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Underground Hip Hop vets, Dillon & Paten Locke aroused appetites with their 2016 standout release, 'Food Chain', the follow-up to 2009's cult classic, 'Studies in Hunger' and prequel to 2025's 'Rations'. The flagship release of their fledgling label, FULL PLATE, 'Food Chain' opened many doors (and ears) for the Atlanta, GA /Jacksonville, FL based crew, setting the table for their sprawling catalog today.
Produced entirely by Paten Locke (the Boston-bred triple threat who cut his teeth with Mr. Lif, Akrobatik, Edan and his groups: Asamov + The Smile Rays), Food Chain's recipe starts with rugged chops of impossibly rare samples from Paten's world-renowned vinyl collection. Once that's simmering, just add Dillon's razor sharp rhymes; ranging from aggressively self-sure to deeply self-reflective, then finish with their signature seasoning - comedic relief! Food Chain also boasts an impressive list of guest features including Count Bass D, Homeboy Sandman, Supa Dave West, J-Live, Von Pea of Tanya Morgan, Phill Most Chill, Boog Brown, Malkovich, Tone Tank and their FULL PLATE FAM, Willie Evans Jr. Too many chefs? We say, 'Let 'em cook!!'
Now 10 years later this critically acclaimed album receives the treatment it deserves: a proper double LP pressing of the album in its entirety - including a lost bonus intro + bespoke poster insert. 2016's pressing was an abridged single LP that was missing songs, interludes & skits in order to fit the time limits of the format. With the 2xLP, you finally get to enjoy the full album, they way it was meant to be heard. What makes this 10th Anniversary reissue even heavier is that Paten Locke passed in 2019 and never got to see the full impact of his work, so this release doubles as a delicious celebration of Paten's lifelong creative pursuits & accomplishments.

Following the cult success of the first 2 EPs, Common Saints presents the debut album "Cinema 3000", the theme continues, blending soul, funk, and psychedelic influences with the organic sound and rich instrumentation that Common Saints has become known for Conceived in 2020 by writer / producer Charlie J Perry the production approach for Commons Saints consists of him playing and recording real instruments in his London home studio. One mike for the drums, his beloved piano and amps up loud! The album encapsulates the old school recording approach and musicianship the discerning ear craves but with a more modern punch - a true sonic bath for all the connoisseurs out there. Think, UK"s equivalent to Tame Impala and Khruangbin.

2026 LP Pressung auf weißem Vinyl. Ursprünglich 1968 aufgenommen und für eine Veröffentlichung bei Sire Records vorgesehen, blieb Microminiature Love von Michael Yonkers, der Ikone des Outsider-Folk und Psych-Rock, unveröffentlicht, bis es 2002 von De Stijl Records wiederentdeckt und als limitierte, ausschließlich auf Vinyl erhältliche Auflage herausgebracht wurde. Damals hat die San-Francisco-Institution Aquarius Records es besser beschrieben, als wir es je könnten: ,Ein obskurer Visionär der späten Sechziger, der seiner Zeit weit voraus war, bekommt mit dieser LP-Neuauflage endlich die Anerkennung, die er verdient. Yonkers' Sachen waren anders als alles, was man damals (oder eigentlich auch heute noch) gehört hatte: abgedrehter Garage-Psych mit wahnsinnig genialen Texten und verrückter, von Acid durchdrungener Gitarre. Yonkers, eine legendäre Figur aus der Gegend um Minneapolis, baute seine eigenen Effektpedale, sägte seine Fender Telecaster auf die Breite eines Bretts herunter und spielte wie niemand sonst je zuvor. Mir fehlen die Worte, um das zu beschreiben. Es ist irgendwie eine Mischung aus reduzierten Black Sabbath, The Troggs, Pere Ubu und The Cramps??" Sub Pop veröffentlichte das Album anschließend auf CD und brachte 2011 eine limitierte Vinyl-Auflage heraus, die seit vielen Jahren vergriffen ist. Leider verstarb Michael Yonkers 2026 während der Planung dieser Neuauflage. Er war ein unglaublicher, wahrhaft einzigartiger Künstler und einer der liebenswertesten Menschen.

With bloated souls and skeletal bodies the three mad kings of the end times walk among us, with empty eyes and insatiable hunger. Innocence thieves, blood collectors, bastard children of archaic dynasties built upon the broken bones of the weak. Their consorts are the rotten and the dead, their champions soulless, empty vessels gasping for validation as they bathe in the nectar of inflicted pain. They lead us not into temptation, but into degradation and the all-consuming fire. Born in the heat and shadows of the Australian underground, in Brisbane in 2014, Graveir have carved out a stronghold for themselves in their homeland's black metal scene. Bleak, violent and uncompromising, their music possesses a powerful individuality that sees them following their own path, lone wolves in a world of people searching frantically for a voice to tell them how to think and what to believe. After their powerful 2016 debut, Iconostasis and its critically acclaimed successor, King Of The Silent World, hailed as 'captivatingly hypnotic' by Metal Bite, Graveir are poised to unleash their third set of black prophecies - The Festering Triad. The Festering Triad begins with the sinister 'Lords Of Misrule', rising from the silence with guitars like an insect swarm before a lugubrious, dolorous shift into life and movement. The song holds you on the edge of oblivion, a constant aura of threat radiating from its broken beauty. There's a powerful underlying melody too, but it's corrupted and riddled with disease. And while this unsettling and disorientating introduction to The Festering Triad is still crawling through your veins, 'A Futile Exhortation' bursts into flame - as implacable and unstoppable as the passage of time, formed from the seething darkness on the edge of chaos and touched by something ancient and primal. You are now in the heart of darkness, jagged riffs circling like atavistic, feral presences, hammering blast beats disrupting natural rhythms. Nothing is as it should be. Nothing stays within the expected boundaries. This is a malicious attack on the laws that govern reality. 'A Thief In The Heart Of Man' flies at you in a howl of rage and bloodlust; you can feel its desperate need to tear you apart and the inherent danger is exhilarating. Title track, 'The Festering Triad' arrives swathed in an aura of decaying majesty, a triumvirate of wickedness wreathed in flame, marching onwards, entwined in black briars of unease - on into twisted soundscapes of fear and dizzying anxiety, through boiling malignancy and relentless intensity to the finale of 'The Rite Of Degradation', where portentous grandeur and bestial hunger combine in bewildering, schizophrenic fury. This album is fuelled by a determination to leave you broken, beaten and humbled - and it succeeds, absolutely.

The name RUTHLESS in itself means “without mercy.” Since the early 1980’s, lead by vocalist Sammy DeJohn, the band has stayed true to its style of metal, from the classic first EP “Metal Without Mercy” (1984) and the debut cult album “Discipline Of Steel” (1986), to the later albums “They Rise” (2015)” and “Evil Within” (2019), they’ve never wavered on the power of bands like JUDAS PRIEST, ACCEPT and BLACK SABBATH, always staying true to their roots.

Their latest album “The Fallen” was released in January 2024 on their new label Fireflash Records (WOLF, HOLY MOSES a.o.), followed by a European tour as support act for their fellow believers JAG PANZER, cementing their reputation as a magnificent live band. Now, RUTHLESS are proud to announce the release of their next studio album “Curse Of The Beast”. The band has created an album full of power and passion, combined with the classic 80s metal sound, ready to become a future classic and a must-have for anyone who loves traditional heavy metal like METAL CHURCH, JUDAS PRIEST, EXCITER, and others. “Curse Of The Beast” was recorded along with producer Ron Sandoval (KERRY KING a.o.), who also did the final mix and mastering. The album will be released on July 17th, 2026. “We can't wait for you all to hear it. We have a couple of surprises on this one and it's going to destroy,” reveals vocalist Sammy. Immediately afterwards, the band will play selected shows in Europe, along with MINDWARS as well as THE TROOPS OF DOOM, including the legendary “Headbangers Open Air.”

Originally released in 2003, With A Heartbeat brings together Pharoah Sanders, Bill Laswell and Graham Haynes in a collaboration that remains as elusive as it is forward-thinking. Now reissued by Glossy Mistakes, the album receives its first official vinyl edition, remastered and available both in standard black and a limited burgundy pressing.

At the core of the record lies an unusual but striking element: the steady pulse of a human heartbeat. Rather than a conceptual gesture, it becomes the foundation of the music itself-treated as a deep, bass-like rhythm that anchors the entire album. Around it, Laswell builds his unmistakable sonic world, drawing from dub techniques where basslines expand, dissolve, and re-emerge, and where space becomes as important as sound.
Across its extended compositions, the album unfolds slowly and deliberately. Layers of electric sitar, guitar, keyboards and subtle percussion drift in and out, creating a fluid, almost tidal movement. The heartbeat remains present throughout, grounding even the most abstract passages in something physical and immediate.

At the center stands Sanders' saxophone-searching, expansive, and deeply spiritual. His playing moves freely across the structures, at times echoing the lineage of John Coltrane, while also reaching beyond it. Alongside him, Haynes adds a complementary voice, weaving through the shifting textures.

The result is a work that resists easy definition: part spiritual jazz, part future-facing experiment, shaped by dub's sense of space and transformation. Meditative, immersive, and deeply rhythmic, With A Heartbeat unfolds like a living organism-guided not by fixed tempo, but by the pulse of life itself.
With this release, Glossy Mistakes continues its work of bringing essential and forward-thinking recordings into new formats, preserving their depth while opening them to new listeners.

Reissue of the debut album by Laghonia, one of the most important bands of Peruvian rock. Originally released in 1960, "Glue" will be cherished by lovers of Latin American rock, pop and psychedelia as practiced by other similar classic bands such as Traffic Sound, We All Together, Black Sugar and Telegraph Avenue. After four brilliant singles, in 1969 the Peruvian band New Juggler Sound, formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samané (bass), Carlos Salom (organ) and Manuel Cornejo (drums), changed their name to Laghonia and released their debut LP "Glue" on the MAG label. The album included those previously released tracks, which were very influenced by the British rock scene of those years, to which they added fiery guitars bursting with fuzz and wah-wah, the ever present and hypnotic Hammond organ sound and Latin American percussion and rhythms. The result was a wonderful mix of mid-60s British beatmelodies, Jimmy Hendrix's intense rock, Cream's heavy blues and Santana's Latin rock. "Glue" is regarded as one of the key albums of Latin American psych and garage rock and is an essential record for any fan of those genres. Deluxe edition: 180g vinyl LP in tip-on jacket and insert with liner notes.

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

Season 2 formed in late 2024, bringing together seasoned Melbourne musicians with previous and current projects including Parsnip, The Stroppies and Phil and the Tiles. The five piece, comprising Carolyn Hawkins, Claudia Serfaty, Charlotte Zarb, Freya McLeod and Matt Powell, quickly set to work writing winsome, DIY, shimmer-pop hits that careen through your mind in a gratifying dizzy rush.

With a clear collective vision and little time to waste, Season 2 spent 2025 writing and recording, appearing live only a handful of times. Finally, this April, the band are primed for their debut release, a full-length album entitled 'Power of Now'. ‘Power of Now ‘is a cerebral explosion of melody, hooks, drones and rhythm. In the vein of The Feelies, The Vaselines and The Clean, Season 2 have whipped up a sonic whirlwind. It's a giddy thrill of snappy slap, catchy gang vocals and crystalline guitar refrains.

'Abundance of Power' is a bittersweet bop of ponderous bass, crisp chord flashes and grounded vocals that dwell on slighted futures and bored realities. 'Becomes a Dream' is a delirious race of scrappy strumming and flying phrases that unsettle as much as they pinball endorphins - "pour the ink into the sand, watch the dog it bites the hand". "Tell me something, elbows on the table, I'll tell you nothing, leave you tugging at the cable" they sing on the peppy future single 'Tugging at the Cable', capturing a certain innocent, wide-eyed expressiveness. Season 2 do sparky well, their songs are instant rewards, tunnelling into your subconscious and testing the dance floor. They keep everything moving, the beat and the conversation. Season 2 sound barely controlled and all the better for it, you have no choice but to be swept up.

'Power of Now' was recorded by Alex Macfarlane (The Green Child, Chateau) and mastered by Mikey Young. It will be released digitally and on LP (black vinyl) on April 24th, internationally via Upset The Rhythm and locally in Australia by Spoilsport Records.

The Official Vinyl Release from The Dreamworks Animated Feature Film
Deluxe 2xLP Crystal Clear with Blue Orb & Green, Mint, Blue, and Black Splatter
Heavyweight Gatefold Packaging with Matte Satin Coating
Exclusive Director and Composer Liner Notes
12 Page Booklet with Artwork from The Film

In partnership with Back Lot Music, Waxwork Records is thrilled to release THE WILD ROBOT Original Motion Picture Soundtrack Music by Kris Bowers.
The soundtrack also features two songs performed by Maren Morris titled Kiss The Sky and Even When I'm Not.
Waxwork Records is ecstatic to release THE WILD ROBOT Original Motion Picture Soundtrack Music by Kris Bowers as a deluxe double LP
featuring crystal clear vinyl with blue orb and green, mint, and black splatter housed in a heavyweight gatefold jacket with matte satin coating.
Also included is a 12-page booklet with exclusive liner notes by director Chris Sanders and composer Kris Bowers alongside artwork from the film.

Belgian electronic body-music pioneers A Split-Second deliver an expanded reissue of their influential 1987 debut Ballistic Statues, a landmark of the New Beat and EBM movement. Blending dark electronics, cold-wave tension and precision-driven sequencing, the album helped define a pivotal moment in the late-80s European underground.

This new edition brings together all tracks from the original album and enhances them with essential recordings from the same era, including the band’s complete 1986 debut EP (A Split-Second), the cult Smell of Buddha, and additional period material.

Pressed in a limited run of 500 copies (200 on clear blue and 300 on black vinyl) housed on a gatefold sleeve with a reproduction of the original lyrics insert, an exclusive poster and one postcard.

Ballistic Statues remains a defining statement—raw, innovative and far ahead of its time. This reissue brings together the core foundations of A Split-Second in one essential collection making it ideal for both long-time followers and new listeners discovering the band.

Tigercub are a UK alternative rock trio known for their dark, cinematic sound that blends heavy riffs with melodic depth. Fusing elements of grunge, alt-rock, and post-punk, the band delivers emotionally charged songwriting and powerful live performances. Praised for their balance of aggression and atmosphere, Tigercub have toured with acts like Royal Blood, Chevelle, and Highly Suspect, cementing their reputation as one of the most dynamic bands in modern rock.

TOULOUSE'S BEATMAKER'S NEW ALBUM

AN ALBUM BLENDING HIP-HOP, TRIP-HOP AND ELECTRONIC MUSIC

FEAT. SAILORMO, YFFA, BVA, JMAN, BLACKOUT JA, YUGEN BLAKROK, CESCHI, GRIN, PALOMA PRADA

We are repressing Neil Young's 2004 Greatest Hits. The new pressing on 180g black 2LP vinyl will be available for a "release date" of 6th March for all retail accounts ex. Amazon.
Greatest Hits is the third hits compilation, and presents 16 of Neil Young's best-known songs, spanning his solo career from 1969-1992, including "Down By The River", "After The Gold Rush", "Old Man", "Heart Of Gold", and "Rockin In The Free World".
The original version of the LP came with an additional 7" which is excluded on this pressing.

On a Sunday in the early 70s in South LA one could asily find themselves experiencing the Pan Afrikan Peoples Arkestra doing what they do for the community, performing incredible music. "Live at Widney High December 26th, 1971" is a previously unreleased PAPA recording. It finds director Horace Tapscott conducting the band at Widney Career Preparatory & Transition Center, a special-education magnet high school in Los Angeles. The band played shows here between 1970 and "72, often sharing the bill with contemporaries John Carter and Bobby Bradford"s group, and at one point the Sun-Ra Arkestra. These weekend shows were free and meant for the surrounding Black community. On this date the PAPA performed a range of compositions from the Ark"s expansive songbook, including arrangements of tunes by Pharoah Sanders and John Coltrane.

Silver Vinyl

Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.

An excerpt of liner notes by Peter Margasak:

"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.

The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."

Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.

a 01: Euro Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
b 02: Puls Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
c 03: Fanfarum for Komarum III (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
d 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

[a] 01: Euro Koma (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[b] 02: Puls Koma (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[c] 03: Fanfarum for Komarum III (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[d] 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.

An excerpt of liner notes by Peter Margasak:

"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.

The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."

Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.

a 01: Euro Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
b 02: Puls Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
c 03: Fanfarum for Komarum III (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
[d] 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

Bless the Maker: the Great Houses of Laced Records and Funcom have forged a temporary trade agreement to bring you the expansive soundtrack for ‘Dune: Awakening’ on vinyl.  The hit survival game has garnered critical praise for its incredibly faithful and detailed realisation of the Dune universe - from its sprawling vistas to deep lore and political intrigue. The music is integral in recreating the atmosphere of Arrakis, conjuring not only its striking landscapes but the human experience of life on the planet.  Recorded live at Air Studios in London with The Chamber Orchestra of London, Knut Avenstroup Haugen’s soundtrack conjures a planetary sense of scale.

Arcing strings shimmer and twist weightless in the air like heat rising from the desert floor, while resonant brass evokes dawn stretching out across the sands.  The luscious acoustic instrumentation is enhanced and elevated by rippling electronics, capturing Dune's singular blend of science fiction and spiritual tradition.  Soaring vocal performances from Clara Sorace, Eurielle and Emília Rovira Alegre centre this sense of the sacred, pushing the soundtrack to ecstatic emotional peaks.  Black heavyweight double vinyl.  24 tracks from the acclaimed 2025 survival game.  Widespined outer sleeve  Printed, spined inner sleeves.  Bespoke sleeve artwork by Funcom.

Ace’s small but ever-evolving “Black America Sings…” series has been quiet of late, but it springs back into action this month with the 2-LP and CD releases of “Highway Of Diamonds” – a second dip onto the catalogue of Bob Dylan, as reimagined by some of the foremost African-American artists of the 20th century.

From almost the start of his songwriting career, Dylan’s words and music have impacted on black American music, with ‘Blowin’ In The Wind’, speaking to an America that was still mostly segregated and becoming an anthem for all colours and creeds. As Dylan’s own career progressed, so did the number of covers he received, with a significant amount coming from what might be termed ‘non-traditional’ sources such as those heard here.

The 20 songs on “Highway Of Diamonds” continue the story that was told in part on the earlier “How Many Roads” compilation, with an almost entirely different selection of artists lending their voices to some of the best songwriting of the 20th century, and an almost entirely different selection of songs (with the exception of ‘Blowin’ In The Wind’ itself, which provides a common thread linking the story told across the two sets).
Big names from the worlds of soul, gospel and jazz, timeless songs and, for many, new ways of appreciating ever-durable material make “Highway Of Diamonds” as essential a purchase as its predecessor.

As ever, the great audio is complemented by a handsomely illustrated package on both CD and double vinyl, with a plethora of illustrations and in depth song-by-song-and-track-by-track annotation by Ace legend Tony Rounce.

Berlin-based Swiss vocalist Lucia Cadotsch returns with her celebrated Speak Low trio for their second album, released by We Jazz Records on 27 Nov. "Speak Low II" features Cadotsch on voice, Otis Sandsjö on tenor saxophone and Petter Eldh on double bass, and introduces guest artists Kit Downes on hammond organ and Lucy Railton on cello. "Speak Low II" picks up where their genre-bending and forward-looking debut album left off, introducing new shades into the band's sound and also diving even deeper into the songs they tackle. What makes Speak Low special is their approach to really get to the heart of each composition with seemingly minimal means, yet generating a sound which is both instantly recognisable and remarkably impactful.

"Speak Low II" comes almost five years after the band's lauded debut, and proves the depth of the band's approach right from the start. At the core of the trio's operation is an openness to their love of the music and to their surrounding scene(s). The album comes across as a unified collection of songs made truly theirs and found through listening to records and spending time with their musician friends, often on the road. The highly evolved band sound and the equality of the musicians shines through on the Speak Low sound, as the group uses their 100+ performances together as a vehicle for the development of their music.

"The first album was filled with pretty famous songs, but that was actually not at all intentional" explains Cadotsch. "Those were just my favourite songs of the previous 10 years and we started working on making them ours, musically. We were playing around with concepts for the second album, but soon realised that we just needed to find the right songs and adapt them organically, which comes through in how we interact with the songs and each other. This time around, we wanted to dig deeper and made finished arrangements of around 20 tracks, half of which we ditched in the process. The ones that made the cut have been through a lot and they just felt right for us."

In a way, the Speak Low approach could be described as archaeological. Three music lovers connecting with songs found at various sources, readily throwing away any ideas that don't seem natural to them, and hanging on tight to the ones that do.

Turns out there is a concept to "Speak Low II". It's the band itself, their shared musical development and their love of music.

"Speak Low II" will be available on We Jazz Records on vinyl (PURPLE and BLACK editions), CD and digitally. The vinyl versions come with a heavy duty tip-on sleeve and a printed inner sleeve. CD in digisleeve with no breaking plastic parts.

The musical legacy of a night that will live on for years - Fermin Muguruza's 40th anniversary roar! Under the title "Akelarre Antifascista" (which literal translation would be "Anti-Fascist Witches' Coven", but loosely translated as Anti-Fascist Celebration), in a reference to the legendary Akelarre, a wild gathering of Basque witches, this album distils all the intensity, sweat and collective excitement of a night when thousands of voices joined together to celebrate not just a career, but a way of seeing art as resistance. On 15th February 2025, Madrid saw more than just a concert: it was a collective ritual, an anti-fascist demonstration in which thousands of voices came together as one to emphasize the tenacity of a voice that never surrendered. Four decades after lighting the fuse of combative rock in Euskal Herria, the Basque Country, Fermin Muguruza chose the capital of Spain, a city that closed its doors to him so many times and that he has described as "the heart of the beast", to make the definitive record of his 40th anniversary tour. The result is "Akelarre Antifascista", a live album that distils the history of a musical and political resistance that has spanned generations, languages and frontiers. The concert, sold out with 15,000 people, was an explosion of energy, memory and future. Right from the first chord, the Sports Palace of Madrid became an open setting, a free territory where bodies, rhythms, languages and flags mixed freely. Triple 180gr vinyl LP in trifold sleeve.

2026 repress !

Nous'klaer Audio presents Martinou - Chiral, the follow full-length up to his 2021 album Rift. This time nine tracks across two vinyls. An album flowing 'in a way' like Rift, but it's different: More outspoken, heavier sound design and it peaks on a blissful note. ''Open up the blinds and take me there. We'll break the surface tension. We'll dive in. I'm locked in your devotion. You give an inclination to our demise. It will be our exit. To bliss, we'll be its guardian. Once there was love. Clear as glassy water. No ripples, no waves. I followed while you led. Our arrival was warm. Hot, even. Stunning to a startling degree. Hands intwined, frolicking towards the blue. Hours passed, and white heat cede to an orange hue. We cooled down. Red. We rallied. Black. It began. Into the deep darkness we ran. White sand, it has a tendency to get everywhere. Salt water will only dehydrate you more. Shriveled and dry. Scratchy and coarse. More. And then we were lost. Fingers once locked grew distant. Morning, dear. Where have you gone? We looked. A glimpse from afar. Red. We rallied. Shall we share a bottle of wine? Black, lost again. Afternoon, friend. Where were you? Red. Alone. Black. We rallied. Shall we try somewhere new? Sand and salt. Evening, sir. Reservation for one? Reservations a plenty, I say. Evening, miss. Dining alone? Aren't we all? Dining, miss, not dying. Oh, yes, alone. Black. Sand and salt. I found you. No. No. Wait, do I know you? You feel like a dream. Don't touch me. Move along, sir. Who are you? Leave. Who are you? Where did you go? Keep moving. I am, I will. Time to move on. I'm moving! Leave. Don't touch me. Leave. Why are you? Exit. Purple. Orange. Yellow. White. Blue. Morning, dear. Shall we have breakfast? I think I'll sleep some more. But it's our last day. I know. See you downstairs when you're ready. OK. I open up the blinds. A bird breaks the surface tension. Locked in. To Devotion? No. Demise. An inclination. Reverie. Take me there. Where? Exit (To Bliss) '' Text by Gregory Markus

'The World in Air Quotes' is a genre-shifting style-melting kaleidoscope of art-rock, jazz, techno, folk & industrial. The God In Hackney sound like very little else from the early 2020's and whilst 'The World In Air Quotes' innovative progenitors are manifold - Eno, Coil, The Durutti Column, 1980s ECM jazz to name a few - it sounds beholden to none of them.

The God In Hackney's first album 'Cave Moderne' was Andrew Weatherall's album of the year for NTS Radio.

The God In Hackney's second LP, 'Small Country Eclipse', was album of 2020 for critic Sukhdev Sandhu of The Colloquium for Unpopular Culture: "Mordant music: stuttering, dread, black humour. A record that felt truly independent, beholden to no genre, out of step with all centres and signposted nodes."


'The World In Air Quotes' is The God In Hackney's 3rd album and their most musically emotive and lyrically inventive to date. It's an album that resonates with feelings about climate change, isolation, extinction, the social impact of technology, the flattening of history—and illuminates the darkness with imaginative rhythm, melody, noise & poetry. Songs range from widescreen, anthemic rock, to strange intricately arranged jazz-influenced songs, to abstract, textural electronic pieces. There's a strain of dark and surreal comedy too that runs through the lyrics and some of the choices the band makes in their sounds and arrangements.

The core God in Hackney quartet of Andy Cooke, Dan Fox, Ashley Marlowe and Nathaniel Mellors has expanded to include American multi-instrumentalists and composers Eve Essex (Eve Essex & The Fabulous Truth, Das Audit, Peter Gordon & Love of Life Orchestra, Peter Zummo, Liturgy) and Kelly Pratt (Father John Misty, David Byrne/St Vincent, Beirut, and Lonnie Holley among many others), signalling a new and ambitious direction for the band.

The album cover features original artwork by Iranian-American artist Tala Madani, recently the subject of a career survey exhibition at the Museum of Contemporary Art, Los Angeles.

Advertising:

The Wire, Maggot Brain

Reviews & features:

Maggot Brain - forthcoming feature

Hi-Fi+ Magazine - album review in April 2023 issue

Dereck Higgins (You Tube review)

Sonosphere - interview / feature

Weirdo Shrine - interview

It's Psychedelic Baby - interview

Spettacolo (Italy) - feature.

Ghettoblaster Magtazine (USA) - feature

Airplay:

Gilles Peterson - BBC Radio 6 Music

Steve Lamacq - BBC Radio 6 Music

Dublab - playlisted & featured in Dublab Recommends (Los Angeles)

Cian Ó Cíobháin - RTE Raidió na Gaeltachta (Ireland)

WFMU - playlisted

Resonance FM - The Wire presents Adventures In Sound & Music

Human Pleasure Radio (New Zealand)

Pete Wiggs & James Papademetie - The Seance (Repeater Radio, Sine FM & others)

Peter Hollo's Utility Fog - FBI Radio (Australia)

Jonathan Lethem & Sam Sousa on Radio Free Aftermath (KSP Claremont 88.7)

Life Elsewhere

WRPB Princeton

In Memory of John Peel

Mike Watt's Watt from Pedro Show

Black vinyl repress. Wie in het voorjaar van 2025 het voorrecht had om de theatertour van Het Zesde Metaal bij te wonen, kon daar op de koop toe genieten van een handvol gloednieuwe songs. Het resultaat is de EP Randgevallen: vijf songs, vijf vertellingen uit het persoonlijke en wereldse leven die andermaal bewijzen dat Het Zesde Metaal als geen ander kan beschrijven, beklijven en betoveren.

Wie in het voorjaar van 2025 het voorrecht had om de theatertour van Het Zesde Metaal bij te wonen, kon daar op de koop toe genieten van een handvol gloednieuwe songs. En daarna vaststellen dat die helaas nergens te (her)beluisteren waren. Tot nu, want de goesting om de songs vast te leggen voor de eeuwigheid werd op den duur wel heel groot. En dus kampeerden Wannes Cappelle en co afgelopen zomer enkele dagen in Waimes (DAFT Music Studios), voor het eerst in de nieuwe bezetting met Kasper Cornelus op gitaar/toetsen en Sander Verstraete op bas.

Het resultaat is de EP Randgevallen: vijf songs, vijf vertellingen uit het persoonlijke en wereldse leven die andermaal bewijzen dat Het Zesde Metaal als geen ander kan beschrijven, beklijven en betoveren. Een staalkaart bovendien van de muzikale en tekstuele veelzijdigheid die de band al jaren kenmerkt. Opener Service is een opgewekte popsong waarin Cappelle sappig de drang naar reviews en hartjes in het dagelijkse en economische leven fileert: 'wa' vind je van onze service? / zou j'ons geen tiene willen geven? / asteblieft, want anders is den directeur vies.' In Traagskes Groeien verstilt het tempo en keert de blik naar binnen, het persoonlijke leven in, mijmerend over kinderen die stilaan het nest ontgroeien. 'ge moet u zo nie' spoeien / ge moet traagskes groeien / ge moe' laagske per laagske groeien', probeert Cappelle het loslaten nog even uit te stellen.

Wie dacht dat Oud En Nieuw daarna gaat over feestvieren in de donkerste dagen van december, is op het verkeerde feestje beland. Wiegend op hypnotiserende bas, drum en pedal steel passeert opnieuw de vergankelijkheid van het leven, dit keer met een bredere maatschappelijke blik. 'alles da' oud is, was ooit nieuw / en groot is ooit kleine begonnen / veel komt van weinig / glad was eerst ruw / zelfs de waarheid wierd ooit verzonnen'. Wanneer naar het einde toe pulserende synths het tempo opheffen en de song licht euforisch uitwaaiert in een instrumentale coda, kun je alleen maar de ogen sluiten en stilstaan bij wat was en nog komen zal.

Label is het enige nummer dat speciaal voor de EP werd geschreven en baadt net als Service in meer dartele klanken, terwijl Cappelle met trefzekere oneliners een beeld van zichzelf schetst. 'de meeste middens mijd ik, ik hore bie de randgevallen thuis / misschien verdiene 'kik ook een label'. Moeten we altijd proberen de ander in een vakje te duwen? Kan iedereen niet 'gewoon' anders zijn? En ironisch draait Cappelle de rollen om: 'atypisch is de norm / ge moogt buiten de lijntjes kleuren / gewoon is niet verboden / normaal zijn doet geen zeer / as ze mor hunder plekke kennen / de rare zijn met meer.'

Het slotakkoord is voor het beklijvende Duizend Soldaten van Willem Vermandere, dat Cappelle en Filip Wauters begin dit jaar brachten voor het tv-programma Ik Vraag Het Aan. Nu zet het een pakkend punt achter een EP die nogmaals de tijdloze klasse van de band onderstreept. Meeslepend, verhalend, herkenbaar, grappig, ontroerend, scherp. Het Zesde Metaal is het allemaal en heeft daar slechts vijf songs voor nodig.

Randgevallen werd opgenomen met Frederik Segers (productie) en Jasper Maekelberg (mix) aan de knoppen, en komt uit op 4 oktober. Met de plaat onder de arm én aan de merchandisetafel herneemt de band zijn theatertour, maar dan in het groot, langs fantastische zalen in onder meer Brugge (Concertgebouw), Gent (Capitole) en Nederland.

Gagaku is the oldest of the Japanese performing arts, with a history more than a thousand years old. The term refers to Japanese classical music and dance, traditionally performed by families of musicians linked to the ancient Imperial court, and later passed down in Buddhist temple ceremonies and Shinto shrines. Shiba Sukeyasu, founder and director of the Reigakusha ensemble, descends from the Koma clan, whose origins date back to the end of the 10th century. The recordings partly reflect repertoires borrowed from Chinese music between the 5th and 9th centuries. The incredible variety of timbres of the instruments greatly amplifies our exotic imagination: the eternal breath of the flutes (ryuteki and hichiriki) creates a sort of suspension of time, together with the hypnotic and hallucinatory atmosphere of the mouth organs (shō). The meditative tone of the string instruments (bika and koto) that punctuate the voids and silences is impressive, as is the enigmatic percussion section, with the tolling of the gong (shōko) and the calibrated beats of the drums (taiko and kakko).

The perfect soundtrack for a summer roadtrip in an old car across Death Valley.

“Calexico's musical textures are woven out of a dazzling array of instruments and styles, including mariachi trumpets, countrified pedal steel, Latin jazz percussion, and carnival organ, just to name a few. The songs move at siesta speed, casually looping and loping along, never getting overheated. Bandmates Joey Burns and John Convertino have their hands in so many musical pies--including projects with OP8, Giant Sand, Victoria Williams, Giant Sand, and Richard Buckner--one wonders how they find the time to create the sun-soaked music of Calexico. But thank God they have.” --Tod Nelson

This is the first vinyl release of our label, from the Canary Islands to the world! The founder and Spanish producer Luis Pitti captures in this release some of the sounds and style that marked an era on our beloved island. On this record you will find Oldskool Hardcore sounds, breaks, enveloping pianos, synths and sounds from the 90s fused with a modern and fun touch.

Released in a limited edition by ExperimentalBass Records on 150 gram black viny

Capcom and Laced Records invite you to return to a world of Reploids and cyber-elves, betrayal and Bio-Metals...

Thoughtfully sequenced with a disc covering each of the Mega Man Zero games, and a fifth covering ZX and ZX Advent, this box set will allow fans to fully ensconce themselves in the series.

ultimatemaverickx returns as sleeve artist, producing lore-faithful, vibrantly colorful panels depicting memorable story moments and highlighting major characters in iconic poses.

The Mega Man Zero/ZX soundtracks' glorious mix of urgent acid house, ambient, face-melting metal, and even soaring pop feel downright prophetic in the modern music landscape. Transported from their '00s hardware origins to your turntable come the sounds of our present, broadcast from the past - and it rips.

Geckos is the collective spirit of acclaimed songwriter M. Ward, Giant Sand visionary Howe Gelb, and Irish multi-instrumentalist McKowski. Born out of an impromptu recording session that was sparked by an encounter at the wedding of a mutual friend, the project blends the rich flavors of the Southwest with indie folk, Spanish influences, and a touch of Irish mysticism. While initial recordings took place in Tucson, it became a true transatlantic project when the members returned to their hometowns and continued trading ideas. The trio eventually regrouped in studios across Ireland, London, and Bristol, where renowned English producer John Parish mixed multiple tracks. Geckos' self-titled debut is steeped in story, spontaneity, and surreal charm, channeling the spirit of three singular voices discovering a new, shared musical language.

On their sophomore full- length, "Cult of a Dying Sun", Uada expand their scope and range of hypnotic craft. Balancing sharp riffs with spectral melodies in a manifold of haunting yet distinctive black metal dirges. A sharp spear in the heart of the brightest star. Epic, atmospheric, deadly

Just when you thought you'd heard the final word on Norwegian black metal's golden age, Sevan Mater erupts from the underground with a breathtaking reissue of TSJUDER 's Norwegian Apocalypse - now unleashed in a deluxe triple gatefold 2LP edition, pressed on stunning 500 Gold and 500 Red vinyl. Originally released as a live DVD in 2006, Norwegian Apocalypse captures TSJUDER at their most primal and ferocious. Recorded in Oslo and Sandnes in 2005, this live document is a raw testament to the unrelenting, chainsawing riffage and relentless blastbeats that made TSJUDER legends. From the first crackle of the needle, the remastering breathes new fire into tracks like "Sodomizing the Lamb" and "Helvete."

The guitars slice sharper, the drums hit harder, and Nag's vocals tear through the speakers like a storm of razors. The live energy is palpable, preserved in glorious analog fidelity that towers over previous editions. But let's talk presentation - because Sevan Mater has outdone themselves. The triple gatefold cover is a work of dark art: blood- red visuals drenched in shadow, with exclusive liner notes and rare live photos from the original shows. This is not a reprint for casual listeners. It's a statement piece, a collector's treasure, and a monument to the uncompromising spirit of true black metal. Whether you're a longtime disciple of TSJUDER or just stepping into the abyss, this reissue of Norwegian Apocalypse is absolutely essential. It's not just an album. It's a summoning.

Just when you thought you'd heard the final word on Norwegian black metal's golden age, Sevan Mater erupts from the underground with a breathtaking reissue of TSJUDER 's Norwegian Apocalypse - now unleashed in a deluxe triple gatefold 2LP edition, pressed on stunning 500 Gold and 500 Red vinyl. Originally released as a live DVD in 2006, Norwegian Apocalypse captures TSJUDER at their most primal and ferocious. Recorded in Oslo and Sandnes in 2005, this live document is a raw testament to the unrelenting, chainsawing riffage and relentless blastbeats that made TSJUDER legends. From the first crackle of the needle, the remastering breathes new fire into tracks like "Sodomizing the Lamb" and "Helvete."

The guitars slice sharper, the drums hit harder, and Nag's vocals tear through the speakers like a storm of razors. The live energy is palpable, preserved in glorious analog fidelity that towers over previous editions. But let's talk presentation - because Sevan Mater has outdone themselves. The triple gatefold cover is a work of dark art: blood- red visuals drenched in shadow, with exclusive liner notes and rare live photos from the original shows. This is not a reprint for casual listeners. It's a statement piece, a collector's treasure, and a monument to the uncompromising spirit of true black metal. Whether you're a longtime disciple of TSJUDER or just stepping into the abyss, this reissue of Norwegian Apocalypse is absolutely essential. It's not just an album. It's a summoning.

Schema Records proudly presents PRELUDE, Stefano “S-Tone Inc.” Tirone’s tenth album in his 30-year career. It is available from October 10th, 2025, in the usual digital/streaming formats, as well as LP (10 tracks) and CD (15 tracks); the latter contains, in addition to the tracks on the vinyl, the singles already released on 7” (“In the Sand”, “Tudo Pra Ela”) and remixes of “Pressure”, “Vento Doce” and “Longe De Voce”.

Various different styles harmoniously coexist in “Prelude”: the soul, funk, disco and house tracks embellished by Julia St. Louis’s black voice and Laura Fedele’s jazz-blues timbre alternate with Latin and Brazilian atmospheres in the tracks that host the precious collaboration with Toco, up to a stunning reinterpretation of Santana’s “Guajira” performed by Manuela Ravaglioli, a long-time S-Tone Inc.’s guest vocalist, and German Leguizamon, an Argentine artist with a brilliant career in the 90s dance music.

The title “Prelude” is a double homage: to the legendary homonymous American record label that defined the New York disco sound between 70s and 80s, and to Eumir Deodato’s masterpiece released on CTI in 1973, a sublime example of cross-genre fusion that has always been a source of inspiration for the refined and cosmopolitan blend of music styles that has made S-Tone Inc.’s sound unique and that is firmly reaffirmed in this new record.

When people think of Yacht Rock-those smooth, sun-drenched sounds that once drifted from Californian radio stations in the late '70s and early '80s-they rarely imagine it echoing through rehearsal rooms in Hamburg or Linz. Yet even far from the Pacific coastline, the appeal of shimmering chords, laid-back grooves, and polished production found fertile ground.
This compilation gathers rare and overlooked tracks from Germany and Austria. These artists embraced West Coast aesthetics with sincerity and subtle twists, resulting in music that feels both familiar and refreshingly new-smooth sounds for cloudy skies. So drop anchor, pour something cool, and enjoy this unexpected cruise through the lesser-charted waters of Euro Yacht Rock.

Our journey begins in Austria, where Reflection's Because (1981) set the tone with blue-eyed soul and analogue warmth-a sunlit blend of Doobie Brothers polish and local charm. Its creator, Dieter Heyduk, reappears with Austrian Sky, a heartfelt nod to his homeland that fuses mountain calm with oceanic longing.
From the North Sea island of Föhr, Ara Pacis dreamed of California on their 1979 self-release To the Westcoast. Inspired by Steely Dan and Lake, they turned German rock precision into breezy, melodic sophistication. Meanwhile, in Düsseldorf, Mainpoint fused funk and jazz-rock on Frisbee, their 1980 single bursting with rhythmic drive and optimism before the tide of the Neue Deutsche Welle swept such grooves aside.
Bremerhaven's Nuages offered the compilation's only instrumental gem, Strange Weekend (1985)-a gentle blend of jazz-funk and rock and largely lost to time. Its cool restraint captures the European interpretation of Californian ease.
Around the same period, British traveler Gavin James recorded River of Laughter in southern Germany, backed by the blues-rock band Black Cat Bone. His acoustic reflections on water and flow mirrored the soft, meditative pulse at Yacht Rock's core.
Berlin's Top Spin kept things playful with Bikin (1985), a funk-fusion snapshot of urban joy that showcased the city's finest session players. From the Ruhr area, the Jan Pack Band is up next. While not a typical Yacht Rock track, Cable Dance is driven by an effortless, groovy '80s vibe.
Peter Seiler's Goldfinger project reimagined Walkin' in the Sand as a relaxed reggae-tinged track, while Munich's Major Seven closed the voyage with Silverboat, a wistful soft rock ballad gliding between melancholy and light.

Across these hidden harbors of German and Austrian pop, the West Coast dream took on new forms-reflected in rivers, skies, and studio lights half a world away from L.A. Under and Above the Clouds celebrates that spirit: the enduring pull of smooth music, wherever it's made.

Frank Turners „The Next Ten Years“ ist der Nachfolger des begehrten Box-Sets „The First Ten Years“ und
enthält seltenes Bonusmaterial aus den Studioalben des letzten Jahrzehnts in einer limitierten Auflage auf
3 LP-Transparent-Vinyls.
Ab dem 7. November erhältlich!

Room Noises is the debut album by the American indie rock/pop band Eisley. The album spawned three singles: "Memories",

"Telescope Eyes", and "I Wasn't Prepared". It was placed at number 9 among Paste magazine's top albums of 2005.

The dreamy sound on this album is pretty unique and the album contains a healthy dose of fragile songs.
Room Noises is available as a limited edition of 750 individually numbered copies on crystal clear & black marbled vinyl and includes an insert.

British South African composer & producer Galina Juritz presents 'One Weird Trick', her debut solo album on London's home for interdisciplinary oddballs, Kit Records.

As a classically trained violinist, Galina has worked in bands and ensembles such as ShhArt Ensemble, Inclementine, and in various combinations featuring leading musicians from Cape Town and Johannesburg's classical and jazz scenes.

Galina composed the music for Madness: Songs Of Hope and Despair, a cantata made in collaboration with Dizu Plaatjies, with a libretto by psychiatrist Dr Sean Baumann. Madness debuted at the World Psychiatry International Congress in 2016, and had a two week run at Cape Town's Baxter Theatre in 2017. As a composer she writes frequently for film, animation and ensemble.

She has collaborated with the likes of composer Neo Muyanga, Mr Beatnick, Cara Stacey, Kelpe, Juliana Venter, Violeta Garcia, Kit Records head Richard Greenan & more. Galina has been remixed by the likes of Photay, Memotone and Tom Skinner (Sons of Kemet, The Smile).

'One Weird Trick' is the culmination of her solo material. Still rooted in the ornate, technical world of string composition and arrangement, the album is stubbornly unclassifiable.

Opening with time-dilated ambient ('Leaves') before segueing into rippling, florid techno ('Skeleton and Tiger fighting'), Galina twists again and again, shifting gears through stoned, jazz-inflected r'n'b ('Things I Know to be True'), string-led widescreen songcraft ('Come Back') and orchestral minimalism for standing on vast shorelines ('Time Split at the Seams of Your Departure [everything is now before and after]').

On the B side, Galina flexes her composition chops with the storming jazz of 'Spirit Level', recorded by Cape Town-based musicians Buddy Wells, Andrew Lilley, Jonno Sweetman & Stephen de Souza. Galina is then joined by the Stockholm Sax Quartet on 'In Rebellion of Time', a stately Reichian revelation that moves from solemn ballet to ecstatic multiharmonic denouement. To close, Galina retrieves oozing electronics and smeared journal entries from the guts of a black hole - a fitting conclusion to a truly unique, unpredictable, delightful, sad, infectious, and bizarre record.

Influences / sounds like: Louis Cole, Matthew Herbert, Darkside, Thundercat, Eiko Ishibashi, ECM, Oliver Coates.

'One Weird Trick' is out 7th November 2025 via Kit Records, available on vinyl & digital formats.

Kit Records will throw an album launch party at Servant Jazz Quarters in Dalston, London on 30th October 2025. Tickets TBC.









[g] 07: Time Split at the Seams of Your Departure (Everything Is Now Before and After) [feat. sir kay]