearly killed us to make,” the band admits, “but it feels like the closure we needed. It’s us working through everything—the burnout, the self-doubt, the weight of the last few years.”

With standout tracks like MOTHERSGUILT, New Lungs, You Only YOLO Once, and Graveyards, the album delivers both punch and poignancy—perfect for fans of Hot Mulligan,The Menzingers, and Heart Attack Man.

Burnt Tapesare set to support the release with appearances at Manchester Punk Festival and a run of live dates through the summer.

The 'Canvas' EP. is the final piece in a trilogy of conceptually-linked EPs that the band have released post-COVID. This release sees the band steer in new directions towards a harder-edged, metal-influenced direction, and a lyrical fearlessness that has shaken up the scene, divided long-time fans and sparked urgent conversations while drawing in a new wave of listeners. The band are looking to widen their audience and traverse over to different 'alternative' scenes. The band's tracks have landed several editorial playlists, including: Today's Punk (Spotify), SkatePark Punks (Spotify), New in Rock (Apple Music) Track info: Growing up with rampant homophobia left Millennials with past behaviours to unpack and internalisations to unlearn. DARKO’s powerful single ‘Override!’ ponders what became of the kids who were bullied for being themselves. DARKO blend raw vulnerability with their trademark intensity. The result is a powerful, cathartic anthem that confronts past pain while fighting for a better future.

‘Platinum Rare 2’ contains extremely rare recordings by the four original SWEET members. The legendary glam/hard rock band continues to thrill fans all over the world to this day. Over the years, SWEET have sold more than 55 million records and reached 34 number 1 chart positions. The songs on ‘Platinum Rare 2’ come from the private archive of SWEET guitarist Andy Scott and were personally selected by him. Fans of the band will be thrilled with this collection of rare and alternative takes and mixes. Many of the songs on the album have never before seen the light of day on a regular SWEET release. ‘Platinum Rare 2’ is an absolute enrichment for every true fan of SWEET.

Bone with Red Splatter Vinyl. New album from Field Medic, "surrender instead". surrender instead is everything a Field Medic fan could want and everything a Field Medic agnostic could need as a convincing sampler. The album returns to each checkpoint in Sullivan’s career thus far, documenting a twentysomething musician becoming a thirtysomething musician—an artist settling into what life exists just beyond the pale and oft-daunting demands of songcraft. This music does not adhere to one shape, and Sullivan is acutely aware of his own lore. He does not avoid well-trodden ground, but this is not the patchwork of old material that Floral Prince was near the dawn of this decade. These songs spawn from a never-finished nexus that hems the Field Medic universe together.

Acid Tongue is an American garage band heavily influenced by classic soul, punk & psychedelic rock. Formed in a damp Seattle basement in 2015, the band immediately hit the road, extensively touring the US & Europe and refining their unique brand of rock & roll. The brainchild of singer/songwriter Guy Keltner, the band also includes numerous touring & studio musicians scattered between Paris, New York, London, Mexico City, & Los Angeles, with a rotating roster that seems to grow larger by the day. In 2015, Acid Tongue established their own label, Freakout Records, and in 2017 the band released their debut album, aptly titled BABIES. The album is a soulful, stoney, heartfelt approach to modern psychedelia. Their 2020 sophomore album, BULLIES, expanded upon the themes of their debut, cementing the band as the Pacific Northwest's most unique garage-rock proprietors. For their third studio album, ARBORETUM, the band recruited veterans from the psychedelic rock scene during production, resulting in first-rate collaborations with artists such as Death Valley Girls, Naked Giants and Canadian singer Calvin Love. Acid Tongue's fourth full-length, ACID ON THE DANCEFLOOR, showcases their now signature sound and a back-to-basics approach to rock music. Incorporating elements of glam, R&B and post-punk, the album is a loud, funky and chaotic acid trip that redefines "the Seattle sound". Acid Tongue's latest album, SCARS, is the band's most personal release to date. The record is moody, atmospheric and overflowing with the psychedelia and punk rock characteristics that have defined the band's sound over the past decade.

"Melbourne's unofficial Techno Poet Laureate" The Guardian. Like a rural Australian mix of Sleaford Mods and EDM. Diagnosed as an epileptic at 33 Our Carlson has since channeled his anger, confusion and anxiety into music. Through his methods may seem a tad unsound this is serious stuff, albeit served up with a backing track of party vibes, orchestrated by DJ Cash Daddy (CASH SAVAGE).

PUBLIC HOUSE is a project formed in 2024 by Wolfgang Buckley (Stiff Richards) and James McClurg. What started as bedroom demos morphed into a punk powerhouse that has been gradually sneaking their way onto stages in and around Melbourne and into the ears of eager listeners. Releasing their first track, Rich Cunt Party (recorded at home), in early 2024, fans were left eagerly awaiting for a year until their next singles, Death Van, Twist The Knife and Garbage Bag Balaclava were unleashed in quick succession - with more on the way. Before heading back to the studio to work on their debut album later this year, PUBLIC HOUSE make their way to Europe for the first time for a small run of high-octane shows, which are sure to blow the froth off any beers within a two-mile radius of any sound system they are legally allowed to plug into. BEWARE.

s its title suggested, Groove Armada’s third studio album, issued in September 2001, was a more upbeat statement than its predecessor, Vertigo, and spawned two singles - the certified banger ‘Superstylin’’ and the slyly funky ‘My Friend’ - alongside a series of accomplished grooves featuring guests of the calibre of Richie Havens, Nile Rodgers and rapper Jeru the Damaja.

Now approaching platinum status in the UK, this is a seamless journey through the many moods of clubland, encompassing house, hip-hop, left-field and disco-funk

Die 90er sind zurück – knallbunt und voller Energie! Mit „Cappella – Best Of“ erscheint endlich eine farbige VinylEdition mit den größten Dancefloor-Hymnen der legendären Eurodance-Ikone Cappella.

Diese exklusive Pressung enthält die größten Erfolge der italienischen Hitmaschine – darunter unvergessene ClubBanger wie „U Got 2 Let The Music“, „Move On Baby“ und „U & Me“ – alle im kraftvollen Originalsound, remastered und bereit für deine Plattensammlung.

"A New Life is not an album. It does not belong to a ‘genre.’ Not aesthetic, not ironic, not for consumption. Not intellectual—it is felt. It speaks from coherence—structure beneath the noise. Grief, anger, stillness are not flaws here—they belong. Featuring harp and saxophone by Róisín and Cathal Berkeley. A return to truth. To be human without the mask. Integrated, not performed or bypassed."

Classic black 2LP in gatefold! "Her darkest, heaviest and most personal album yet . . . a haunting, doomy exercise in loud-quiet dynamics." Rolling Stone Sleep paralysis plagues singer/songwriter Chelsea Wolfe, and that strange intersection of the conscious and the unconscious has inadvertently manifested itself within her work. Across the span of her first four albums, there is an underlying tension, a distorted and nebulous territory where dark shadows hover along the edges of the sublime and the graceful. But until now, Wolfe's trials and tribulations with the boundaries between dreams and reality have only been a subconscious influence on her work. With her fifth album, Abyss, she deliberately confronts those boundaries and crafts a score to that realm she describes as the "hazy afterlife. an inverted thunderstorm. the dark backward. the abyss of time." Chelsea Wolfe's material has always felt intensely private, from the almost voyeuristic bedroom-production aesthetic of her debut album The Grime and the Glow to the stark themes and atmospheres of 2013's Pain Is Beauty. "Abyss is meant to have the feeling of when you're dreaming, and you briefly wake up, but then fall back asleep into the same dream, diving quickly into your own subconscious," says Wolfe. To conjure this in-between world, Wolfe continued her ongoing collaboration with multi-instrumentalist and co-writer Ben Chisholm and drummer Dylan Fujioka, with Ezra Buchla brought on board to play viola and Mike Sullivan (Russian Circles) enlisted to contribute guitar. The ensemble traveled to Dallas, TX to record with producer John Congleton (Swans, St. Vincent). In the back of her mind burned the words of designer Yohji Yamamoto: "Perfection is ugly. Somewhere in the things humans make, I want to see scars, failure, disorder, distortion." The resulting eleven songs reflect that philosophy as they smoulder with human frailty, intimacy, quiet passion, anxiety, and deep longing. "Sleep and dream issues have followed me my whole life," remarks Wolfe as she revisits notes from the writing and recording sessions. In a way, these issues have become a part of Chelsea Wolfe's identity, for whom the notion of sleep as an escape has been subverted. Abyss captures this dichotomy, this battle between the soothing and the upsetting, and demonstrates why Chelsea Wolfe has become one of the most intriguing songwriters of the decade.

Die Singer/Songwriterin CHELSEA WOLFE leidet unter Schlafparalyse und es ist die seltsame Verbindung zwischen dem Bewussten und dem Unbewussten, die sich ganz unfreiwillig in ihrer Arbeit manifestiert. Über ihre ersten vier Alben hinweg herrscht eine untergründige Spannung, ein verzerrtes und nebulöses Territorium, in dem dunkle Schatten über die das Himmlische und Grazile huschen. Bisher waren die persönliche Kämpfe WOLFEs mit den Grenzen zwischen Traum und Realität nur ein unterbewusster Einfluss auf ihre Arbeit. Mit ihrem fünften Album, "Abyss", konfrontiert sie die Grenzen zum ersten Mal offen und erschafft eine Filmmusik zu dem, was sie "Das verschwurbelte Nachleben. Ein umgekehrtes Gewitter. Die düstere Rückwärtsbewegung. Den Abgrund der Zeit." nennt. Das Material von CHELSEA WOLFE hat sich schon immer extrem privat angefühlt; von der fast schon voyeuristisch anmutenden Schlafzimmerproduktion ihres Debüts "The Grime And The Glow" bis zur schroffen Atmosphäre von "Pain Is Beauty" von 2013. "Abyss fängt diese Zweischneidigkeit ein, diesen Kampf zwischen dem Beruhigenden und der Erschütterung, und demonstriert damit, warum CHELSEA WOLFE eine der faszinierendsten Songwriterinnen dieses Jahrzehnts ist. Ltd 2LP im Klappcover "Her darkest, heaviest and most personal album yet . . . a haunting, doomy exercise in loud-quiet dynamics." Rolling Stone 2015

Released in 1997, Uptown Saturday Night is the acclaimed debut album by Bronx hip-hop duo Camp Lo. Known for its smooth blend of jazz- influenced production and 1970s-inspired flair, the album stands as a standout in East Coast hip- hop. Produced primarily by Ski Beatz, the album features lush, nostalgic beats that complement Camp Lo’s unique slang, stylish delivery, and cinematic storytelling.

The lead single, “Luchini AKA This Is It”, became a cult classic, praised for its infectious groove
and sophisticated wordplay. Other highlights like “Coolie High” and “Black Nostaljack AKA Come On” showcase the duo’s charismatic chemistry and retro vibe.

Uptown Saturday Night received critical acclaim for its originality and timeless aesthetic,
cementing Camp Lo’s place in hip-hop history. Its fusion of golden-era rap and soulful funk makes it a must-listen for fans of classic 90s hip-hop and genre-defying creativity.

Uptown Saturday Night is available as a limited edition of 2000 individually numbered copies on translucent blue coloured vinyl.

Black Swan is a 2010 American psychological thriller film directed by Darren Aronofsky and starring Natalie Portman, Vincent Cassel, Mila Kunis and Winona Ryder. The plot revolves around a production of Tchaikovsky’s Swan Lake ballet
by a prestigious New York City company. Usually described as a psychological thriller, Black Swan can also be interpreted as a metaphor
for achieving artistic perfection, with all the psychological and physical challenges one might encounter.

The original score for the film was composed by Clint Mansell, an English musician, composer, and former lead singer of the band Pop Will Eat
Itself. Mansell was introduced to film scoring when director Darren Aronofsky hired him to score his debut film, Pi. Ever since Mansell wrote the score for many of Aronofsky’s films. Notable additional film scores include The Fountain, Moon, Smokin’ Aces, Requiem for a Dream, The Wrestler, Doom, and High-Rise.

Shelter is best known for its founder and frontman, Ray Cappo, who is considered as one of the most prominent representatives of the ‘krishnacore’ scene, which mixes the elements of hardcore
with a strong spiritual message. Formed in the early 90’s, Shelter was Cappo’s second band - previously he was the frontman of Youth of Today.

Originally released in 1997, their second album Beyond Planet Earth finds Shelter moving more in a “Pop-core” direction, with songs averaging 2-3 minutes. Some pretty catchy stuff can be found on this album.

Listen to tracks: “Alone on My Birthday”, “Refusal” and “Time is Ticking Away”.

If you appreciate hardcore’s energy, but feel that the music and lyrics are too one-dimensional for your taste, chances are you’ll find those missing elements in Shelter’s music.

Beyond Planet Earth is available as a limited edition of 1000 individually numbered copies on purple coloured vinyl and contains an insert.

Lee ‘Scratch’ Perry & The Upsetters’ classic Return of Django. Lee Perry had already been making name in the Jamaican music scene for about a decade before Return of Django hit the UK charts in 1969. It was released after Trojan released
a hugely popular collection of Perry’s biggest instrumentals. This album is a must for everyone that enjoys that good old vintage reggae sounds.

Lee ‘Scratch’ Perry was a pioneer of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys.

Return of Django is available as a limited edition of 1000 individually numbered copies on white coloured vinyl.

New Surrender is the fourth studio album by American alternative rock band Anberlin, released in 2008. It marked their first album under a major label, Universal Republic Records, after signing with them in 2007. The album blends alternative rock and emo influences, featuring a mix of energetic and introspective tracks. Songs from the album are “Breaking”, “Miserable Visu (Ex
Malo Bonum)” and “Feel Good Drag” which was originally released on their earlier album Never Take Friendship Personal, but in this re-recorded version became the most successful single.The album peaked at number 13 on the Billboard 200 and number 5 on the Billboard Modern Rock/ Alternative Albums chart. It was produced by Neal Avron, known for his work with bands like Yellowcard and Fall Out Boy.

New Surrender is available on black vinyl and includes an insert with lyrics.

Released in 1993, The Love of Hopeless Causes is the sixth studio album by British post-punk and alternative rock band New Model Army. The album delivers powerful, politically charged lyrics and intense instrumentation. Key tracks like "Here Comes the War," "Living in the Rose," and "Fate" showcase the band's signature blend of raw energy, thought-provoking storytelling, and anthemic melodies. The album’s themes explore social unrest, personal struggles, and resistance, reflecting New Model Army’s unwavering commitment to their message. Produced by Niko Bolas, The Love of Hopeless Causes was the band's only release under Epic Records. With its mix of fiery rock anthems and atmospheric ballads, the album remains a standout in New Model Army’s discography, appealing to both longtime fans and newcomers to their music. The Love of Hopeless Causes is available on black vinyl.

Hatebreed vocalist Jamey Jasta described Supremacy as an “all-out onslaught of completely adrenaline-charged, in-your-face brutality,” and who are we to argue (in fact, we’d be afraid to)?! Hatebreed came up through the Connecticut hardcore scene (they actually kind of invented it), and recorded acclaimed albums for the Victory and Universal labels before moving to Roadrunner for this 2006 record, which featured the debut of guitarist Frank “3 Gun” Novinec. Supremacy’s sonic assault took it to #31 on the charts, but there’s more to it than just piledriving riffs; Jasta’s personal statement (reproduced on the insert) is remarkable for its honesty and its quasi-Nietzschean philosophy, and the lyrics (e.g. “Mind over All;” “Supremacy of Self”) follow suit. Remastered for its U.S. vinyl debut by Mike Milchner at Sonic Vision, pressed in ruby red wax!

New pressing for this album, in translucent highlighter yellow. Inspired by minimal pop and the pioneers of electronic music, LES MANIÈRES DE TABLE, Annie-Claude Deschênes’ first solo album, is as danceable and melodic as it is disquieting and dystopian, proposing to set the table differently by deconstructing the social codes of politeness imposed on us. Conceived during the lockdown to overcome the surrounding inactivity, the songs that make up LES MANIÈRES DE TABLE were not intended to be released. It was by familiarizing herself with new technologies (drum machines, sequencers) that the conceptual and aesthetic ideas that define the album began to develop organically. Through producing beats composed from samples of utensils, table etiquette became a source of inspiration, a form of conformity that she enjoyed deconstructing. At the same time, a fascination for surveillance cameras and other futuristic-looking, but already obsolete technologies became part of her visual universe. Her experiments gradually evolved into a full-fledged project reminiscent of the works of the pioneers of electronic music. The album is inspired by Steve Reich’s minimalism, Kraftwerk’s synthetic textures, Herbie Hancock’s stylistic diversity and experimental cinema’s non-traditional approach to narration.

The line between art and entertainment has always been fuzzy. Certainly, there’s plenty of overlap between the two, but lately it feels like there’s a growing divide, an ever-widening chasm separating our fundamental need for creative expression and our insatiable appetite for disposable content. That’s where T. Hardy Morris comes in.

“I’ve spent a lot of time parsing the difference between the two,” he explains, “not just for myself, but for society at large. What does it mean to be an artist? How do we measure creative success? Where are the boundaries between audience and performer when everyone’s broadcasting their lives 24/7?”

Morris dives into those questions headfirst on his riveting new album, Artificial Tears, and while the answers don’t come easily, the search yields plenty of reward. Recorded in Nashville with My Morning Jacket’s Carl Broemel at the helm, the collection is an electrifying work of existential exploration, a raw, rock and roll reflection on meaning and identity in a modern world that’s simultaneously more connected and isolated than ever before. Despite the weighty ruminations at its core, the result is a remarkably grounded, down to earth album that’s at once honest and abstract, a poignant, clear-eyed look in the mirror from a master craftsman committed to his work for nothing more—and nothing less—than its own intrinsic value.

Join the band leader of the modern masters of exotica; ÌXTAHUELE, Mattias Uneback, on a new mind- bending sonic adventure with love and dreams as the driving force! Inspired by library-, exotica-, beat- and psychedelic music as well as the breathtaking landscape of the Swedish mountain world. These are the Now Sounds for your cocktail lounge and Tiki bar.

Wombo’s third album, ‘Danger in Fives,’ isn’t a reintroduction; it’s a reminder. Throughout ‘Danger in Fives,’ Wombo — the Louisville-bred three-piece of Sydney Chadwick (bass/vocals), Cameron Lowe (guitar), and Joel Taylor (drums) — not only enhance their formula, but routinely perfect it. The 11 tracks on ‘Danger in Fives’ fine tune Wombo’s enchanting alchemy while firmly pushing the band into new territory.

Wombo first connected in Louisville in 2016 and have crafted a unique lane over the near-decade since forming, contorting post-punk structures into uncanny shapes. On ‘Danger in Fives’ they twist another knot into their belt, and come out creatively renewed. Throughout ‘Danger in Fives,’ it’s clear what has made Wombo one of the most respected bands in their class, and it’s thrilling to hear them command new terrain.

Wombo’s third album, ‘Danger in Fives,’ isn’t a reintroduction; it’s a reminder. Throughout ‘Danger in Fives,’ Wombo — the Louisville-bred three-piece of Sydney Chadwick (bass/vocals), Cameron Lowe (guitar), and Joel Taylor (drums) — not only enhance their formula, but routinely perfect it. The 11 tracks on ‘Danger in Fives’ fine tune Wombo’s enchanting alchemy while firmly pushing the band into new territory.

Wombo first connected in Louisville in 2016 and have crafted a unique lane over the near-decade since forming, contorting post-punk structures into uncanny shapes. On ‘Danger in Fives’ they twist another knot into their belt, and come out creatively renewed. Throughout ‘Danger in Fives,’ it’s clear what has made Wombo one of the most respected bands in their class, and it’s thrilling to hear them command new terrain.

Hard to believe that this multiplatinum record—boasting the #1 Modern Rock single “Good”—has never been widely available on vinyl. Originally self-released by Better Than Ezra in 1993 and re-released by Elektra in 1995, Deluxe provides a ticket back to that beloved jangle-pop, college radio sound. Also features the alternative hit singles “In the Blood” and “Rosealia.” 2-LP emerald vinyl pressing inside a gatefold jacket, reissued with the full support of the band!

Motown’s L.A.-based Mowest label lasted less than two years, but managed in that short time to release some of the most adventurous music the company ever put out. And probably the most intrepid—and nowadays, adored—Mowest release of them all was the 1992 self-titled release from Odyssey. This one-off brought elite West Coast sessionmen like Wrecking Crew mainstay Don Peake, one-time Chicago member Donnie Dacus, and arranger/orchestrator extraordinaire Gene Page together with a bunch of West Coast hippie rockers (as Peake says, “We were invited to lunch, introduced to some nice people and told we were going to form a band”).

The happy result was a record that has appeared on more deejay turntables than you can count, a one-of-a-kind blend of funky Motown bottom with a spacy sensibility and sound that fits right in next to, say, the latest Khruangbin album on your psychedelic chill playlist even as it activates your 5th Dimension sunshine pop endorphins. The single “Our Lives Are Shaped by What We Love” is probably the pick to click, but the whole album is a total vibe. We’re reissuing Odyssey for the first time ever in the U.S. (the Japanese have long been all over this album) in blue-green “ocean spray” vinyl, complete with original album art including the lyric insert. Remastered for the format by Mike Milchner at Sonic Vision, and pressed at Gotta Groove Records for superior sound. A must!

'exclusive tour tapes' limited quantity available for distribution

Limited split tape collaboration between like-minded pranksters Lagoss & Babau. Co-released by Sucata tapes & Artetetra in July 2025.

‘’The chars were emerging as some chunk of makeshift swamp coolers blasted the soil surrounding our motorbikes. Sunburn vapours floating grey all around, licking our necks with heavy hazy tongues. Just oppressive and gross. Blah.

Someone says heat waves are among the most dangerous natural hazards. I guess that the magnetic tides did not help at all. For sure, recreational sleep deprivation aside, it was days of relentlessly documented tipsy headaches, thermometric cicada noises and weird-ass hallucinations. It is what it is. The age of earthquakes. We drink from our black plastic bags with a straw pushing a bit of oxygen thru our reptile brains. Just half a pack of synthetic tobacco for the ride. No internet. Whatever.

She looks at me behind the war metal glasses and the silicone frog mask high on desert dust. Sweaty pools on her shoulders. Eyes purple with adrenaline. Map on the scratched screen. “It says that at this point we should be hearing that fucking flute”. We stop amidst the geysers. We can see the monoliths and stone gods ready to eat up all the solar storms and the thunder. Towards the horizon, second moon is up. Damn. Water rises to our knees, green with bloating sounds. Just what we needed. We’re stuck. "Turn up the radio. Let’s hope it lasts five minutes." After trashing a bunch of fake subtropical signals, the radio plays a flute. She takes off the mask and explodes in a grin: “This is it man, we made it! No man’s land. The real fucking thing.” I light one up and let the sight get blurred: “You betcha.”’’

Welcome to another deep dive into Thighpaulsandra’s salacious sound-world. A double album opus, Acid and Ecstasy synaptically sabres a host of immersive soundscaping, raucous rock moments and lyrically sharpened balladry we’ve all come to expect from this troubled troubadour plus plenty of fleshy surprise. Seven weighty tracks that potently tangle you up in the best of ways and chauffeur you around an eclectic circus of unadulterated genius. Displace dis-belief and crucify your curiosity - you will not be disappointed…

Available on double vinyl or CD from Retractor.

20th anniversary edition (180g) with new master. Candlemass is a Swedish doom metal band formed in Upplands Väsby, a suburb of Stockholm, in 1984 by bassist, songwriter, and bandleader Leif Edling, alongside drummer Matz Ekström. The band has had a defining influence on doom metal, with the epic doom genre itself taking its name from their debut album Epicus Doomicus Metallicus. Along with Pentagram, Saint Vitus, and Trouble, Candlemass has been recognized as one of the "big four of doom metal". In November 2004, the band announced their second reunion. They recorded a new album, simply titled Candlemass, and it was released in May 2005. The album earned them a Swedish Grammy that year.

This studio collaboration between the French Dub pioneers and the famous Dub kids from Lyon seems to have been really prolific in terms of quality and quantity. All along these tracks, you can hear a successful hybridization between two major dub bands. The steppa rythms are mixing themselves with the ethnic ambiances of scratches, synths and drum rolls so precious for High Tone. Try to recognise which sound comes from which band on this album made of improvisations with electronic breaks and floating atmosphere.. To make it short, an awesome meeting displaying its devastating effects.

CANDLEMASS - a name forged in darkness; a legacy built on doom. Born from the cold shadows of Stockholm in 1985, this Swedish titan of epic doom metal has stood as a monolithic force for nearly four decades. In 2025, CANDLEMASS marks 40 years of sorrow-laden grandeur, a testament to their unwavering reign over the genre they helped shape. Their journey began with the seismic release of “Epicus Doomicus Metallicus” (1986), a requiem that redefined heavy music, followed by the monumental “Nightfall” - both now sacred texts in the annals of doom. These albums remain cornerstones of a genre that thrives in the echoes of CANDLEMASS somber majesty. Despite doom’s reputation for slow, crushing weight, CANDLEMASS themselves show no signs of slowing down. Relentless and untamed, they continue to storm stages worldwide, bringing their towering hymns to devoted Candlemaniacs from Tokyo to Los Angeles. With Grammy win in Sweden and a U.S. Grammy nomination in 2019, the band’s fire still burns with undiminished intensity. Originally released in 2009, “Death Magic Doom” is the tenth studio album from CANDLEMASS.

"Enter The Dragon" is a tune I've been playing for a few years that people have been messaging me about non-stop, asking for track IDs, release information & up until now, there was no real likelihood of it coming out since it had been forthcoming on a release scheduled for Lucky Muffin Records (a Green Bay Wax sublabel), which had been on the cards for a long time, but there was no sign of any imminent plan for release.

That was until Percussive P sent me a new tune he'd done recently called "Vibrating Harmony", which I really liked & wanted to put out on the label. This reminded me of "Enter The Dragon" which was still not out by that point, so I approached Kid Lib to ask if he'd be up for letting me release "Enter The Dragon" with "Vibrating Harmony" on Future Retro London. Reluctantly, he did & here we are...

Big thanks to Percussive P on his excellent work on both tunes, to Kid Lib for allowing me to put out "Enter The Dragon" on Future Retro London and to all the people over the years who were curious what this tune was when they heard it on my Mixmag live set, my Resident Advisor podcast & wherever else me or other DJs that had the tune were playing it at.

I had known of Ontology for a few years now, for her releases on Meditator Music & some of the sublabels of Amenology, but I got to know her a bit better last year, when she helped me & Dwarde get a booking in Nashville, Tennessee, where she is based & we got to meet her, work on some music with her and also see her DJ.

Since then, she's been sending me some wicked tunes of hers that she's been making and "This Music Belongs To All Of Us" was a track she sent me, which I absolutely could not refuse. I had to have it for release on Future Retro London and that led to FR038, which also has remixes from DJ Sofa, me & a VIP mix that Ontology had made shortly after finishing the original.

Big up to Ontology for the wicked beats, for DJ Sofa for her quality work on the remix & a special shout to all the people me & Dwarde hung out with in Nashville (Nicholas Latiff, Sterbo, Digimon, Lapilli & everyone else I've forgotten to mention!)

2025 Repress, New Colour variant, Apricot colour vinyl. Led by vocalist Amy Boone (The Damnations, TX), Cory Gray on keyboards, & horns, Tucker Jackson (The Minus 5) on pedal steel, as well as former Richmond Fontaine members: Sean Oldham, Freddie Trujillo, and Willy Vlautin. Vlautin, the acclaimed novelist and songwriter for Richmond Fontaine, has penned all ten tracks. Recorded in Portland, Oregon and produced by John Morgan Askew, The Imperial shows us again why songwriter, Willy Vlautin became so enamored with Amy Boone"s voice. The combination of Vlautin"s songs and Boone"s voice creates a late night country soul world full of hopefulness and heartbreak.

2025 repress in a new colour variant (Pearl White colour vinyl) with printed innersleeve. The third album proper for "Country-got-Soul"s finest, The Delines, on Decor Records sees them exploring the US Gulf Coast, not far from where Amy Boone grew up. The songs in this cinematic opus all focus around this area and are inspired by when Amy asked Willy Vlautin to write her a song like Tony Joe White"s "Rainy Night In Georgia" after her tragic accident being hit by a car in 2016 and her 3 year recovery. This follows on from 2019"s The Imperial which was number one in the UK official AMA charts for two weeks. Written and partially recorded before lock down the rest of the album was finished last Summer, produced by John Morgan Askew at his Bocce studios just outside of Portland, Oregon.

Der Musikstil der Gruppe kann im Groben der Rockmusik zugeordnet werden. In der Tat handelt es sich
bei der Gruppe um eine Post-Hardcore-Band der neueren Schule. Die Musik weist auch Elemente aus dem
Alternative Rock, Pop-Rock und Pop-Punk auf, wie etwa „Sing-Alongs“

Musikalisch schon immer auf der Schnittstelle zwischen Rap, Gitarrensounds und sogar Country unterwegs,
legt mgk (Machine Gun Kelly) diesen Sommer sein wohl bisher wichtigstes und persönlichstes Projekt vor
– „lost americana“ erscheint am 08.08.25.
„lost americana“ ist mgk’s kompromisslose Neuerfindung und der Beginn einer Ära, bei der es um klassisches Storytelling, Identität und Selbstentfaltung geht.
Angeführt von der ironischen und doch retrospektiven Leadsingle „cliché“ verwischt das mittlerweile siebte
Album die Grenze zwischen Satire und Authentizität und vereint Humor, Nostalgie und Kulturkritik auf
mgks’s einzigartige Weise.
„lost americana“ nimmt Hörer*innen mit auf eine emotionale und ehrliche Reise durch staubige Diners,
dem simplen Leben von früher und der eigenen Selbstreflexion.
Seit seinem ersten Album „Lace Up“ (2012) ist mgk (damals noch unter den Namen Machine Gun Kelly
bekannt) zu einem der einflussreichsten US-Musikern avanciert.
Singles wie „Bloody Valentine“ und „My Ex’s Best Friend” wurden zu weltweiten Hits, die beiden letzten
Alben „Tickets To My Downfall“ und „Mainstream Sellout“ zu Nr. 1 Charterfolgen, „Tickets To My
Downfall“ wurde zudem in der Kategorie „Best Rock Album“ bei den Grammys nominiert.
lost americana“ erscheint am 08.08.25. als CD und auf Vinyl