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Released by Hegoa Records and Night School Records.
Greatest Heads is the fourth album by the radical Basque- Berlinesque group Al Karpenter. A deconstruction of structured “rock” music, here Al Karpenter re-imagine “the band” to explore the intersection between Free music, afro-beat, the avant garde and gonzo rock.
If Theodore Adorno wrote “To Write Poetry after Auschwitz is Barbaric” in 1949, Al Karpenter attempts to answer the difficult question today; what kind of music can be done in the face of a genocide? Álvaro Matilla, Marta Sainz, Enrique Zaccagnini & Mattin’s response to the planet’s slipping into a vortex of hate is to create a music ecstatic, a music of protest bursting with multiple musical languages and glossaries, full of overlapping histories and thrilling tensions.
Greatest Heads posits a plurality of musics both in opposition and intertwined: Al Karpenter play rock instruments pulled apart in the studio in post-production. Distorted rhythm chunks bit-crushed and dissipated, segments of freedom oppressed by waves of sound invading from every direction. The interplay between the chief instrumentalists and renowned, storied sound artist Mattin creates something akin to ESP freedom-seekers Cro Magnon playing in Miles Davis’ early 70s groups, The Los Angeles Free Music Society tightening up into a clenched fist of plunderphonics and runaway percussion.
We Are All Karpenters opens Greatest Heads with the most straight-forward song refrain of the record accompanied by a band that soon crash into eruption, imagining Sun City Girls in full free rock mode.
The modulating synth sound soon sucks the band into its wake to create a spine-chilling climax of distorted sound, made fully orgasmic with mastering engineer Rashad Becker’s attention to detail. On Izugarrizko Buruak (Greatest Heads), Matilla intones in Basque over a mangled distorto-beat. A Brand New Astraphobia creates a black space for a heavily processed guitar to blow up before falling to earth at night, a gentle figure serenading the coming end.
On Side B, the band begins by being masticated by a brutal phaser, squelching and stretching the music into new territories. The overt message of Stop The Genocide! is besieged by violence before Worm City aggressively samples the ghosts of soul music, mixing in noise bursts, prepared piano and swiping, abstracted sound. Epic closer Perfect Love feels like a beat poetry performance on a burnt world, still grasping for community, for home, for some sort of human love. A Mad love, then; an angry love fuelled by solidarity and collaboration.
The band’s cascading layers of references and polyglottal musics attempt to create the perfect lover, alive with rage and disorientating ecstasy: Al Karpenter.

2025 Repress

In 2022, Daniele “Shield” Contrini of Rebirth Records proposed Paraíso to the great man himself, a compilation honouring Alfredo’s legacy. After Alfredo’s passing in December 2024, the project was final; with artists rallying to honour his vision and memory.

Before becoming a global clubbing hotspot, Ibiza embodied freedom—a place where sunrises blurred into sunsets and music became a way of life. In the 1950s and '60s, the island drew artists, hippies, and outsiders seeking escape and creative liberty.

In 1976, Alfredo Fiorito, fleeing political repression in Argentina, arrived in Ibiza and stayed. A former music journalist, he soon began DJing at Amnesia, a farmhouse-turned-club where time bent and boundaries dissolved. With eclectic, genre-defying sets, Alfredo blended reggae, flamenco, soul, rock, and early house, crafting a hypnotic energy that captivated a generation.

British DJs like Trevor Fung, Paul Oakenfold and Danny Rampling brought this “Balearic Beat” back home. But Balearic wasn’t a style it was a mindset. As DJ Leo Mas said, it was “a state of mind,” where rhythm, spirit, and psychedelia merged.

Other clubs like KU, Es Paradis, Pacha, and Lola’s amplified the movement. Visual artists such as Yves Uro gave it a striking identity, and DJs like César de Melero, DJ Pippi, and Jon Sa Trinxa carried the sound into a new era. José Padilla’s sunset sessions at Café del Mar birthed chill-out music as breath, not just beat.

But the 1990s brought change. Laws requiring roofs on clubs altered the open-air magic. Commercialisation followed; freedom became luxury, and many pioneers left.

Still, the Balearic spirit lives—raw and untamed. It pulses in hidden parties, intimate venues like Pikes and Hostal La Torre, and sacred places like Benirrás and Las Dalias.

Featuring 16 tracks of classic and true Balearic sound; alongside House & proto-House tracks that Mr Fiorito spun, the album also includes an unreleased Alfredo track and stands as a tribute to the man, the music, and the enduring spirit of true Ibiza.

"Irritating Post Punk New Wave Kraut Disco Trash Duo from Switzerland in Glitter Tights and Spandex Wigs with obscure and high potential Dancing Beats and and songs that stick in your brain like chewing gum". It's their fifth' full lenght amd second for VVR! DIE GROSSE KUNST DER REDUKTION: BLIND BUTCHER ist ein abstraktes musikalisches Künstler/Musiker-Duo aus Luzern der Schweiz, welches Glitzer-Leggings trägt und das Gesicht hinter einem Leuchfarben-Spandex Vorhang versteckt. Ihre Ästhetik und Outfits werden angefertigt von Corinne Odermatt, aber vor allem überzeugen sie durch ihre Musik, die einem, wenn mensch sie live erlebt, nicht aus dem Staunen herauskommen und perplex im Raum stehenlässt. Wie zwei obskure Kreaturen von einer anderen Galaxie treiben sie ihren Disco Beats durch den Raum, oder wie hier durch die Rille einer Vinyl-Schallplatte. Aufgenommen wurde diese zweite Produktion für Voodoo Rhythm beim renommierten Swamp Land Studio in Toulouse Frankreich mit Lo Spider (Destination Lonely) und gemastert in Detroit von Bill Skibbe at Third Man Mastering. Das Coverfoto und Artwork entwarf Ralph Kuehne. Classic black Vinyl LP 180g including Booklet and free Download Card

Starman Records, the Belgian label also specialized in re-releases of Belgian rock from the 60s, 70s, and 80s, has so far released five volumes in the highly anticipated and widely acclaimed Belgian Vaults Series by the press and fans.

These unique albums focus entirely on the sixties and early seventies, compiling many very hard-to-find tracks, mainly originally released as singles on small, long-forgotten labels. Pop, beat, rock ’n’ roll, psych... gems worth rediscovering. The Belgian Vaults are not just collector’s material; the albums offer restored and remastered sound quality and are specifically curated to appeal to all sixties rock fans.

This deluxe 2025 vinyl edition of The Grateful Dead's Grayfolded was pressed at Optimal in Germany, known for their high end audiophile pressings.In 1993 Canadian composer John Oswald was invited by Phil Lesh to transform historical recordings of the Dead into something new, along the lines of what they had attempted in their Anthem of the Sun album.

Oswald chose to focus on the Dead’s Dark Star, which, over the courseof a quarter century, they had expanded and transformed in myriad waysin live performances. Oswald was given access to the Vaults, whereover the course of a month, with the guidance of the Dead's resident archivist Dick Latvala, he collected 105 performances, which throughthe following year he formed, folded, fondled, and finessed into a kaleidoscopic unstuck-in-time documentary of the Grateful Dead in someof their most psychedelic, symphonic, and rocking excursions— asingular 110-minute fantasy performance.Here it is, Deadheads, the ultimate Dark Star is now on vinyl. Deluxe audiophile pressing cut in Toronto under the watchful ears of John Oswald. Elaborately printed packaging in a heavy duty triple gatefold jacket includes liner notes by musicologist Rob Bowman featuring interviews with Jerry Garcia, Phil Lesh, and Robert Hunter plus six"time maps" which chart the source concerts of Dark Star.Music performed by The Grateful Dead (c) Grateful Dead Productions Inc. & Ice Nine Publishing Inc.

Taken from over 100 performances of Dark Star recorded between 1968 and 1993. Built, layered and "folded"to produce one large, new re-composed Dark Star.John Oswald is best known as the the creator of the music genre Plunderphonics, an appropriative form of recording studio creation which he began to develop in the late sixties. This has got him in trouble with, and also generated invitations from major record labels and musical icons. Meanwhile, in the í90ís he began, with several commissions from the Kronos Quartet, to compose scores for classical musicians and orchestras, the latest of which is an orchestral work,commissioned by the BBC, combining aspects of The Beatles, Gyˆrgy Ligeti, and Terry Riley. He also improvises on the saxophone in various settings, dances, and is a successful visual artist, best known for the chronophotic series Stillnessence

Dubstep, not Dubstep? Originally released in 2002, The Red EP was a bold fusion of Techno and Garage from the mind of Artwork. Drawing from his "Grain" techno project and the UKG sound he championed for years, this release laid the groundwork for what the world would soon call Dubstep — or did it? Broken beat/Bruk dons Bugz In The Attic were hammering Red in their sets, including this title on their “Fabriclive” mix CD in 2003 which shone further light on the EP, helping it soar in demand once again. “The Red EP” has never been repressed until now, with second hand copies exchanging hands for highs of £100 and lows of £40. Big Apple Records boss John Kennedy is blessing us with this repress which is a must have, even if you have the original, because now after Artwork found an unreleased gem on a DAT, we have added the find “RELIC”. It’s soooo punchy! You'll be hearing this all over the place all over again this summer. Limited edition Solid Red vinyl copies. DO NOT MISS OUT! BUY or CRY!

On the cover of 8 Tips for Full Catastrophe Living, the new album by Asher White, The Statue of Liberty is in pieces but not destroyed - in progress, being built, not yet complete. Her torch is on the ground, her head somewhere out of frame. Before she was a symbol, she was metal, and living, sweating people riveted her together. The spirit of de/construction characterizes 8 Tips, White's 16th LP overall and first since signing to Joyful Noise. Like White's previous albums, 8 Tips for Full Catastrophe Living darts boldly among varied musical styles. Doom metal splits open into bossa nova; psychedelic rock and power pop flip into industrial techno. Each song emerges from its composite parts in the studio: White doesn't draft or demo before recording, but builds out her pieces sculpturally, sound by sound. "It's forever collage, forever assemblage," she says of her music. "To me, it has more to do with J Dilla, L.A. beat, and musique concrète than pop songwriting." The record's quick turns and vivid contrasts reflect White's cultural voraciousness. A writer, painter, and sculptor as well as a musician, she gathers materials constantly, always digging for new ideas in every possible form. The films of Claire Denis, the novels of Clarice Lispector, and the memoirs of Eve Babitz all funnel into White's reflection of 21st century disaster capitalism. 8 Tips is also White's first album to have been mixed outside her Providence studio; after recording it herself, she brought tracks to Seth Manchester (Lightning Bolt, Battles, The Body) who gave the album its brawny, unruly charge. "I was interested in making something that serves dually as a self-help book and a chronicle of self-destruction," says White. Overlaying autobiography onto character vignettes, 8 Tips for Full Catastrophe Living wrenches open the idea of apocalypse - an abrupt disaster rained down on uncomplicated innocents - and peers inside at its bursting, devastated particulars. Apocalypse is slow and uneven. Nations falter as do individual people, clinging fast to their old, dilapidated self-preservation strategies. What saved you in the past might destroy you in the future. Flip it around, shake yourself loose, ruin the person you've known yourself to be, and you might get the chance to become something else. "There have been so many end times, many other apocalypses." White says. "People were writing self-help tips, and people were partying." We have survived catastrophe before. Out of the ruins, people made work - art, books, culture. "I was interested in making something that sounds like a self-help book, but it's actually about self-destruction," says White. "In full catastrophe living, you just have to do a bunch of whippets. This album is mostly about doing whippets. I'm not even kidding."

Selector Dub Narcotic hat uns beim letzten Mal gewarnt: "The Party Is Just Getting Started". Das ist OK, wir wollten nie, dass sie endet. 9 Jahre später beehrt Selector Dub Narcotic uns wieder einmal mit ihrer Präsenz und präsentiert "When Boys Cry" KLP309, eine vier Songs umfassende EP von unvergleichlicher Pracht. "When Boys Cry" ist eine echte Schnulze, die vier Taschentücher eingebracht hat - eins für die Beats, eins für die Reime, eins für die dunkle Schokoladenfrisur und eins für ich weiß nicht was, aber es bringt alle zum Tanzen. Wieder einmal arbeitet Selector Dub Narcotic mit dem Northwest Hip-Hop Produzenten Smoke M2D6 zusammen. Der Titelsong "When Boys Cry" schwebt in einem melancholischen Dunst; "Love Don't Come Around" sinniert über die Muse und alle unbeabsichtigten Konsequenzen; "Excuse Moi" ist eine freche kleine Nummer; "California Trippin'" erinnert uns daran, dass in jedem unserer Unternehmungen Freude steckt. "When Boys Cry" wird von drei digitalen Vorab-Singles begleitet, bevor es als 45rpm 12" EP in den Plattenläden des Planeten erscheint. Perfekt für die nächste gesellige Veranstaltung oder das antisoziale Grübelfest.

"Songs For Other People's Weddings" ist ein Begleitalbum zum gleichnamigen Buch von Jens Lekman und dem preisgekrönten Bestsellerautor David Levithan, das am 5. August 2025 über ABRAMS erscheint. Das Projekt wurde von der überraschenden Nebenkarriere des beliebten schwedischen Künstlers als Hochzeitssänger inspiriert, die zufällig zustande kam, nachdem Fans seinen Song "If You Ever Need A Stranger (To Sing At Your Wedding)" aus dem Jahr 2004 wörtlich nahmen und ihn einluden, auf ihren Hochzeiten aufzutreten. "Songs For Other People's Weddings" ist ein fiktives Werk über J, einen unglücklich verliebten Musiker, der nebenbei als Hochzeitssänger arbeitet. J trifft sich mit Paaren vor ihrem großen Tag, um mehr über die intimen, seltsamen Dinge zu erfahren, die sie zusammengebracht haben, um einen originellen Song zu schreiben, den er ihnen auf ihrer Hochzeit vorträgt. Aber trotz Js Vorliebe, die perfekten Worte für andere zu finden, scheint er nicht in der Lage zu sein, dasselbe für seine eigene Liebe zu seiner Freundin V. zu tun. Lekman bemerkt: "Die Idee, ein erzählerisches Konzeptalbum (eine Rockoper?) zu machen, fühlte sich verboten an. Was für mich normalerweise ein Zeichen dafür ist, dass ich auf dem richtigen Weg bin. Als ich mich mit dem Genre der narrativen Konzeptalben beschäftigte, wurde mir klar, dass eines meiner Lieblingsalben, Frank Sinatras "Watertown", genau das war - eine Platte, die eine chronologische Geschichte über die Länge einer LP erzählte. Da ich nie ein Fan von Musicals oder Rockopern war, diente mir dieses Album als Inspiration. Ich schrieb das Album, während das Buch noch in Arbeit war, und an einigen Stellen begann ich mir vorzustellen, was zwischen den Kapiteln des Buches geschah. Das Buch und das Album waren schließlich miteinander verflochten, gingen aber auch ihre eigenen Wege. Das Buch gab die Struktur der Geschichte vor, aber das Album schlich sich manchmal hinter die Kulissen. Geschichten aus den Liedern fanden ihren Weg in das Buch und umgekehrt." "Songs For Other People's Weddings" folgt der Beziehung von J und V und verändert sich musikalisch, während das Paar durch die Höhen und Tiefen der Liebe navigiert - wobei jede neue Hochzeit ihren eigenen klanglichen Hintergrund bietet. Das Album ist eine orchestrale, romantische Sammlung, die sich zwischen pastoralen Streichern, verträumtem Pop, sanftem Jazz-Saxophon und traurigen House-Beats bewegt. "Die Figur des J kann seine eigenen Emotionen nicht aus seinen Liedern heraushalten, und Jens unterstreicht dies auf eine Weise, die den Hörer immer wieder überrascht", sagt Levithan. "Oft wird er von Matilda Sargren begleitet, die Vs Gefühlen und Gedanken eine Stimme gibt. Ursprünglich sollte sie nur auf den Demos singen, aber als sie anfing, V zu singen, war es keine Frage, dass sie auf dem endgültigen Album zu hören sein würde. Wenn Jens und ich unsere Arbeit getan haben, erzählen der Roman und das Album beide Seiten von Js und Vs Geschichte - und die Spannung entsteht dadurch, wie diese Seiten zusammenpassen." Lekman fügt hinzu: "Auch wenn es in dieser Geschichte um eine Beziehung geht und darum, wie sie sich in den Beziehungen und Hochzeiten anderer widerspiegelt, denke ich, dass es vor allem eine Liebesgeschichte über Musik und ihren Wert in einer Zeit ist, in der sie von Tech-Unternehmen abgewertet und in Inhalte verwandelt wird. Ihre Fähigkeit, zu beruhigen und zu verbinden und ihre Rolle in den Übergangsmomenten unseres Lebens, wie zum Beispiel bei Hochzeiten. Es ist ein Liebeslied an Liebeslieder."

It had long been in the air, many had feared it, and now it's come true:
DJ Koze and Dirk von Lowtzow have recorded a single together.
The two have known and admired each other for so long that, in certain circles, people are already speaking of love. Fittingly, their song is called: “Nur um Liebe” ("Only About Love").

But, as Oscar Wilde once said, only the unfaithful know the tragedies of love—so this track is far from peace, joy, and sunshine.
Set to an ecstatically pulsing beat, we witness the story of a couple drawn together and pushed apart, full of passion and tenderness.
A miniature musical life drama!
A wild ride through the undergrowth!
A dark summer hit!
Dive into this darkly colorful world—let Kosi and Dirky seduce you.
And remember: "In the end, it was always only about love."

Can you believe it? Devendra Banhart's Cripple Crow - originally released by XL in 2005 - is turning 20 years old. This was the 5th album from the Venezuelan American artist who is considered the pioneer of the "Freak Folk" and "New Weird America" movements. To celebrate - Devendra has compiled a reissue of the out of print release that features a 3rd Bonus LP (on Clear Green Smoke Vinyl) featuring 9 bonus tracks, including 1 B-Side, 5 previously unreleased demos, 2 previously unreleased live tracks, and 1 unearthed smash hit from the recording sessions. This release is the first on his newly created Heavy Flowers label. The album received a "Best New Music" 8.4 review from Pitchfork upon its release. The release date will fall 1 day prior to the actual 20th Anniversary, which will be the first time Devendra is early for anything. Now THAT is something to celebrate! Limited to 2000 units on 3xLP with Bonus LP on Clear Green Smoke Vinyl. 36 tracks of music and 1 track of .... well... you decide! "Cripple Crow is undoubtedly impressive, vastly singular but entirely accessible, and an inspired listening experience where Banhart again proves himself as one of the more talented and charismatic forces in modern music." - Pitchfork

Deaf Club continues their scathing indictment of society with their second full-length album, being released on Southern Lord and Three One G: We Demand a Permanent State of Happiness. Fast wit and faster blast beats are mainstays of the band, but there is also a sense of growth. This is their strongest songwriting yet, incorporating more hooks and good old-fashioned moments to mosh while staying as weird as ever. Raygun guitar riffs and unexplainable sounds abound. Justin Pearson, Brian Amalfitano, Scott Osment, and Jason Klein excel at inciting emotion in the face of apathy and voicing disgust amid a world rapidly burning.

After delighting fans of all ages with the surprise children's hit "Long Legged Larry," underground hip-hop icon Aesop Rock returns with "Roadwork Rappin'," a joyful ode to construction vehicles and the kids who love them. Inspired by the fascination many children have with bulldozers, front loaders, and cranes, the track delivers clever rhymes and vivid descriptions in classic Aesop fashion_this time with a whimsical twist. Over a minimal beat with a bouncing bass line that evokes the lumbering roll of oversized construction tires, Aesop celebrates the sights and sounds of work zones, bringing dump trucks and backhoes to life with vivid wordplay. The song is part educational, part imaginative world-building, capturing the wonder of watching giant machines reshape our surroundings. What makes it shine is Aesop's funny and wildly specific wit, packaged in a format that's approachable for younger listeners but still rewarding for longtime fans. With "Roadwork Rappin'," Aesop continues to expand his creative universe in unexpected ways, proving once again that his pen knows no bounds. Whether it's blaring from a car seat playlist or sparking nostalgia in adults who once chased garbage trucks down the block, this track is a joyful celebration of curiosity, machinery, and the poetry hiding in plain sight.

NEW SAINTS sind Mel Quitt (Gitarre) und Harry Darling (Gesang und Gadgets) - und nein, sie sind nicht vom Himmel gefallen. Beide sind seit mehr als einem Jahrzehnt fester Bestandteil der Punkrock-Szene und schreiben, nehmen auf und spielen seit ihrer Jugend zusammen Musik. Mit ihrer vorherigen Band BITCH QUEENS haben sie über 7 Alben veröffentlicht und ausgiebig durch ganz Europa, die USA und sogar Japan getourt. Die NEW SAINTS bleiben ihren Wurzeln treu, während sie eine erfrischend vielfältige Mischung aus schweren Gitarren, Hardcore-Gesang, elektronischen Beats und verzerrten Synthesizern bieten. Es ist modern, aber echt, direkt, aber melodiös, sozialkritisch, aber unterhaltsam - ein perfekter Mix, der dich gleichzeit tanzen und pogen lässt, bis der Schweiss von der Decke tropft!

Starman Records, the Belgian label renowned for re-releasing Belgian rock from the 60s, 70s, and 80s, has so far released five volumes in the highly anticipated and widely acclaimed Belgian Vaults Series, praised by both press and fans.

These unique albums focus entirely on the sixties and early seventies, compiling many rare and hard-to-find tracks—mainly originally released as singles on small, long-forgotten labels. Covering genres such as pop, beat, rock ’n’ roll, and psych, these gems are well worth rediscovering. Belgian Vaults are not just collector’s items; each album features restored and remastered sound quality and is carefully curated to appeal to all fans of sixties rock.

Starman Records, the Belgian label also specialized in re-releases of Belgian rock from the 60s, 70s, and 80s, has so far released five volumes in the highly anticipated and widely acclaimed Belgian Vaults Series, praised by both press and fans.

These unique albums focus entirely on the sixties and early seventies, compiling many very hard-to-find tracks—mainly originally released as singles on small, long-forgotten labels. Pop, beat, rock ’n’ roll, psych... gems worth rediscovering. The Belgian Vaults are not just collector’s items; the albums feature restored and remastered sound quality and are carefully curated to appeal to all sixties rock enthusiasts.

Record Collector (4-star review): “Devotees of late 60s/early 70s fuzz will be entranced.” — “All high vaultage stuff.”
Shindig: “True obscurities, long overdue their moment in the sun.”
OOR: “A marvelous piece of rock history.”
De Standaard (4-star review): “An amazing piece of Belgian heritage.”
Cobra.be: “The Belgian equivalent of ‘Nuggets’!

We’re excited to present this special edition vinyl celebrating Lofi Girl’s collaboration! For the second year running, we’re proud to sponsor the Champions Chess Tour 2024—the largest online chess tournament in history with a $1.7 million prize fund and the world’s top players competing for glory.



This vinyl features our curated compilation, synthwave beats to play chess to, blending the focus and creativity of synthwave music with the strategy and brilliance of chess.



Thank you for joining us on this journey—let the games (and the beats) begin!

Neo funk rising star Buscrates aims high with Blasting Off, his first full-length album. The Pittsburgh-based keyboard cosmonaut has been grabbing ears since his days hooking up beats with the hip hop crew East Liberty Quarters, but after slinging spicy one-offs to a slew of hot labels like Omega Supreme, Voyage Funktastique and Razor N Tape (as well as contributing production to Wiz Khalifa and Curren$y's 2009 project), the time has come for a full-length featuring his growing modern funk repertoire.

"I'm a '90s hip hop dude, but I grew up on that '80s funk stuff," Buscrates acknowledges. DJ gigs provided a working knowledge of the jams that moved a contemporary crowd, and as his collection of keyboards and drum machines grew he began blending the best of both decades with his personal futuristic edge. "I was nice on the MPC but I wanted to have a little more dynamic range with what I was doing," he notes. The self-described "certified synth geek" was soon branching into sounds that recalled '80s legend Kashif crossed with the hip hop bounce of DJ Spinna, and the modern funk community took notice.

For his first full-length, Buscrates has crewed up with an ace team of collaborators, featuring vocalist Sally Green on the bouncy lead single "Lost And Found" and "Eight Nine." Kate Moe Dee takes over mic duties for the second single, "How Ya Gonna Do It," a slinky groove that slides in place alongside groups like the Sunburst Band and Rene & Angela as an exemplar of sophisticated R&B. Adding to those credentials are the sultry vocals of Anda on "Believe," but of course, it wouldn't be a Buscrates set without some stank, neck-snapping instrumentals. "Five Days" and "Sure Shot," both collabos with the drum technician DJ Epik, will rattle speakers and have already been lighting up message boards on recent Buscrates DJ sets. Round things out with some easy gliding, jazzy funk ("Turn It Out" with Brothermartino on flute and "Evergreen" featuring Tony Ozier) and you've got all the ingredients for a high-flying cosmic ride with Buscrates at the controls.

"Paloma mensajera" (featuring members of New Juggler Sound / Laghonia) shows the shift that was taking place within Peruvian rock away from psych and hard rock which had predominated during the early 70s. The style adopted by Grupo Amigos (and other bands and artists during this period) highlights the influence of soft rock, UK, US and Latin American folk rock and, above all, the desire to keep the melodic greatness of The Beatles alive. This reissue includes bonus tracks and extensive liner notes. DESCRIPTION "Paloma mensajera" (featuring members of New Juggler Sound / Laghonia) shows the shift that was taking place within Peruvian rock away from psych and hard rock which had predominated during the early 70s. The style adopted by Grupo Amigos (and other bands and artists during this period) highlights the influence of soft rock, UK, US and Latin American folk rock and, above all, the desire to keep the melodic greatness of The Beatles alive. The positive reception albums by artists such as We All Together, Telegraph Avenue and Zulu garnered between 1972 and 1975, marked a change of paradigm and in preferences within the Peruvian rock scene. Eclecticism gained new ground, to the detriment of the sectarian and orthodox, while melody grew more present and visible, moving away from the progressive experimentation that typified underground Peruvian rock up to the beginning of the 70s. For their first single on MAG, included on this reissue, the band adopted a formula in which Beatles harmonies converged symmetrically with folk motifs. 'Dirty Girl' was a hit on the radio. A full album followed but only a fairly small number of copies of the album were pressed, which seems to have been the main reason for omitting it from the historical accounts of Peruvian rock music from the late 90s onwards. In "Paloma mensajera" all compositions were penned by the group, after several years during which cover versions were a staple. Some of the musical resources that the band had at their disposal in terms of composition and arrangements are striking and even surprising, considering that they were a debut band, whose members were under the age of 20. The arrangements included the clever use of a Moog synthesizer which had just arrived at the MAG studio. The success achieved by the Beatles tribute performances played by the members of Grupo Amigos for decades have eclipsed the songs that Edmundo, Andrés Da Ros and Simón Ames composed with youthful enthusiasm and energy between 1972 and 1973 to the point where they have almost been forgotten. This re-release of "Paloma mensajera" should help rectify this major injustice. It includes bonus tracks and extensive liner notes.

Bendik Giske’s Beatrice Dillon-produced 2023 album gets an addendum with reworks from Carmen Villain, aya, Hanne Lippard, Hieroglyphic Being, Wacław Zimpel and Dillon herself.

Giske’s clearly got his ear to the ground; his last remix record was an invitation for Laurel Halo to put her stamp on »Cruising«, while 2018’s »Adjust EP« roped in Deathprod, Total Freedom, Lotic, and Rezzett. Now comes this new LP of remixes and it’s one of the best we’ve heard in aeons. Carmen Villain boots things off with a remix of »Slipping«, following her excellent (and way, way too underrated) »Nutrition EP« with a giddy, subtle roller that sounds as if it’s been constructed using only Giske’s raw stems. His breaths and leathery key presses – already amped up by Dillon’s detailed recording – are magicked into a dubby concrète groove that’s enhanced with the sparest melodic elements: echoing rainforest-at-night horn blasts, and lopped off decay trails that help fuel the momentum.

aya’s revision of the same track takes a different approach, forming forceful overlapping polyrhythms from Giske’s clanks, using the gamelan-like arpeggios for melodic weight and repetition. The result is a constantly shifting, hypnotic trancer that’s achingly organic – more Raja Kirik than Paul Van Dyke. Polish clarinetist and producer Wacław Zimpel, meanwhile, supplements his trippy recent collaboration with James Holden on a similarly levitational wrinkle of »Slipping« that twists Giske’s quivering sequences with microtonal synth prangs, and gusty echoes. But it’s Jamal Moss who plays fastest and loosest with Giske’s source material, calling back to April’s psy-house stunner »Dance Music 4 Bad People« with a powdery, sexualised banger that buries the breathy »Start« stems underneath neon synths, and brittle drum loops.

»I’m a digital nomad,« Lippard deadpans over Giske’s »Not Yet«. »I’m addicted you know that.« It’s a typically dry treatment from the conceptual artist that unexpectedly amps up the hypnotic qualities of Giske’s original, adding her circuitous charm to his concertina-ing sax sequences. And to tie things up perfectly, Beatrice Dillon returns with her diaphanous remix of »Rise and Fall«, built to emphasise the radically different approaches of each artist.

20,000 fans were there for The Beatles’ first appearance in Canada at the open-air Empire Stadium, Vancouver. The boys’ set lasted just under half an hour and they forgot to play ‘I Want To Hold Your Hand’. The show was broadcast live by local radio station CKWX and the engineer only got the balance right on the fourth song, the vocals on the previous songs had too much distortion. It almost didn’t happen as the airline pilot didn’t have the correct paperwork for entering Canada, and the group only got to the venue at 9.15pm. The fans loved it but the critics were less impressed. “Seldom in Vancouver’s entertainment history have so many paid so much for so little” said Jack Wasserman, covering for Owl Prowl radio show.

"Seminal Live" wurde ursprünglich 1989 veröffentlicht und ist ein ziemlich einzigartiges Album im reichhaltigen Katalog von The Fall. Es wurde nämlich zu einer Hälfte im Studio und zur anderen Hälfte live aufgenommen. Es war gleichzeitig die letzte Veröffentlichung der Band bei Beggars Banquet und das letzte Album, auf dem Gitarristin Brix Smith zu hören ist. Die Neuauflage von "Seminal Live" erscheint auf gelbem Vinyl. Aufwändig remastered wurde "Seminal Live" von Kevin Vanbergen. Zudem enthält der Re-Release ein neu gestaltetes Artwork, sowie ausführliche Sleeve Notes und einen QR-Code, der auf geheimnisvollen digitalen Wegen zu exklusivem Bonusmaterial führt. Die Studioaufnahmen auf Seminal Live sind allesamt neue Songs und bilden die erste Seite des Albums. Die Live-Aufnahmen auf der zweiten Seite sind hingegen allesamt Versionen bereits veröffentlichter Titel. Einige der Songs auf Seminal Live gehören zu den besten Songs von The Fall aller Zeiten. Seite eins enthält "Dead Beat Descendant", und ihre Coverversion von Lonnie Irvings "Pinball Machine" steht in der bewährten Tradition der Country-Coverversionen von The Fall.

Waage is at the heart of the contemporary dub techno scene and makes another fine statement with this outing on Icelandic titan Exxon's X/OZ Music. This is his fourth outing and it could be his best: 'W9' rolls with great depth and grainy dub textures that speak of a subterranean world. 'W10' is more dark and heavy like it's soundtracking a dirty factory after dark. 'W11 (feat Cold)' layers in some psychedelic swirls to frictionless beats that could roll for days and never get old. 'W12 (feat Exos)' is lighter and more airy with a playful bounce in the drums.

Who doesn't love a good edit? And who really does them much better than Danny Krivit, a veteran of the game with millions of them (probably) to his name. Here he turns his hand to Sjuya Okino's 'Thank You (feat Navasha Daya)' which is a jazz dancer with effervescing broken beats, busy chords and live percussion under a freeform scat vocal that brims with soul. On the flip, DJ Kawasaki edits a Dimitri Form Paris mix of 'Give Your Love A Chance (feat Clara Hill)' which has a Chic-style bass riff and big disco energy that's ripe and ready to bring good times to any party.

mimismooth, a one-of-a-kind singer widely recognized for her work with numerous artists such as Sick Team, Senninsho, and Green Butter, as well as for her

collaborative project First Jam Magic released under the name BudaMunk x Takumi Kaneko (cro-magnon) x mimismooth.

1Co.INR, a beatmaker based in Yamaguchi Prefecture on the western tip of Japan’s main island, is known for his releases on Jazzy Sport such as the album
Enough Said and his collaborative work with DJ Mitsu The Beats on BEATS OF THE MONTH SPECIAL. Now, their highly anticipated collaborative project
Kanojo to Umi (""She and the Sea"") is finally being released as a fully limited-edition vinyl pressing!

Ben Pest and ARA-U unite for the next release on No Static / Automatic. Kaos Sympatic EP started life with the pair recording jams of various vintage studio kit, including an EMS VCS3, Roland VP330 and an Orgon Systems prototype known only as the “Silver Box”, which developed into full tracks over subsequent sessions. Ben Pest has been busy releasing high grade club tracks including collabs with Radioactive Man and Kursa for Asking For Trouble and Love Love Records last year, and with solo EPs dropping on Cultivated Electronics and Posh End music. Here he links with NS/A boss ARA-U, turning out some of their headiest material to date.

The EP kicks off with ‘Err Hello’, it’s wholly discordant, lairy, and unapologetically weird. ‘‘Get A Grip’ drifts in with hallucinatory wafts of sound over a warped riff, building into a granular, distorted headfuck of a hoover-bass moment. This one will make the subs rattle on the right side of distortion. On the B Side title track ‘Kaos Sympatic’ gets stuck in with a big broken beat and guttural sub that transforms into a techno drop to drive this track home. Finishing up, ‘Slapback’ serves up a cut of high energy electro funk, coming off like classic ERP on heat. Limited edition purple vinyl.

Japan’s SUDO return to Drumcode with ‘We Are Free’, following their landmark 2024 debut ‘Real World’ Last summer brothers Isao and Takashi aka SUDO gifted Drumcode one of the most inspiring releases we’ve heard in recent times with ‘Real World’. Inspired by Underworld’s incendiary ‘Rez’, the EP was the sound of two producers pouring all their passion and shared musical history into a work that’ll be remembered for years to come.

The release peaked at no.1 on Beatport’s Release Charts and saw a follow up collaboration with Bart Skils ‘Nexus’ out later that year on Drumcode. ‘We Are Free’ continues SUDO’s emotion-led and timeless approach to techno, crafting a four-tracker inspired by the concepts of “freedom, divinity, memory and transition”. The title track genre-hops between electro-edged techno, silky ambient textures and breakbeats. Isao says: “We wanted to express in a powerful and explosive way one of our purposes on the dancefloor – a time of celebration, and freedom from restrictions.”

‘Elysium’ is a transcendental slice of techno that juxtaposes tough industrial rhythms with a stunning break that was inspired by a children’s choir Isao heard one day at Berlin Cathedral. “It took a long time to producer with many patterns until we were satisfied,” Isao shares.

“It was a real process of immersing oneself in the hypnotic groove and finding divinity.” Initially inspired by watching Bart Skils play a NYE 2025 set in Argentina, ‘Lost in Paradise’ is led by a delicate Latin vocal and crisp sun-dappled beats, before stepping up the pace in the second half. “As the production progressed, we were led to a wonderful result with the track’s vocal, a tribute to one of our biggest influences – the untouched nature of Ibiza and the vibes of the light and beautiful people that flow there.” The EP winds down with ‘Horizon’, a simultaneously beautiful yet bittersweet hymn that signals the end of the party.

Makhunik Records Presents: "Withdrawals" - A Bold New Vinyl Release by RAKANS Withdrawals, the highly anticipated follow-up to Emergence EP and Deep State (Midnight Stallion) EP, marks a bold new chapter in RAKANS's ever-evolving sonic journey.

Set for release on I Makhunik Records, Withdrawals explores the tension between desire and detachment, featuring five tracks that blur the lines between electronic, experimental, and club sounds. Available on vinyl, Withdrawals invites listeners to experience the raw and intimate emotions that inspired its creation. Following the success of Emergence EP (Gently Leftfield Techno from a Core Dresden Artist - Resident Advisor/Single Review by Andrew Ryce) and Deep State (Midnight Stallion) EP on Boudica, which gained recognition for their atmospheric intricacies and deep, immersive textures, Withdrawals delves deeper into personal and societal themes, paired with the artist's signature ethereal soundscapes and captivating beats. Each track carries a narrative, from late-night reflection to hedonistic encounters, with a pulsating intensity that mirrors the artist's own process of creative and emotional release. With Withdrawals, RAKANS continues to push boundaries, creating a profound listening experience that resonates both in its melancholy and its intensity.

Description of the Title: The title Withdrawals reflects a state of emotional and mental transition, where one is caught between the craving for connection and the unsettling effects of isolation. It symbolizes the artist's inner turmoil and process of reclaiming personal agency after experiences of burnout and separation. The tracks are an expression of that journey-tracking the highs and lows of life in a world that constantly demands more. Through these melodies, RAKANS has captured the intensity of longing and the aftermath of desire, inviting listeners to confront their own internal conflicts. The narrative is personal yet universally relatable, and the title speaks to the often painful but necessary process of letting go, detoxifying from past habits, and learning to be at peace with oneself. "With Withdrawals, He wanted to channel the emotions that often come from the struggle between desire and self-preservation, between the drive to connect and the need to retreat. he's journey, both as an artist and as an individual, has been filled with moments of intense reflection, self-discovery, and sometimes, disconnection.

These tracks are the culmination of that inner conflict, a raw exploration of what it means to both lose oneself and find a deeper, often painful, form of clarity. Like the music he's created before, the sound of Withdrawals speaks to the space between tension and release, the liminal space where truth is often revealed in its most vulnerable form. He's always believed that music is a mirror to the soul, and in this EP, He's tried to reflect that feeling of being both pulled in and out of something greater. It's a raw and intimate look at the way we navigate modern life, often feeling like we're running toward something that we can't quite reach, yet constantly pulled back into our own personal truths.

This EP is personal, but it's also for anyone who's ever felt caught between two worlds, the one they want and the one they need. I hope it resonates with listeners who are experiencing their own form of withdrawal, whether it's from people, places, or even from themselves.

Siebdruckcover, gedruckt in der Küche des Labelbosses. Plus Sticker. Nach 4 Livekonzerten Anfang des Jahres als Gästeband der Antilopengang fassen "Die Benjamins" die ihnen eigene Live-Energie in zwei neue Songs: "Wer liebt dich in 10 Jahren" und "Pas de deux". Folgerichtig wurde im Proberaum alles live eingespielt, aufgenommen von Moses Schneider. "Wer liebt dich in 10 Jahren" Annette Benjamin, ehemalige Sängerin der legendären Punkband "Hans-A-Plast", fragt: Wer liebt dich in 10 Jahren? In einer Gesellschaft, in der viele eine nicht enden wollende Jugend anstreben. Was bleibt? Mit Zeilen wie "heute underground - morgen schlecht gelaunt" stellt sie die Halbwertszeit der Szene infrage. "Deine Freundin ist jung, küss ihren Mund, kauf einen Hund". Dass solche Textzeilen nicht ins schlagerartige Abrutschen, sondern extrem bissig funktionieren, ist Verdienst des Zusammenspiels aller Bandmitglieder. Thomas Götz und Julian Knoth zurren den Song auf eine postpunkige Art zurecht, Max Grubers geschmackvolle Knochenbrechergitarre setzt die Akzente, und Charlotte Brandis 80's-Synthesizer rundet ab - fertig ist der Sound von DIE BENJAMINS. "Pas de deux" ist eine Hetzjagd.Durch die fest verzahnten Riffs pflügt Annette Benjamins helle Stimme, die von Gewalt, von Dominanz und wahrscheinlich auch von Liebe erzählt: "Schnell bist du ihm zuwider / dein König zwingt dich nieder". Ein Männerchor, der "pas de deux" brüllt, die souveräne Aufteilung der einzelnen Bandmitglieder zu einem knurrenden Ganzen - das ist Punk in Bestform. Mitglieder: Annette Benjamin, Max Gruber (Drangsal), Julian Knoth (Die Nerven), Thomas Götz (Beatsteaks), Charlotte Brandi

Back from the undead in the fresh (because we believe in upgrades & afterlifes!) is this new pressing of the first of all Gastr del Sol records, The Serpentine Similar. It is one of several distinct initiators of a definitive musical drift in the 1990s, and a drift all of its own, to boot! At the time, this album was largely heard within an underground whose boundaries were clearly defined - but if today"s sound-pool of "commercial" music is deeper and wider than it was back then, it is without a doubt due to the cracking open of certain doors of perception by Gastr del Sol, alongside their esteemed others. The year was 1992. After a bruising run of tour dates the year before, the final lineup of Bastro, a power-trio of David Grubbs, Ken (Bundy) Brown and John McEntire, retired, exhausted. Shortly thereafter, they were rebirthed, sans drums, via a new set of ideas composed in the cut-down configuration of Grubbs on guitars, keyboards and vocals and Brown on bass. Playing in duo format opened up sound and intention, leaving the need for speed (and the stock in rock) out, while letting in an expanse of brooding, droning acoustic space that highlighted the songs" serpentine shapes. This was something so radically different as to require a new calling card: henceforth, Gastr del Sol. Signing to Teen Beat, Gastr del Sol completed The Serpentine Similar in late 1992 for release the following year (the DC reissue came in "97). In the final rendering, Serpentine"s roof-rent, white-sky execution was attenuated with several percussion appearances from the prodigal John McEntire. Over the next five years, his cameo presence was a constant in Gastr del Sol"s steadily-evolving tradition of significant breaks from tradition at every turn. There would be an even more significant tradition-breaker onboard for all this; following the release of The Serpentine Similar, Jim O"Rourke joined Grubbs in Gastr as Brown exited (to focus on Tortoise, with McEntire et al). For the new Gastr duo, a world of new directions in music awaited, the future became the past, and the music of Gastr del Sol emerged from the thin air, then returned there. Now, The Serpentine Similar has been returned to vinyl from the temporal streams of contemporary music listening, a glorious rematerializing of all its spatial details on LP for the first time in 20 years.

Recently I was approached by my old friend Travis Millard to make some original music for Freedom Finger - a crazy space-shooter video game he had been developing with Jim Dirschberger and Wide Right Interactive game studio. I was able to land 6 instrumentals that pop up at various points throughout the gameplay.As the game was being rolled out, the idea arose to have me do 3 more tracks - this time fully fleshed out songs with lyrics mostly inspired by Freedom Finger's gameplay. These tracks would accompany some brand new levels that would be made available as downloadable content for the game.We have decided to release all of the music I have done for Freedom Finger as a 10" vinyl EP available through Rhymesayers Entertainment. This includes the 3 full length vocal tracks, as well as the 6 shorter beats that loop throughout the game. Some of these tracks also feature additional instrumentation from my friends and frequent collaborators, Grimace Federation.Furthermore, Jim has directed a video for the song Drums on the Wheel - featuring Freedom Finger gameplay, and some brand new visuals drawn by Travis and animated by Steven Gong.The game is an absolute blast, and I hope you enjoy this music. All relevant links below. <3Love,A.R.

Two years after Jazz N Palms served up his sumptuous Ses Rodes album, the Ibiza-based Italian is back with a series of 'Revisades', which means reviews in local language. Each track on this double 12" takes the original instrumentals into fresh realms with new mixes, new drum arrangements and the recovery of old takes not used on the original album.

The Jazz N Palms label and producer is Riccio, an artist who makes lush jazz-fusion, jazz dance, Balearic and downtempo instrumental music. Ses Rodes was inspired by the quiet, organic, slower side of Ibiza. It was written with young, talented local musicians, Riccio met at a jazz night at the famous Pikes hotel, and the record harks back to the island's beautiful natural charms that have been captivating visitors for hundreds of years. ‘They didn't ask me, but I did it anyway,’ he says of these magical new Revisades.

The reworks kick off with a smooth but busy broken beat rework of 'Manana', which is doused in romantic chords. 'Mediodia' becomes a jazz-funk gem, 'Tarde' picks up the pace with silky disco licks and 'Noche' glows warm with dreamy pads and soft focus vibraphone. The gentle grooves of 'Mar' are led by a sexy sax line and intimate interplay between funky bass and jazzy keys, 'Playa' is loved-up, sun-down bliss, 'Bosque' is an irresistible invitation to dance and 'Cielo' is a rich tapestry of horns, keys and percussive patter to soothe the soul.

With its deeper textures and looser grooves, Ses Rodes (Revisades) is a love letter to Ibiza’s slower side and healing spirits.

Originally out as a free Net-7inch on Jahtari in 2008 to pay respects at the shrine of arcade machine fighting games, these undying hiphop-infused martial arts Dubs by disrupt are finally reaching their intended destination: white blood-splattered 7inch vinyl (attention: not actual blood!).

"Samurai Showdown" (which eventually became Solo Banton's classic "Kung Fu Master", from his Music Addict EP in 2010) is taking place at sunrise, of course, when two master swordsmen are matching blades in a battle to the death. Can the wave-cutting technique of the Jahtari-school prevail?

The B-side is the meditation after the battle, mentally re-creating the epic struggle move by move and in slow motion...
So draw your Katana and prepare for beats as sharp as a battle sword, deadly moves of Ninja swiftness and basslines coming straight from the six paths of hell.

Bernadette Price, wife of the late, legendary Sean Price, steps into the spotlight with her solo debut album, A Widow’s Cry. This deeply personal project features hard-hitting production from some of hip-hop’s finest producers, including Khrysis, Da Beatminerz, Stu Bangas, and more.
A Widow’s Cry not only honors Sean Price’s legacy but amplifies it, featuring collaborations with fellow Boot Camp Clik members Smif-N-Wessun, Ruste Juxx, Rockness Monsta, along with a rare, never-before-heard verse from Sean Price himself—a true gem for longtime fans.
More than just a tribute, this album is Bernadette Price’s bold statement that she’s here and ready to make her mark.