Bloodhound Gang’s irreverent brand of comedy-rock and rap-rock is collected here on this essential 1LP hits package, pressed on exclusive Milky Clear vinyl and including a collectible poster. Featuring the band’s biggest and most enduring tracks, the set is led by the international smash “The Bad Touch”, a multi-million-selling single that reached No.1 in Germany, Sweden and several other European territories, while also hitting the UK Top 5. Also included are fan favourites “Fire Water Burn”, “The Ballad Of Chasey Lain”, “Along Comes Mary”, “Foxtrot Uniform Charlie Kilo”, “Uhn Tiss Uhn Tiss Uhn Tiss” and “I Hope You Die”, spanning the band’s most successful era from the platinum-selling Hooray For Boobies through to Hefty Fine. Bloodhound Gang have sold millions of albums worldwide, with Hooray For Boobies reaching No.1 in both Germany and Austria and achieving Platinum certification in the US. Combining the group’s biggest chart hits, cult classics and live favourites, this specially curated single-LP edition delivers the definitive Bloodhound Gang experience in a concise, collector-friendly format.
“Bloque 6” (1968), by Juan Carlos Calderón, is a landmark in the history of modern Spanish jazz, quite different from the later phase of his career, when he incorporated elements of fusion under the influence of funk, disco, and even flamenco. For the recording of this album, he was joined by prominent Spanish jazz musicians such as Pedro Iturralde, Vlady Bas, and Pepe Nieto.
In the United States, it was awarded Best International Jazz Album in 1969 and reissued on CD by Blue Note many years later.
GERBlair / Huber - ECLIPSE ist das eindrucksvolle Debut eines der spannendsten neuen Jazz-Duos Europas. Der preisgekronte Frankfurter Saxophonist Darius Blair und Gitarrist Niko Huber entwickeln in reduzierter Besetzung einen eigenstandigen, modernen Sound zwischen Jazz, Hip-Hop-Asthetik und improvisierter Musik. Entstanden aus ihrer langjahrigen Freundschaft und intensiven Zusammenarbeit seit der Pandemie, lebt das Album von intuitiver Interaktion, klanglicher Prazision und emotionaler Tiefe. Die neun kompakten Stucke verbinden subtile Grooves, atmospharische Weite und starke melodische Ideen. Aufgenommen im Berliner Funkhaus mit einem Grammy-pramierten Produktionsteam, steht ECLIPSE fur die kraftvolle Verschmelzung zweier musikalischer Personlichkeiten - reduziert, innovativ und zeitlos.ENGBlair / Huber - ECLIPSE marks the striking debut of one of Europe's most exciting emerging jazz duos. Award-winning Frankfurt saxophonist Darius Blair and guitarist Niko Huber craft a distinctive and modern sound from a minimalist setup, blending jazz, hip-hop influences, and improvisation. Rooted in a long-standing musical partnership, the album thrives on intuitive interplay, sonic clarity, and emotional depth. Across nine concise tracks, the duo balances subtle grooves, open textures, and strong melodic ideas. Recorded at Berlin's renowned Funkhaus with a Grammy-winning production team, ECLIPSE captures the powerful alignment of two artistic voices-refined, innovative, and timeless.
Fila Brazillia is the name of the decidedly singular collaboration between Steve Cobby and David McSherry, born in the coastal town of Hull in the UK. Bending—and often outright breaking—more or less every rule in the book, they've been effortlessly blending deep house, downtempo, breaks, ambient, and wry humour, sampling anything they can get their hands on. Their first outing was the 1990 single-sided white label 12" Mermaids, an airy deep house tune featuring a cheeky sample taken from the theme from Robison Crusoe. Since then, they've released a boat load of singles, seven highly regarded full-lengths, and more than 60 remixes for artists such as Radiohead, Busta Rhymes, and Lamb.
Black Market Gardening is their third full-length and marks a creative high-point for the duo. Over nine tracks, Fila Brazillia guides you through hazy, bass-heavy trip hop, cosmic synth lines, brisk breakbeats, funky guitar riffs, and even touch of drum 'n bass (it's the mid-1990s after all...). There's just so much to take in, leaving the listener wondering where the samples end and the live instrumentation begins. Yes, Fila Brazillia's output fits squarely within the chill-out tradition prevalent in the UK at that point in time, but their unmatched creativity and boundless approach to the studio process makes their music truly timeless.
Black Market Gardening is available as a 30th anniversary edition for the first time since 2001.
More than eighty years ago in southwestern Virginia, Carter and Ralph Stanley (The Stanley Brothers) - forged a sound that became a cornerstone of bluegrass and old-time music yet they remain far less known outside the genre than their influence warrants Where the Soul Never Dies sets out to change that. Producers Alison Brown and Garry West assembled an eclectic cast spanning bluegrass and Americana, pairing the genre's next generation with roots voices who grew up on these songs. Standout contributors include Billy Strings , Dolly Parton , Willie Nelson , Sierra Ferrell , Jamey Johnson, Steve Martin, and Ralph Stanley II, among others. The album arrives October 16th two days before The Stanley Brothers' induction into the Country Music Hall of Fame
Karen Morrison - stage name Bryck Rose formerly known as K Vibes on the Reggae Dancehall scene. Currently a gospel singer, songwriter, poet, and aspiring playwright and one of the younger members from Studio One of Jamaica.
Toronto in the spotlight again, as three of the city's finest line up in the shape of Ali Black, Sean Roman and Toronto Hustle. This outing for Selections is sublime deep house with a subtle nod to the smoother end of the garage spectrum. 'Shelter Me' has the sort of vocals that get you curling your lip, such is their emotional pull, while the drums are cuddly and the pads balmy to make for a perfectly immersive and calming sound. The Toronto Hustle Late Night dub beefs up the low end and makes it even more comforting and all-consuming, while the vocals become wispy infusions that are layered carefully into the mix. Timeless sounds.
Ohm & Octal Industries made their mark on this label with their Northwest Passages album back in 2023, and now they return with more heavy but equally serene dub tech excursions. 'Blizzard' has none of the frenzy of that weather type but does have gentle synth winds swirling around the rooted drums. 'Fly Boy' is a delicate dub with the most subtle pads and effects marbling the airwaves, while 'Goodbye Sunshine' has more forward intent and beautifully hits that glide over the minimal drums. 'Jah Rule' then dials into a heads-down and more warehouse-ready dub techno sound built from the sort of perfect loops that could play for days and never get annoying.
Das 2016 erschienene "Teens of Denial" markiert einen entscheidenden Wendepunkt in der Karriere von Car Seat Headrest und insbesondere von Frontmann Will Toledo. Nach einer Reihe von lo-fi Bedroom-Produktionen, die Toledo größtenteils allein aufgenommen hatte, war es das erste Album, das mit voller Bandbesetzung und größerem Studioaufwand entstand. Veröffentlicht wurde es über das renommierte Indie-Label Matador Records, bei dem Toledo kurz zuvor unter Vertrag genommen wurde. Das Album verbindet introspektive Texte mit energiegeladenem Indie-Rock und greift Themen wie Selbstfindung, Angst, Isolation und Jugendkultur auf. Songs wie "Fill in the Blank", "Drunk Drivers/Killer Whales" und "Destroyed by Hippie Powers" wurden schnell zu Publikumslieblingen und halfen der Band, ein deutlich größeres Publikum zu erreichen. "Teen Of Denial: (Joe"s Story)" ist nun ein komplettes Remake dieses 10 Jahre alten Klassiker. Toledo, der seinen Songbook gerne neuinterpretiert, wechselt hier die Perspektive und erzählt die Geschichte aus der Sicht von Joe. Auf dem Originalalbum verwendete Toledo häufig den Namen "Joe" als Pseudonym - eine subtile Hommage an Daniel Johnston. Als er Teens im Vorfeld seines 10-jährigen Jubiläums erneut aufgriff, verspürte er den Drang, Joe eine eigene Hintergrundgeschichte zu geben, und begann, das Album entsprechend anzupassen, um diese Geschichte zu erzählen. Die Band kehrte gemeinsam mit dem Teens-Produzenten Steve Fisk ins Studio zurück, um das Werk zu überarbeiten - mit angepassten Texten, überarbeiteten Arrangements und neuen Aufnahmen im "Denial-Stil", darunter "Optimistic Son" und die hymnische Single "Joe Drives Again". Das Ergebnis bewahrt die düstere Note und den jugendlichen Zynismus von Teens, lässt aber zugleich eine Spur mühsam errungener Mitmenschlichkeit in den Gesamtklang einfließen.
In Living Color proudly presents Wasi Wasi EP, the debut label release from
Kenyan-born, Berlin-based artist Emo Rugene.
A striking first statement from one of the most exciting emerging voices in African electronic music, Wasi Wasi introduces Rugene's distinctive sound while reflecting the bold, forward-thinking vision at the heart of Living Color. Blending deep cultural roots with contemporary electronic production, the EP marks the arrival of an artist helping shape the future of the genre.
Deeply rooted in African rhythm and musical heritage, Wasi Wasi is a body of work that embraces the past while looking confidently toward the future. Blending hypnotic grooves, organic percussion, and contemporary electronic production, the EP reflects a new generation of artists drawing inspiration from their roots while carving out their own unique artistic identity.
The release features two compelling vocal collaborations that enrich its storytelling. “Wasi Wasi (Vocal Mix)” features Alai K, whose deep ancestral vocal brings a powerful spiritual presence to the title track. “Sahara Dena” features Soukou, whose soulful vocal performance adds warmth, emotion, and depth, creating a beautiful dialogue between tradition and contemporary sound.
With Wasi Wasi EP, Emo Rugene stands among a new generation of African electronic music artists redefining the future on their own terms. His music is deeply connected to where it comes from, yet unafraid to explore new ideas, proving that heritage is not something to preserve behind glass, but something to carry forward with imagination and purpose.
More than a collection of tracks, Wasi Wasi EP is a celebration of movement, identity, and possibility, a record that honours the voices of those who came before while contributing to the sound of tomorrow.
Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.
BONUS 7”
A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)
Over & Even was a breakout album for Joan Shelley. Originally released in 2015 and recorded in Louisville, Kentucky - with Shelley and her then neighbor Nathan Salsburg on guitar. The record was an album of the year at NPR Music and in The Los Angeles Times. Rolling Stone called it, "a masterfully turned set of folk reflections" in their 4 star review. This expanded edition features 8 never before heard demos, performed and recorded solo by Shelley who shared them only with Salsburg so he could learn the songs.
Reissued Rise Against: Revolutions Per Minute (2026) anlässlich der aktuellen Feierlichkeiten zum 35-jährigen Jubiläum von Fat Wreck auf violettem Vinyl gepresst! Ursprünglich 2003 über Fat Wreck Chords veröffentlicht, entstand das zweite Album von Rise Against "RPM" inmitten von Tourneen durch die USA, Kanada und Europa. Nach einigen Wochen im Studio Blasting Room Studio, wo sie gemeinsam mit Bill Stevenson (Descendents) und Jason Livermore die Aufnahmen einspielten, präsentierte sich das Quartett mit diesem von der Kritik gefeierten zweiten Studioalbum. Revolutions Per Minute verbindet auf meisterhafte Weise die rasante Energie des Punk mit scharfen, eingängigen Melodien. Tim McIlraths leidenschaftlicher Gesang transportiert gesellschaftskritische Texte in herausragenden Songs wie "Like the Angel" und "Black Masks & Gasoline". Das Album prägte den Punk der 2000er Jahre maßgeblich, schlug die Brücke zwischen rohem Underground-Hardcore und Mainstream-Rock und gilt heute als Meisterwerk des Genres sowie als das definitive Underground-Werk der Band. Band credited with creating a new sound - branch of melodic hardcore and political punk Rise Against's sophomore breakout album, produced by Bill Stevenson and Jason Livermore at Blasting Room Band has amassed 2 platinum records and 5+ gold records in multiple countries and 5+ Top-Charting Alternative Rock Radio hits Features hit singles "Heaven Knows", "Black Masks & Gasoline" and "Leaving Jesusland" Known for their progressive politics, veganism, and outspoken views
Kvrk makes a debut on Distant Gaze with Synthetic Memories, a four-track EP exploring shadowy electronics where organic textures and synthetic forms constantly blur into one another.
Opening with Pulsewidth, the EP begins as a slow burn – a restrained piece of synthwave shaped by drifting ambience, hypnotic sequences and a steady sense of tension.
The pace gradually lifts with Void Caller and title track Synthetic Memory, pushing deeper into prog sound. Straight, driving rhythms form the backbone, occasionally dissolving into broken-beat passages, while warped synths and psychedelic details keep everything in constant motion.
Beneath the electronic framework runs something more primal: forest-like soundscapes, mystic undertones and subtly shamanic motifs give the music an earthy, ritualistic dimension.
Closing the release, Blu:sh reworks Void Caller through his signature deep and trippy approach, stretching the original into a spacious late-night interpretation with a submerged, dreamlike pull.
Originally released in 2019 and pressed up only in limited edition white label form. The repress is sold in a black-die cut sleeve with full-color label artwork.
4/5 REVIEW IN MOJO: “HEARTBEAT TONES DISSOLVE INTO BEAUTEOUS SHIMMER AND STELLAR SYNTH MEDITATIONS GIVE WAY TO CAREFULLY ORCHESTRATED ELECTRONICA.”
4/5 REVIEW IN UNCUT: “IT'S MASTERFUL, THOUGH IT WILL LEAVE YOU FEELING LIKE A SPECK OF GRAVEL IN A SELF-DESTRUCTING WORLD.”
NME - 8/10 review (w/c 14 October) "He’s mastered this stylistic skittishness and you’ll do well to find much dispute about his talent."
NARC - 5/5 review (October issue) "An immersive soundtrack to your own personal psychodrama."
WIRE - ONE PAGE REVIEW (October issue) "The sentiments it stirs to life are shadowed and ambiguous, simultaneously personal and impersonal. It is also fantastically immersive, dragging the listener into its turbulent undertows, then washing them back on dry land, intact but changed.’’
Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance.
While this album remains committed to a painterly form of musical abstraction, it is also a record of restrained composition recorded live primarily in intimate studio rooms. This record employs woodwinds, piano and synthesizers towards an effort at doing what digital music does not do naturally—making music that is out of time, out of tune and out of phase.
Some pieces go off the rails before forming into anything, others eschew crescendo
compositional structures or bombastic density while going sideways instead. It points to the ongoing development of Hecker's work. It suggests illusory memories of drug- hazed jams or communal music performance that may have never been performed or been heard.
It is an offering of music into the void, a gift of digital filler between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of music as long-form expression.
Mixed by Valgeir Sigurðsson and Tim Hecker. Additional assistance by Randall Dunn and Ben Frost. Mastered by Mandy Parnell at Black Saloon Studios in London, UK.
For the label's latest, Oath is proud to present 'Honey Tangerine', the newest mini-album from producer extortionaire Olsvangèr, who serves up his signature blend of hyper-kinetic, ever-shifting dance music.
Olsvangèr's sound and musical journey are forever rooted in the liminal spaces that make up the broad-reaching and ever-shifting electronic music landscape, with his records consistently channeling that in-betweenness that imprints lasting impressions. A classically trained musician with a profound passion for house and techno, Olsvangèr's sonic palette is one of both broad and delicate brush strokes, applying an array of compelling motifs within amorphous arrangements that blend and blur perspectives. His records seek out the faraway fringes as much as focusing on the intensity found in the detail, creating cavernous soundscapes that are impeccably tuned and effortlessly free-flowing. Seemingly genreless, his records are anchored in all that is known and loved, yet due to the music's perspective situated at the intersectionality of electronica, a beautiful anticipation resides within every stanza of his tracks at what may come next. His musical language has found him releasing on the likes of Kalahari Oyster Cult, Hooj Choons and Craigie Knowes, and follows through within his imprint Tofistock, which has been pushing some of the most forward-thinking dance music of recent times.
'Honey Tangerine' touches upon the classic motifs of Olsvangèr's sound, and as always, the room for growth within the record's parameters remains truly endless. Over six tracks, Olsvangèr lays bare the directions of travel, with paths unravelling that feel well trodden yet with some that branch out towards new horizons. 'Source of Thought' opens up proceedings with a captivating ambience, where twinkling hues and lively tones paint the parameters of sound. The chuggy breaks that land deep within the mix drop in and out of view, allowing a deft balance between pure ambiance and rhythm to exchange dialogue between one another. 'In a Nutshell' shifts gears in atmosphere and energy, with all eyes placed upon the club. The shifting rhythm section lifts the acidic melodic features up above, with driving bass notes and a euphoric vocal like lead linking the depths to the heavens. 'Tulpa Nine' swings into heads-down territory, where the drums swing slow and the throbbing bass hits heavy. The auto-tune vocal line up above creates an atmosphere of hazy, smoke-filled rooms, where the party yearns for downtime in anticipation of the next shift in energy.
'Sunrise on the Lips' gives over further chill out room vibrations, where the lights remain low, and smiles reside all around. The enriching drums provide the basis for sitars and glossy keys to glide across the top ends, with the mind invited to dip deep within this enthralling ensemble. 'Zoom It Out' provides the release into the room, with the ante upped. A breaky house leaning number, this cut grooves through its chiming melodic section and groove-laden bass line, with the polyrhythmic drumming pattern doing much to keep the energy residing very high indeed. The record is wrapped up with 'Some Air', which gives over one final jaunt through the airy, slowed-down slipstreams. A wondrous beat is complemented by melodic elements that chime, absorb and quiver, glowing through the night with such charm and feel. An engrossing composition that demonstrates what Olsvangèr is all about - a crafter of sound, where adventure is sought and found, never wavering but curating new connections, feelings, and tones, with an eye on what might come next.
Whether softly undulating or boundlessly expressive, Olsvangèr's music remains a beautiful enigma that serves up both the glorious knowns and the captivating unknowns - 'Honey Tangerine' is yet another chapter in his glorious discography.
