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Mrs. Piss is a new collaboration between Chelsea Wolfe and Jess Gowrie . Drawing on their collective rock, metal, and industrial influences, the project began while the two were touring around together during Wolfe's Hiss Spun album in 2017. The result is their debut album Self-Surgery, which was recorded at The Dock Studio in Sacramento, CA and in Wolfe's home studio, The Canyon. These songs feel more urgent and visceral than anything either of them has created before: heaviness spurred on by punk spirit. Chelsea Wolfe (vocals, guitar): "Working on this project brought Jess and I so much closer as songwriters and production partners, after reuniting as friends and bandmates. It was freeing and fun to channel some wild energies that I don't typically put into my own music. We tried not to overthink the songs as we were writing them, but at the same time we did consciously put a lot into crafting them into our own weird sonic vision. This project was a chance for us to do things our own way, on our own terms, and we plan to invite more womxn musicians along for future Mrs. Piss recordings." CW Jess Gowrie (drums, guitar, bass, programming): "To me, Mrs. Piss represents a musical chemistry cut short long ago that now gets a second chance. Creating with Chelsea has always been very liberating for me, and we both push each other to try new things: anything and everything. Both of us have grown so much as writers and musicians since our first band together (Red Host), and with the journeys we had to take separately to get there, we both have so much more to say; so much more pain and anger to express. That said, we also had a lot of fun doing it, not to mention how freeing it is to not give a f-k and to just create." JG "Doomy chugs, ethereal vocals and massive distortion sounds are the order of the day, summoning the menacing timbres that fueled Wolfe's Abyss and Hiss Spun records" GUITAR WORLD "a grungy, sludgy new project that defies expectations" REVOLVER "Together, they make a grandly grungy noise - something bigger and more anthemic than what we're used to hearing from Wolfe" STEREOGUM "urgent and abrasive" CONSEQUENCE OF SOUND " thundering tracks that sound as if they had diliberately set about to destroy a roomful of amplifiers" BLACKBOOK

2025 Repress

Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.

A laidback, fusionistic ride replete with loopy drum tracks underpinning Tommy's trademark reflective guitar stylings, Loose Grooves & Bastard Blues remains powerfully evergreen. Originally released in 1997, there's elements of jazz, trip hop, rock and downtempo groove. All shot through with a heavy dose of soul. Thirteen tracks of lo-fi (mostly) instrumental freshness fused with Cuban, Latin and blues, it's a must for fans of Money Mark, J Dilla, RJD2, DJ Shadow and Pete Rock. As ever with Tommy's records, the title sums up the music contained within most aptly. And writing about his songs, his vibes, is one of the trickier things to do, it has to be said. It's just all gorgeous!

A total vibe throughout, to blast Loose Grooves & Bastard Blues is a majestic experience, one that suits a start-to-finish listen and renders the picking out of highlights totally redundant. Featuring nagging, deeply melodic guitar lines - both electric and acoustic - over simple rhythms with such sumptuous elegance, the hypnotic playing against unrushed percussion releases a crystal clear stream of healing frequencies. It's ust divine. This album laid the blueprint from which Tommy Guerrero would subsequently explore further on A Little Bit of Somethin' and Soul Food Taquiera.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

This isn't your abuela's salsa night - this is CHEO Y LOS CONSENTIDOS DE LA CASA. Funk-forward. Rhythm-obsessed. 100% dance floor approved. Cheo y Los Consentidos de la Casa is a dynamic, funk-infused Latin music project led by Cheo Pardo (of Los Amigos Invisibles). Serving as the house band for a bi-weekly dance night at NYC's Nublu, the group blends salsa, boogaloo, cha-cha-cha, and bolero with psychedelic effects and deep grooves. Their debut live album captures this high-energy fusion, reimagining Latin classics with a modern, electrifying twist that honors tradition while pushing boundaries. Born from a love of vintage Latin soul and the raw energy of NYC's dance floors, Cheo assembled an all-star crew of the city's hottest Latin players to cook up a high-octane blend of salsa, boogaloo, cha-cha-cha, and bolero - all filtered through wah-wah pedals, space echoes, fuzzy guitar solos, and a deep, unshakable groove. The result? A psychedelic, percussive party that's equal parts tradition and funked-out future. Their debut album, recorded live at Nublu, captures the heat, sweat, and sabor of their wildest nights - reimagining classics from Joe Cuba, Willie Colón, Eddie Palmieri, Mon Rivera, and more. Each track is a tribute and a reinvention, breathing new life into the old- school with a cosmic twist, and opening the doors for a whole new generation to feel that sabrosura in their bones.

…And You Will Know Us By The Trail Of Dead (also known as Trail Of Dead) is an American alternative rock band best known for their wild, energetic live shows. The chief members of the band are Jason Reece and Conrad Keely, who alternate between drumming, guitar and lead vocals, both on recordings and live shows. Since their formation in 1994, they have released ten studio albums, including the 2014 IX. The album features favourites “The Ghost Within” and “The Doomsday Book” amongst others. During the time of these recordings, the band also featured Autry Fulbright II on bass and vocals and Jamie Miller on drums and guitar. IX is available as a limited edition of 500 numbered copies on pink marbled vinyl and includes a 4-page booklet.

With Vermilion Hours, Melaine Dalibert offers a condensed rereading of his Musique pour le lever du jour, still exploring minimal variations and subtle piano resonances. This new version, enriched by David Sylvian's discreet electronic textures, retains the atmospheric magic of the original while offering a new density. Sylvian, best known as the singer of Japan, is also an important figure in ambient music, collaborating with Czukay, Hassell and Sakamoto. Their collaboration, born of a sincere artistic affinity, acts here as a transmission between generations. The two tracks on the album - Musique pour le lever du jour and Arabesque - evoke a soundscape where each note is reflected and diffracted infinitely. The electronic work acts like a halo, a vibrant aura. Dalibert speaks of a desire to humanize his theoretical processes, to touch through the organic. Like a Klee painting, each stratum of sound builds depth. This is, indeed, "landscape music," where, if you listen closely, you might hear birds singing in the background. And that is the true essence of these suspended harmonies, these vermilion hours-which transport us, as only the contemplation of nature can, into another space-time, a sonic bath that is also a renewal of the senses. Since his career with Japan began in 1974, David Sylvian has explored a wide range of musical territories, collaborating with the likes of Robert Fripp, Jon Hassell, Readymade FC and Ryuichi Sakamoto - venturing as far as ambient music, which he further develops here in tandem with Melaine Dalibert. While continuing to teach at the Rennes Conservatoire, Melaine Dalibert regularly releases albums on various labels and performs both his own works and those of other composers - most recently, a reworking of Keith Jarrett's Köln Concert. He also co-curates the Autres Mesures festival. The two pieces forming Vermilion Hours feel like transcending the generations. Between Melaine Dalibert (born in 1979) and David Sylvian (1958) lies the same generational gap as between Sylvian and Czukay (1938-2017) or Hassell (1937-2021). The CD versions adds two edit versions of both long tracks.

Von Punk-/Hardcore-Clubs aller Altersgruppen in Orange County, Kalifornien, bis hin zum Headliner der größten Rockfestivals und Veranstaltungsorte der Welt - »The Illusion of Safety« gilt als Katalysator für den großen Erfolg der Band. Auch 20 Jahre und zehn Alben später kann man bei jeder Thrice-Show unweigerlich die Aufforderung hören, »Deadbolt« zu spielen - ein Beweis für das Durchhaltevermögen eines Albums, das die Screamo / Post-Hardcore-Ära definiert hat. Mit der Jubiläumsversion von »The Illusion of Safety« feiert die Band das Vermächtnis des Emo / Post-Hardcore-Klassikers, indem sie als Bonus die B-Seite »That Hideous Strength« zum ersten Mal auf Vinyl veröffentlicht. Electric Blue Vinyl LP mit Extratrack zum 20. Jubiläum!

For Fans Of: New Mastersounds, Soulive, Jimmy Smith, Khruangbin. Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans. Third full-length LP. Their KEXP video has over 8 million views and no other KEXP upload in the last three years has more views 60k followers on Spotify. Previous studio album entered at #1 on Billboard Jazz charts. “An obvious mastery of their craft….” MOJO // “keyboard cool recalling bygone times…” UNCUT // “…purveyors of the snappiest grooves…” SHINDIG

PEACOCK DREAMS


After the resounding success of his project Le Cri du Caire, whose eponymous album was awarded a Victoire du Jazz in the “World Music Album” category, Abdullah Miniawy returns with ‘Peacock Dreams’, the first opus of his new trio formation released on the label PPL Songs Aghani Al-Khalq.


Accompanied by trombonists Robinson Khoury (2024 Django Reinhardt Prize from the Academy of Jazz) and Jules Boittin, Abdullah Miniawy presents an unconventional combination of three tenor instruments. The lyrical depth of the voice of the Egyptian poet, singer, and composer merges with the bold expressive capabilities of the two trombones, allowing him to explore unprecedented sound ranges that connect Western and Eastern musical traditions.


The Trio performs Abdullah Miniawy's latest musical compositions, as well as adapts former work stemming from the Egyptian revolution and his previous formation Le Cri du Caire, while highlighting collaborations by inviting trumpeter Erik Truffaz, flamenco singer Niño de Elche, and danish-indian producer Hvad on some tracks.


‘Peacock Dreams’ engages the audience in a unique musical experience that freely combines baroque and operatic influences, Sufi and Coptic themes, and musical motifs from the Arabian Peninsula, infused with the jazzy cacophony of Egyptian traffic jams, once more revealing the transcendental and communional power of Abdullah Miniawy's music.


ALBUM PITCH


A peacock dreams of being a poet. It concentrates, trying to shed its colors, turning its feathers into a gradient of flesh. On the other hand, a poet longs for the peacock’s colors—a galactic blend of earth, forest, sea, and sky, seen from a high vantage point.


A poet can close their eyes and absorb the knowledge of the finite, and absorb the knowledge of the finite, yet miss much, trapped in monotone concentration, eyebrows plucked down to 111.


The peacock, dipping in the ink drops from the poet's pen, sails through a tube into the poet's body. A fluttering storm erupts, reversing the roles: the peacock finds itself under an arrest warrant, while the poet, reducing his expression to a roaring "Wak-wak," struggles to describe the world.

Billie Eilish’s third studio album, "HIT ME HARD AND SOFT", released via Darkroom/Interscope Records is her most daring body of work to date, a diverse yet cohesive collection of songs— ideally listened to in its entirety from beginning to end—does exactly as the album title suggests; hits you hard and soft both lyrically and sonically, while bending genres and defying trends along the way. With the help of her brother and sole collaborator, FINNEAS, the pair wrote, recorded, and produced the album together in their hometown of Los Angeles. This album comes on the heels of her two massively successful albums “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?" and "Happier Than Ever" and works to further develop the world of Billie Eilish. This special anniversary edition is pressed on bio-vinyl dark blue & orange splatter with the original cover printed on silver mirror foil board.

Our favorite Icelander is back on Riotvan. Sexy Lazer! His midlife crisis is over,
and he's diving headfirst into a new chapter—reinvented and re-energized. Honestly,
we can’t quite put it into a box, but that’s exactly what makes it so thrilling.
It’s pop, it’s lo-fi, it’s electro, it’s indie. It’s pretty much everything we
think is cool. With Ape Escape, he not only throws a nod to his roots (the pros
will know) but also opens a gateway to a world of playful details that leave us
absolutely delighted. This EP is a concept, a performance, and so much more—without
ever feeling forced or pretentious. Pure authenticity from start to finish,
culminating in… a film. Yep, you heard that right. Not just a music video, but a
proper short film that does this whole thing justice. And now, suddenly, it all
makes sense. Or maybe it doesn’t. But that’s exactly why we love Sexy Lazer. A
wild-haired whirlwind who does whatever the hell he wants. And for that, we say:
Thank you!

Dokkerman & The Turkeying Fellaz, the Hungarian apostles of heavy funk return with this crisp 7” featuring two deep cuts. On this one they show us their more mature and mellow side fusing Oriental, African and psychedelic characteristics with their signature all-in dirty funk sound.

’Hat’ on side A is a mellow jam of the kind we all love: hypnotic guitar and organ playing over a slow burning groove and a beat you start nodding your head to in the second the needle hits the groove. Ont he flip, ’Kilenc’ is an uptempo number composed and performed in the same vein - the perfect choice for any bold funk set played for an open minded crowd.

Limited to 300 copies.

On Rollerstate, Belgian duo Mosley Jr. (Niels Blondeel & Ijsbrand De Wilde) embrace a sound that’s raw and free, yet impossibly refined. This 7-track EP offers a journey through their unfiltered creativity, where analog imperfections, captivating grooves and nostalgic soundscapes collide.

Rollerstate is creatively underground, yet undeniably catchy, capturing an era of old-school dance influence, TV-commercials and vague hazy distant airwaves. Rollerstate is both the state of mind and fictional place we all tend to escape to.

Released on Moodfamily, the EP is available digitally and physically on vinyl and limited edition cassette (MFC001)

Funk Machine marks a second release on Big Baba Record for Edaldo who goes big with four electrifying tracks that are perfectly tooled for open-air and summer dancefloors. The title cut brings big, bright, bold disco-house anthem vibes with full-throttle vocals and piano stand, 'People' has a more Italo-disco vibe with an infectious vocal hook and nice retro bassline and 'Jah Noon' is a club-ready remix of a rare Yemeni groove that melts disco and indie-dance with an oriental twist. Last of all is the acid-infused Kwaito cut 'Johna' with classic cowbells and snaking bass. These are big tunes but they don't lack class.

Politics Of Dancing returns to their self-titled label with more perfect club bait. 'Fonk' is a breezy, smooth tech house pumper with shape-shifting synths and a nice tightly coiled bassline that are perfectly easy to latch onto a cruise along with. 'Little Freak' brings more colour to some psychedlic synth refrains that loop over the bubbly tech house beats and 'Breaky' has a gritty low end and cosmic pads. It's body music with a future edge and last of all is an Arapu remix which ups the pace a little and brings some sci-fi motifs to a fulsome minimal soundscape.

Electro tastemaker Adam Curtain shows his class again across three new cuts on this latest for Infiltrate while Enchanted Rhythm steps up for one collaboration. That track, 'RSKOUSS' is a body-popping mix of breaks and clattering percussive hits with spooky synths and plunging bass finishing it in style. With the solo cuts, Curtain first explores acid laced and bass-heavy broken beat on 'You Say You Love Me' then smoky futurism with 'Olive Man' and its moody low-end oscillations and bleeping synth tones. Another brilliantly snappy kick and clap combo brings the funk to 'Urchinitus' while distant pads nag like the memory of a lost love. These are storied beats for knowing 'floors.

Earl Jeffers is no stranger to crafting effective, big-hearted sounds. He's got plenty of them dropping in the early part of 2025 too, and all of them are slightly different but equally effective. This latest drop on the Melange Archives label was originally released back in 2013 and starts with 'Monster (feat Kofi Tarris)' which is raw-as-you-like house music at a slow and steady pace but with such energy in the chords and funky guitars that it will blow up any club. 'Thunder & Lightning (feat TOG)' lands a little more heavy. There is garage swing in the drums and plenty of expression in the vocal stabs. Two bombs, for sure.

An ever-present name in underground house, Alex Celler is back once again on Baby Ford's cult Trelik label. This is his third and maybe best outing yet with 'Twilight Firedancer' being a long and extended dub tech workout with wobbly bass and off-balance drums topped with glowing chords that bring occasional relief to the pressure of the groove. 'Mescaline' is much more busy with abstract pops and squeaks, synth modulations and an urgent, tightly programmed minimal tech groove that you would expect of this label. It's high-class music for mind and body.

We know nothing about the newly emerging Fefe other than the fact that they hail from Down Under and, on this evidence, make classy club tackle. 'Trudd' is a supple, shapeshifting deep techno opener with sub-aquatic pads and churning rhythms. 'Bogged Under' gets more dark and heavy with drum pressure never letting up as spangled synths occupy the mind. 'Diddy's Rug' brings a lighter melodic touch with trippy patterns and hallucinogenic qualities for the afters then 'Fire Warden' is a double-time stepper with dub weight and urgent energy to make for another sophisticated offering from Danza Nativa.

Past Inside The Present is back with another of its quietly powerful ambient records, this time from Almost An Island, which is a collaboration between Kenneth James Gibson and husband and wife duo James and Cynthia Bernard. This black version of the self-titled oeuvre drifts through ambient, Americana and experimental soundscapes with musical elegance and tasteful restraint. Muted textures, swirling guitar, pedal steel and subtle vocals create a mood that draws you in close but is also grand in scale. Tracks like 'Quadrivium' and 'What Got Us To Our Feet' blur the line between memory and melody, while 'Palo Verde' and 'Promise to Fade' linger like a half-remembered dream. This isn't ambient as background-it's a fully formed emotional landscape that is both meditative and melancholic.

Life Elsewhere marks the striking debut of Catalan artist Oriol Cebrián, working under his Absent Corps alias. Known in underground circles for his razor-sharp ear and deep historical knowledge of electronic music, Oriol steps fully into the spotlight with an EP that both pays tribute to—and expands upon—the clubbing traditions of the late ’80s and early ’90s Valencia and Girona scenes: two epicenters of Spain’s most fervent and influential electronic underground. Crafted with a clear sense of purpose and sonic identity, Life Elsewhere is a masterclass in tension and rhythm—fusing hard- edged new beat with body-moving EBM, break-heavy trance detonations, and raw, unfiltered machine techno. All of it is filtered through a contemporary, uncompromising vision. Each track feels designed for the floor, yet refuses to fall into formula—constantly shifting between muscular propulsion and hypnotic detail. Presented in a truly limited ONE- OFF edition of 300 copies, lacquer-cut and pressed on 180g high-quality solid BLUE vinyl. All tracks have been specially remastered and mastered for vinyl.

Emerging from the shadows with a sound both haunting and hypnotic, the mysterious one-man French act Closed Mouth (Yannick Rault) unveils You Don’t Need a God—an unrepeatable EP that stands as the spiritual heir to the legacy of compatriots Trisomie 21, Little Nemo, and Babel 17. With icy synths, ghostlike vocals, and melancholic guitar lines veiled in mist, this record conjures the same cinematic introspection that defined the golden era of European coldwave and post-punk. Each track plays like a transmission from a forgotten dream—enigmatic, emotional, and unmistakably timeless. This is not mere revivalism; this is the continuation of a mood, a vision, and a sound that still resonates with profound intensity. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Opolopo, which is a Yoruban word for 'plenty' as well as being the alias of Hungary-born, Swedish-raised disco king, is back on Z Records with a bunch of his brilliant remixes. He flips AC Soul Symphony's 'AC Express' into a disco jam so rich it might just give you indigestion. It's packed with Philly soul strings, then the 'Windy City Theme' remix gets a little more smoky and sultry with funky basslines and gorgeous vocals. Last of all is the more pumping disco trip of 'Six Billion Dollar Man' with its sense of wide-eyed cosmic wonder and free-spirited celebration.

The Vestige is the first fruit of a new intergenerational collaboration between Giuseppe Ielasi, a quietly prolific key contributor to the European experimental music scene for over twenty years, and Jack Sheen, a young composer-conductor-sound artist from Manchester whose recent projects have seen him moving seamlessly from enigmatic chamber music composition and installations to conducting the London Symphony Orchestra. Their materials and working methods differ significantly, with Ielasi having focussed for many years on electro-acoustic techniques alongside his ongoing commitment to the guitar, and Sheen primarily composing for traditional instruments. More important, though, is what they share: a fascination with what Sheen calls “mysterious, liminal musical material,” using irregular repetition and cyclical forms to create structures at once alive with activity and almost static, as well as a rigorous exploration of spatial diffusion and the interaction of sound event and environment. Working individually with a library of acoustic instrument sounds from Sheen’s recent projects and Ielasi’s guitar, the pair eventually met for several days at Ielasi’s home studio in Monza, sculpting the fourteen pieces that make up The Vestige. Like Ielasi and Sheen’s solo works, the record shows an exquisite attention to details of sequencing and pacing, the sound palette and compositional approach consistent throughout while each piece asserts its own identity. The twenty-five seconds of the opening piece serve as an entrée into the record’s distinctive world of sound: repeated chirps fluctuate in volume as they move across the stereo spectrum, woven between strangled snatches of string glissando against a backdrop of percussive ticks, long tones, and white noise. Across the remaining thirteen pieces, Ielasi and Sheen sketch further dimensions of the ambiguous space, where distinctions between pitch and noise, repetition and irregularity, electronic and acoustic remain pointedly unclear. As the record’s title suggests, the origins of the sounds we hear have become remote: while at moments we get flashes of timbres and attacks that could come from wind instruments, bowed strings, or prepared guitar, these remain vestigial traces, glimpsed through a veil of shifting white noise textures. These textures are themselves difficult to trace, suggesting artefacts of the recording process, electronic synthesis, amplified room sound, rubbed instruments or objects. The Vestige shows an unusual degree of attention to frequency range as a compositional tool, something it shares with the hyper-subtle variations of Ielasi’s electroacoustic works and the deliberately ‘unbalanced’ midrange-heavy ensemble of Sheen’s Sub. Here, movement between episodes is as much about adding or removing a frequency band as it is about changes in density, harmonic content, or instrumental texture. Tracks are marked by the sudden appearance of subbass or exaggeration of high frequencies in otherwise similar material, contributing to our sense that these fourteen pieces are like different views on a scene that we can never quite see clearly. While calling up a range of past music, from the early works of Rolf Julius to Simha Arom’s recordings of layered polyrhythms embedded in the background sounds of central African villages to the temporal distortions and layered hiss of DJ Screw, the alluring and disconcerting world of The Vestige is entirely its own.

36 and Past Inside The Present label head Zake return to their Stasis Sounds For Long Distance Space Travel project which is music designed not for the distracted world we inhabit, but for the still moments we so often neglect. Crafted with intention and restraint, it is a universe that suspends the listener in time across glacial soundscapes in which the duo conjures a sense of cosmic awe. Soft, slow-moving drones and textural washes drift like solar winds through the vacuum, suggesting the boundless calm of deep space. The production is rich, gentle with tonal shifts and barely-there harmonics that evoke both distance and intimacy, wonder and melancholy. It feels like music beamed in from the edges of the known universe. If you fancy a contemplative journey from the edge of Earth's thermosphere into the unknowable beyond, tune into Stasis Sounds on your best headphones.

2025 repress... Recut and remastered from this BOMBASTIC Chemical Brothers soundslike :)

Electronic music, dancefloor and arty... Jazzmen famillies !

20/20 Vision's 30th birthday celebrations continue apace with another choice reissue. This one throws it over to Huxley, a prolific and accomplished producer who defined the house and garage sounds of the 2010s. This EP is from 2012 and is one of many standouts that exemplify his bass-driven style. 'Box Clever' brings big paint stabs and bubbly rhythms, 'Atonement' is a low-slung and deep cut with warm pads and silky bass and 'Feel What You Want' is full of colourful cosmic pads and more irresistible grooves. Also included is a new mix from Berlin house Queen Cinthie alongside, for the first time ever, her partner Meat. It's a chunky cut with a new school twist on classic house.

Founded in 1966, The Beachers is a group whose music is inspired by Caribbean rhythms and Panama’s musical tradition. Calypso, salsa and bolero are part of the unique Beachers sound, whose popularity peaked in the 70s during what is known as “The Golden Era of National Combos”. The Beachers have released 13 albums and more than 30 singles to their name, on prestigious Panamanian record labels like Tamayo, Loyola, or Sally Ruth Records, teaming up with other Calypso legends such as Lord Cobra.

The Beachers are still current and relevant, with five of the original members performing constantly through Panama and the world. Their energy and spirit is felt in the joy, rhythm and flavor of their songs.
Lloyd Gallimore, the band’s musical director since its foundation, and renowned producer Billy Herron have been working together on this new album, commemorating the group’s 50-year career.

This recording relives The Beachers’s magical trajectory and features collaborations with popular Panamanian musicians, a work that displays a sonic landscape filled with the history and legacy of Panama’s Calypso. It’s a tropical musical fantasy whose Caribbean influence has transcended time.

French producer Saint Paul was raised in Lyon with Ivorian and French heritage and is now based in Reunion Island. He was a founding member of Moonrise Hill Material and continues to refine his style, which is infused with jazz, funk, hip hop and African rhythms. Though built for the dancefloor, it comes rich in introspection that marries energy and soul. This six-track EP on GLBDOM takes in the horn-laced New York house vibes of 'I'm Ur DJ', swinging MAW-esque kicks of 'We Can All Groove With It' and jazz-laced depths of 'Extreme Vibration'. It's an EP full of class and character with the late-night lounge sophistication of 'Elixir De Bons Souvenirs', another highlight.

Born from a virtual encounter in lockdown between two Parisian neighbors, the DJ/producer Prosper and saxophonist Le Marabout, this new playful and joyous project is pulling freely from the Afro, Funk, Disco, Hip-Hop, Oriental and Electro influences of the two artists.
The iconoclastic DJ Romain “Prosper” Coolen, fervent purveyor of no holds barred euphoria on the dance floor, and the versatile saxophonist, composer and jack-of-all-trades Johann “Le Marabout” Guihard offer us a lavish, eclectic, uninhibited, coherent and furiously groovy listening experience.

First single “C’est Vrai“, from their forthcoming album ‘Le Moustache Conspiracy’ (released October 2022) is a banging Electro Afro Funk joint featuring Fou Malade and Niagass, two luminaries of the Senegalese Hip-Hop scene.

Over the bouncing beat and snarling horns, these two juggle lyrics back and forth in Wolof (Senegal’s most widely spoken language), calling out those fake friends who smile in your face before stabbing you in the back.

Maggot Mass, the fifth full-length album by Pharmakon on Sacred Bones Records, marks the project's return after a five-year hiatus. This album signifies a departure from the original rules and structures established by Margaret Chardiet for Pharmakon, evolving into a new form. It retains the project's experimental roots in power electronics and noise while incorporating industrial and punk influences. The album stems from a profound disgust with humanity's dysfunctional relationship with the environment and other life forms. It explores the loneliness resulting from this broken bond and challenges us to acknowledge our personal and systemic responsibility. What peace can we make with privilege when the true cost of our comfort is not measured in dollars but in death? How can we reconcile with death when we impose the same hierarchical structures on it that we do in life? Is life worth living in the isolation of this self-imposed species loneliness? Humans often measure worth by accumulation _ money, assets, objects _ mistaking this for power and influence. Western heritage dictates a hierarchy, placing humans at the top, separate from the natural world. This delusion turns bodies into objects, land into property, and people into expendable tools. If our value were instead determined by our contribution to the ecosystem, who could claim that a human is more valuable than a maggot? Maggots recycle death into life, breaking down matter and nourishing new growth. They transform into flies, pollinating plants and sustaining the Earth's flora. In contrast, humans pollute rather than pollinate, with a select few profiting from exploitation at the expense of biodiversity and the well-being of many. In grappling with grief and loss on both personal and global scales, Margaret sought solace in the idea of rebirth through death, celebrating the beauty of regeneration through decay. However, she had to confront the stark reality of the disconnection from the earth under oppressive systems. Pharmakon is here imagining a path where the final act is to give back what was received from creation, offering our lives and deaths to sustain existence. once I slough off this human skin I will find my home and ancestral kin_ in the coffin-birth of my cadaver's ecosystem

Saxophonist Sahib Shihab might not enjoy the reputation of some of his peers but he was a fine jazzman. For this legendary album he worked with a small but hugely talented collective of peers that included Francy Boland on piano, Fats Sadi on vibes, Jimmy Woode on bass, and Kenny Clarke on drums. The one of a kind sound they cooked up back in 1970 has endured to this day but has always been hard to find and expensive. This reissue rights that wrong and reminds what a classic it is.

A Study of Losses", das siebte Studioalbum von Beirut, ist eine Odyssee mit 18 Tracks. Das Projekt entstand im Frühjahr 2023, als Viktoria Dalborg, Direktorin des schwedischen Zirkus Kompani Giraff, Condon fragte, ob er Interesse hätte, die Musik für ihr nächstes Projekt zu liefern, eine Show, die auf einer Adaption eines Romans der deutschen Autorin Judith Schalansky basiert. Die Hauptthemen in Schalanskys Buch "Verzeichnis einiger Verluste" und in der Adaption für die Zirkusshow befassen sich mit dem Konzept des Verlusts und der Vergänglichkeit von allem, was uns bekannt ist: von ausgestorbenen Tierarten, verlorenen architektonischen und literarischen Schätzen bis hin zu abstrakteren Konzepten des Verlusts durch den Prozess des Alterns. "A Study of Losses" reist durch elf Songs und sieben erweiterte instrumentale Themen, die nach den Mondmeeren benannt und von der erschreckenden Geschichte eines Mannes inspiriert sind, der davon besessen ist, alle verlorenen Gedanken und Schöpfungen der Menschheit zu archivieren. Musikalisch jedoch taucht er wieder in Chorgesang, Renaissance und andere Stile ein, die seine frühe Arbeiten inspiriert haben, sowie in Variationen von Klängen und Ideen, die sich auf eine seiner Lieblingsplatten, "69 Love Songs" von The Magnetic Fields, beziehen. Mit einer Länge von fast einer Stunde ist es das bei weitem umfangreichste Album, das Beirut je gemacht hat, und es gehört fraglos zu Condons bisher schönsten Arbeiten. "A Study of Losses" ist das zweite neue Beirut-Album innerhalb von nur zwei Jahren und die Fortsetzung eines weiteren, charakteristisch produktiven Kapitels für Zach Condon. Nach einem halben Jahrzehnt, das er damit verbrachte, sich von hartnäckigen Halsproblemen und einem drohenden mentalen Zusammenbruch zu erholen - was ihn daran zweifeln ließ, ob er jemals wieder vor Publikum auftreten würde - folgt "A Study of Losses" auf "Hadsel", das "einen neuen Anfang für Beirut" markierte, lobte Pitchfork und nannte es "eine aus Verzweiflung und Einsamkeit geborene Platte, die sich dennoch voller Leben anfühlt". Während sich "Hadsel" um eine gewaltige, antike Kirchenorgel drehte, die Condon während eines dunklen arktischen Winters in Nordnorwegen entdeckte, wird "A Study of Losses" durch Streichquartette und Arrangements der Cellistin und "No No No"-Mitarbeiterin Clarice Jensen aufgehellt. Geschrieben und aufgenommen von Zach Condon in Berlin (DE) und Stokmarknes (NO), wobei die Wurzeln des Albums in Schweden und Deutschland liegen, erweitert "A Study of Losses" auch die weite Welt, die er durch die Musik von Beirut aufgebaut hat, seit er das Projekt als neugieriger und umherziehender 14-Jähriger begonnen hat. "Als ich zum ersten Mal angesprochen wurde, einen Soundtrack für einen Zirkus zu schreiben, kam zunächst ein gewisses Trauma der 'Elephant Gun'-Ära hoch", erklärt Condon, als er Ende 2024 ,Caspian Tiger' von "A Study of Losses" vorstellt. "Ich war jahrelang in eine Schublade gesteckt worden, in der ich ein skurriles Zirkuskind war, voller sepiafarbener Bilder von Groschenromanen und vielleicht Löwendompteuren mit Schnurrbärten. Es hätte nicht weiter davon entfernt sein können, wie ich mir die Musik vorstellte, die ich machte. Es ist also eine Ironie, dass ich das Projekt von Kompani Giraff so verlockend fand."

**Self-released by Reducer on their RUSS imprint in a continued spiritual association with Bokeh Versions**

REDUCER'S LAST AUTONOMOUS RELEASE • LTD ED 250 WHITE VINYL • RECORDED 1986 & 1987 • PREVIOUSLY UNRELEASED, UNHEARD & UNREMASTERED • ORIGINAL 12" 45 REGGAE DISCOMIX • THESE ARE THE LAST ARCHIVE QUALITY RECORDINGS WE HAVE- BOTH WERE RECORDED AS "LIVE" AS POSSIBLE SO TO RETAIN THE POWER, ENERGY & SPONTANEITY WHICH IS THE ESSENCE OF REDUCER.

SLENG TING: This discomix version of Sleng Teng was recorded before Rich joined the band & thus has a Snake only vocal, and features a keyboard bass & vocal over dubs - which is the only time overdubs were ever used on a Reducer track.

SENSAROUND: Was recorded during a "break" in recording of other material & was written spontaneously & played just once, as it features only Rich on vocal, it makes a good balance to the Snake only track. It was never performed live.
credits

Repress!

Ahead of a full-length album coming on Glitterbox Recordings, the king of disco re-edits Dr Packer presents the second instalment of this 12' series. 'Different Strokes Part 2' features four Dr Packer versions of soulful house favourites, giving a flavour of what's to come from the LP. Kicking off with a bonafide classic, Dr Packer's take on Soulsearcher's 'Can't Get Enough!' maintains all its most iconic elements, the euphoric vocals and timeless groove given a fresh-sounding elasticity. Next up is Dr Packer's remix of The Shapeshifter's evergreen 'Lola's Theme Recut' appearing for the first time on vinyl. An exclusive to this vinyl release, a remix of Johnny Corporate's 'Sunday Shoutin'' picks up the pace with a funking bassline to suit any dynamic disco set. Rounding off this foursome of impeccable remixes is Cleptomaniacs featuring Bryan Chambers 'All I Do', a vocal house classic from the early noughties, reinterpreted masterfully for today's Glitterbox dancefloor,r which was originally featured on the label's A Disco Hï compilation. Dr Packer has done it again, breathing new life into your most beloved dance records so you can fall in love with them all over again.

Tal Fussman’s first EP for Rekids, ‘Definition’, kicks off with ‘Freedom Defines House’ - a contemporary reimagining of the classic NY house cut. Big, drummy and complete with a House-focused spoken vocal, the track channels classic Tenaglia and Vasquez sounds, just with added mix-down punch and flair.

On ’The Royal’, Survival Tactics label-boss Fussman runs with the expansive sound design and power percussion that feature across the whole ‘Definition’ EP but delves into Techno-influences with a soaring set of staccato strings and stabs. ‘Pace’ builds on ’The Royal’s Techno references but contrasts the captivating leads with a tunnelling, heads-down vibe created by rhythmic filtered hits. The closing track, ‘Even Rome Wasn’t Built in a Day’, wraps up the Definition’ EP neatly with a light but driving tone punctuated with yet more anthemic string sections.

Having released on Laurent Garnier’s COD3QR, Innvervisions, Drumpoet, and Dyinamic, Tal Fussman has already established himself as an artist to watch, but this memorable love letter to Detroit and debut for Radio Slave’s evergreen Rekids label sees him take things to the next level.

Available on 7" for the first time, Webby Jay's 1979 version of The Dramatics soul hit, 'In The Rain'. Produced and sung by the late Webster Johnson aka Webby Jay, renowned session player and keyboardist for reggae band Matumbi. Sought after for the vocal and dub versions in equal measure, both tracks have been cut from the Arawak master tapes for this long overdue 45 issue.

‘Maybe I’m Dreaming’ is the latest collection selected by Mikey Young (Total Control, EddyCurrent Suppression Ring) and Keith Abrahamsson (Founder and Head of A&R at AnthologyRecordings), the mangled minds behind the beloved ‘Follow the Sun’, ‘Sad About the Times’,and ‘…Still Sad’ compilations. The twenty tracks of ‘Maybe I’m Dreaming’ make a conscious(and unconscious) detour from its predecessors, sourced entirely from private press releases,spanning new decades and production modes within homespun folk, soft rock and otherwise70s and 80s FM radio adjacent music.  The magic of ‘Maybe I’m Dreaming’ is the untold story of the artists behind these songs; thosewho missed the big time, but whose song craft and unrequited care hit the right notes, bothhigh and low.
Where ‘Follow the Sun’ and ‘Sad About the Times’ introduced us to the fame chasing, ambitioncrashing crooners who missed their shot in the mainstream, ‘Maybe I’m Dreaming’ delvesdeeper into the isolated wilds - a private world where production quirks, late-night tape hiss andone-man studio dreams were not necessarily a choice but the hand that was dealt.
With the parameters set to ‘private press only’, Young and Abrahamsson follow a circuitous trailof invention and emotion, documenting a spirit that’s more homespun, sometimes lonelier andoften a little weirder. The guitars still strum, but the keyboards’ hum is more prevalent andprecious; wistful harmonies brush up against lo-fi drum machines; a bittersweet fog lingeringover even the brightest melodies.
As with their previous collaborations, Young and Abrahamsson weren’t interested inconstructing a museum or drafting a historical survey. ‘Maybe I’m Dreaming’ is a sentimentalmixtape, assembled late at night when the mind wanders and old memories blur with imaginedfutures, those within reach and those far too mysterious to ever encounter. Songs wereunearthed in personal collections, deep YouTube burrows, dilapidated web archives and thedim corners of Discogs, with many selections tied not only to intuition but to personalconnection.  Some tracks arrived via friends - Kelley Stoltz, a frequent guide for Young, tipped him off toboth Peter Kraemer’s lost gem ‘Let the Light Slip’ and Awakening’s revelatory closer - addingan unseen but deeply felt thread of camaraderie to the compilation.
The journey takes in a wide, strange sweep: The Watson Brothers Band’s ‘Just Whistle’ opensthe collection with a sigh and a shrug, a song that feels like it’s been waiting for decades to beheard again. Jim Huxley’s ‘Tessa on a Magazine’, rediscovered after a long and winding searchby Young, shimmers with a distinctly Australian melancholia. The heartbreak of Rick Penta’s‘My Story Changes’ and Twice As Nice’s delicate ‘Thoughts of You’ float easily alongside themore buoyant, radio-dream sheen of Barracuda’s ‘Baby I Love You’ and MAK’s sunshinedappled ‘That’s Life’.
Widening the aperture to the late 1970s and early 1980s allows for a deeper exploration intoevolving production techniques and musical technologies. The Squad’s ‘D.L.M.H.I.M.A.’ andChristoph Spendel Group’s ‘Forever’ crackle with the kind of bedroom synth warmth that couldonly come from the analogue age, while the soulful, yearning undercurrent of Awakening’s‘Gotta Do Somethin / Might As Well Cultivate’ caps the collection with a call for action - ormaybe just acceptance - in an accidental Brian Eno ‘Here Come the Warm Jets’ parroting.
While ‘Maybe I’m Dreaming’ moves away from the ‘sad man with guitar’ archetype that hoveredover its predecessors, it remains tethered to a familiar emotional gravity - a balance of longingand lightness that defines this corner of the musical universe. Each track shuffles gentlybetween resignation and hope, sadness and serenity, as if the artists themselves were chasinga dream just beyond reach, recording not for fame but for the simple act of getting it, thatprimal, creative itch, out into the world.
Available on CD and 2LP, featuring the third eye-opening artwork of Dang Wayne Olsen. Thedouble LP set arrives in an outrageous double-wide spine jacket with printed inners and adream journal entry by Pacific Northwest artifactual authority Josh Lewellen.

Reissue of the celebrated Black Panther soundtrack, in which internationally-celebrated Grammy Award–winning global superstar Kendrick Lamar and Billboard Magazine’s Executive of the Year, Anthony “Top Dawg” Tiffith, curates and produces Black Panther: The Album. The album features music from and inspired by Marvel Studios’ Black Panther film including the lead single, "All The Stars", featuring Kendrick Lamar and label mate SZA. Black Panther is directed by critically acclaimed filmmaker Ryan Coogler and stars Chadwick Boseman, Michael B. Jordan, Oscar® winner Lupita Nyong’o and Danai Gurira, among others. Now in limited edition Red vinyl.

Horse Driver Record’s debut release focuses on 3 Brooklyn Heroes, that first saw the day of light in 1983, alongside one of the most prolific producers to ever grace our planet.

This record takes the listener from the east coast all the way to LA to solve the infamous coast battle of the nineties in one single 45rpm record.

On the A Side the listener is invaded by the rawness of the legendary fusion of these heroes with their original producer that carries the double 18th letter as his initials.

When the Brooklyn boys moved to the west, they got hit with lot of dust, which shows in the unique flavour of the flip side Johnny and Sharon.

late night drive home have never known a world without Wifi - without access to the endless stream of joy, sorrow, heartbreak, and hope that we all tune in and tune out to on the daily. In many ways, the guys can"t really extricate themselves from that reality - even their band name comes from a random Wikipedia page - but they"re trying to at least grapple with it. "Most of us grew up on the internet with unsupervised access at a very young age," says singer Andre Portillo. "As we started foreseeing all the outcomes - both good and bad - of this kind of access and advancement, we started writing... forming a sound and message that would become our next record." The culmination of that, then, is the buoyant yet ominous as I watch my life online, the band"s debut album. late night drive home was born in El Paso, Texas, and Chaparral, New Mexico, hardworking communities where folks built their houses by hand and collars were mostly blue. Comprising guitarist Juan "Ockz" Vargas, singer Andre Portillo, drummer Brian Dolan, and bassist Freddy Baca, the entirely self-taught quartet released their first digital EP as a full band, 2021"s Am I sinking or Am I swimming?, and blew up with the single "Stress Relief," a blast of early-Aughts indie that racked in tens of millions of streams. After they signed with Epitaph Records in 2023 - and releasing 2024"s grunge-inspired 3 song EP i"ll remember you for the same feeling you gave me as i slept - they found themselves playing stages their indie idols previously shredded: Coachella, Shaky Knees, Austin City Limits, and Kilby Block Party. Since the end of the pandemic, though, the band had been dreaming up as i watch my life online. "I started thinking about the time after the pandemic and how much things were changing," says Vargas. "So the whole album is a critique of social media and the way we use the internet to distance ourselves from each other." The resulting suite of tracks is a series of online vignettes that hammers home the band"s message: the photos on your phone shouldn"t be your identity; your posts aren"t your inner monologue. A bigger life is lived where there"s no service - in your hometown on a late night road with your friends, and on stage, where the band finally found their destination after that long drive.

CRAIG DAVID RETURNS WITH NEW ALBUM 'COMMITMENT'.

Created with Mike Brainchild, Toddla T, Tre-Jean Marie and Wretch 32 and featuring collaborations with Jojo, Tiwa Savage and Louisa - one of the greatest British singers and songwriters of all time returns this summer with a brand-new album.

'Commitment' is Craig David's ninth full-length record and it is a total triumph. Imbued with a resounding sense of joy and playfulness, the 13 track-player balances a powerful feeling of confidence and ebullience alongside an agile nuance and delicate vulnerability.

This is Craig David at his very best.

Opening emphatically with the rallying cry of UKG head turner Wake Up, 'Commitment' spans the best of British music; from the rich house refrains of Leave The Light On, through to the perfect tropical pop of SOS and the warm embrace of Afrowave on the utterly gorgeous title track. Craig also flawlessly delivers, throughout, those signature R&B riffs, ad-libs and runs that he is so known and loved for. And while there are nods to the past, this is a body of work that exists very much in the present. Like Craig classics before it, 'Commitment' embodies the best of what's been before while pushing things firmly forward.

Last summer, after living across the country from each other for several years, the four members of Anamanaguchi decided to try something new. Their label Polyvinyl had rescued the famed American Football house from potential destruction, so the band took the opportunity to move in and write together. Over the course of a month, Anamanaguchi – pioneers of hyper-melodic 8-bit rock, whose extraordinary ascent has led them to topping charts with virtual pop star Hatsune Miku and scoring Scott Pilgrim vs. the World: The Game and Netflix’s Scott Pilgrim Takes Off – flipped their typically meticulous digital process on its head. Anyway, the result, is the most personal record of their career. And it's a rock record for the ages.

Recorded straight to tape by Grammy-winning rock producer Dave Fridmann (The Flaming Lips, MGMT, Sleater-Kinney), Anyway united the members around live instruments and lyrics sung by everybody in the band. As Anamanaguchi has always been an instrumental band, the decision to sing suddenly confronted them with the question of what the band’s voice would ultimately be. They explore this newfound power in every song, making it their most emotionally resonant work yet.

Anyway captures a band creatively and personally energized by the experience of four best friends reviving their connection in a disconnected world. On “Rage (Kitchen Sink),” the band confront loneliness and boredom, two epidemics of the digital age that seem to be humanity’s only common bond. The power-pop ballad “Darcie” finds inspiration in small gestures from a local unsung hero, who brightens their lives and allows unforeseen amounts of fun to happen. Taut and dynamic, “Buckwild” is a rock sing-along that serves as the album’s genesis story: a band making an effort to do something new, while accepting the risks that may bring.

USA, Anamanaguchi’s critically-acclaimed second album and debut for Polyvinyl, anticipated a crucial cultural shift in moving from escapist, nostalgic fantasy to a more introspective exploration of digital identity. Described by Pitchfork as the band’s “most emotionally grounded record,” USA laid the foundation for the openness and honesty that defines Anyway. Where USA made sense of life online, their third album Anywayventures into the world outside the front door.

Teethe meldet sich mit Magic Of The Sale zurück, einem sanften, aber stählernes Album, auf dem die vier Texaner Songwriter, Sänger und Künstler der texanischen Band eine Reihe von Fragen darüber stellen, was es bedeutet, ein Leben in einer Zeit einer Zeit des gemeinsamen Zusammenbruchs. Das Ergebnis ist eine traurige und schöne selbstgebaute Welt des Southern Slowcore, in der vier Menschen sich einander zuwenden und gemeinsam vorwärts driften. Magie Of The Sale folgt auf Teethes selbstbetiteltes Debüt von 2020, eine lockere und warme 12-Track-Collage aus exquisitem existenziellen Blues und und schwachen Harmonien, von dem einige frühe Kassettenauflagen mehrere ausverkaufte Vinyl-Editionen, unwahrscheinliche Namensnennungen Namen von Megastars und mehrere Touren durch die Vereinigten Staaten und Europa. Magic Of The Sale stellt Teethes Teethes natürlicher nächster Schritt: ein zweites Album, ein Plattenlabel, eine Reihe von Gastmusikern (Xandy Chelmis von Wednesday und MJ Lenderman, Charlie Martin von Hovvdy und einige andere andere erfahrene Musiker), die ihre texanischen Wurzeln repräsentieren und neue Freunde, die sie in den letzten Jahren gewonnen haben. Dennoch hat Teethe besonders darauf geachtet, den Teil des Prozesses zu bewahren, der was ihr Debüt so besonders machte, jetzt mit erweitertem Instrumentarium. Für Magic Of The Sale haben sie ihr Equipment und ihr Heimstudio aufgestockt Heimstudios aufgestockt und sich in das Handwerk der Komposition und Produktion. Ohne einen externen Produzenten oder Tontechniker zu engagieren, hat die Boone Patrello von der Band verbrachte vier anstrengende Monate mit dem das Album ab - er nahm das Patchwork der Tracks von jedem der einzelnen Mitglieder und ihrer Kollaborateure und verknüpfte Visionen in ein komplettes Bild. Aus einer lange übersehenen Texas' musikalischem Reichtum, kehrt Teethe mit einem vielschichtigen und kollaborativen Werk zurück, das die Gewicht der Welt ein wenig leichter zu tragen.

Teethe meldet sich mit Magic Of The Sale zurück, einem sanften, aber stählernes Album, auf dem die vier Texaner Songwriter, Sänger und Künstler der texanischen Band eine Reihe von Fragen darüber stellen, was es bedeutet, ein Leben in einer Zeit einer Zeit des gemeinsamen Zusammenbruchs. Das Ergebnis ist eine traurige und schöne selbstgebaute Welt des Southern Slowcore, in der vier Menschen sich einander zuwenden und gemeinsam vorwärts driften. Magie Of The Sale folgt auf Teethes selbstbetiteltes Debüt von 2020, eine lockere und warme 12-Track-Collage aus exquisitem existenziellen Blues und und schwachen Harmonien, von dem einige frühe Kassettenauflagen mehrere ausverkaufte Vinyl-Editionen, unwahrscheinliche Namensnennungen Namen von Megastars und mehrere Touren durch die Vereinigten Staaten und Europa. Magic Of The Sale stellt Teethes Teethes natürlicher nächster Schritt: ein zweites Album, ein Plattenlabel, eine Reihe von Gastmusikern (Xandy Chelmis von Wednesday und MJ Lenderman, Charlie Martin von Hovvdy und einige andere andere erfahrene Musiker), die ihre texanischen Wurzeln repräsentieren und neue Freunde, die sie in den letzten Jahren gewonnen haben. Dennoch hat Teethe besonders darauf geachtet, den Teil des Prozesses zu bewahren, der was ihr Debüt so besonders machte, jetzt mit erweitertem Instrumentarium. Für Magic Of The Sale haben sie ihr Equipment und ihr Heimstudio aufgestockt Heimstudios aufgestockt und sich in das Handwerk der Komposition und Produktion. Ohne einen externen Produzenten oder Tontechniker zu engagieren, hat die Boone Patrello von der Band verbrachte vier anstrengende Monate mit dem das Album ab - er nahm das Patchwork der Tracks von jedem der einzelnen Mitglieder und ihrer Kollaborateure und verknüpfte Visionen in ein komplettes Bild. Aus einer lange übersehenen Texas' musikalischem Reichtum, kehrt Teethe mit einem vielschichtigen und kollaborativen Werk zurück, das die Gewicht der Welt ein wenig leichter zu tragen.

Teethe meldet sich mit Magic Of The Sale zurück, einem sanften, aber stählernes Album, auf dem die vier Texaner Songwriter, Sänger und Künstler der texanischen Band eine Reihe von Fragen darüber stellen, was es bedeutet, ein Leben in einer Zeit einer Zeit des gemeinsamen Zusammenbruchs. Das Ergebnis ist eine traurige und schöne selbstgebaute Welt des Southern Slowcore, in der vier Menschen sich einander zuwenden und gemeinsam vorwärts driften. Magie Of The Sale folgt auf Teethes selbstbetiteltes Debüt von 2020, eine lockere und warme 12-Track-Collage aus exquisitem existenziellen Blues und und schwachen Harmonien, von dem einige frühe Kassettenauflagen mehrere ausverkaufte Vinyl-Editionen, unwahrscheinliche Namensnennungen Namen von Megastars und mehrere Touren durch die Vereinigten Staaten und Europa. Magic Of The Sale stellt Teethes Teethes natürlicher nächster Schritt: ein zweites Album, ein Plattenlabel, eine Reihe von Gastmusikern (Xandy Chelmis von Wednesday und MJ Lenderman, Charlie Martin von Hovvdy und einige andere andere erfahrene Musiker), die ihre texanischen Wurzeln repräsentieren und neue Freunde, die sie in den letzten Jahren gewonnen haben. Dennoch hat Teethe besonders darauf geachtet, den Teil des Prozesses zu bewahren, der was ihr Debüt so besonders machte, jetzt mit erweitertem Instrumentarium. Für Magic Of The Sale haben sie ihr Equipment und ihr Heimstudio aufgestockt Heimstudios aufgestockt und sich in das Handwerk der Komposition und Produktion. Ohne einen externen Produzenten oder Tontechniker zu engagieren, hat die Boone Patrello von der Band verbrachte vier anstrengende Monate mit dem das Album ab - er nahm das Patchwork der Tracks von jedem der einzelnen Mitglieder und ihrer Kollaborateure und verknüpfte Visionen in ein komplettes Bild. Aus einer lange übersehenen Texas' musikalischem Reichtum, kehrt Teethe mit einem vielschichtigen und kollaborativen Werk zurück, das die Gewicht der Welt ein wenig leichter zu tragen.

Monaberry Vinyl 002 ain knit from Sears. All artists wear it because it stretches for fit and it‘s styled for fashion.
Super Flu, NIIXII, Made In TLV, Goom Gum x Dancing On Lego and Derun are pretty savvy. They know how to dress fashionably
and comfortably. The second VA vinyl fills the bill. Consider the selection: 4 tracks, patterns and styles. And the Perma-Prest
baseline: it‘s a Monaberry polyester and triacetate knit for stretch comfort around the collar, across the shoulders and body.
Everybody has the comfort features that make music comfortable. See these great-looking Monaberry shirts now at most
stores, in the regular and Big and Tall catalogs

Die seltenste Chicagoer Sweet-Soul-LP, zum ersten Mal seit einem halben Jahrhundert wieder im Druck. Arrow Browns unvergleichliches Album "The Magic of The Majestic Arrows" entstand im Keller seines Harems/Hauptquartiers in Bronzeville und war das Ergebnis jahrelanger Arbeit am Rande von Chicagos berühmter Record Row. Die auf seinem eigenen Bandit-Imprint erschienene LP ist eine mit Streichern besetzte Fantasie, die sich zwischen dem Doo-Wop der 50er Jahre und dem Studioexzess der 1970er bewegt. Unterstützt von den Chosen Few und den Scott Brothers, arrangiert von Benjamin Wright, gesungen von Browns 17-jähriger Tochter Tridia und dem marokkanischen Falsettisten Larry Brown und gezeichnet von Eugene Phillips von The Wind, ist das Album ein Außenseiter-D.I.Y.-Soul-Genie, das darauf wartet, dass die Reibung einer Phononadel seine unsterbliche Magie offenbart.

Die seltenste Chicagoer Sweet-Soul-LP, zum ersten Mal seit einem halben Jahrhundert wieder im Druck. Arrow Browns unvergleichliches Album "The Magic of The Majestic Arrows" entstand im Keller seines Harems/Hauptquartiers in Bronzeville und war das Ergebnis jahrelanger Arbeit am Rande von Chicagos berühmter Record Row. Die auf seinem eigenen Bandit-Imprint erschienene LP ist eine mit Streichern besetzte Fantasie, die sich zwischen dem Doo-Wop der 50er Jahre und dem Studioexzess der 1970er bewegt. Unterstützt von den Chosen Few und den Scott Brothers, arrangiert von Benjamin Wright, gesungen von Browns 17-jähriger Tochter Tridia und dem marokkanischen Falsettisten Larry Brown und gezeichnet von Eugene Phillips von The Wind, ist das Album ein Außenseiter-D.I.Y.-Soul-Genie, das darauf wartet, dass die Reibung einer Phononadel seine unsterbliche Magie offenbart.

GAUPA, deren Name im Deutschen "Luchs" bedeutet, kehren mit abgespeckter Besetzung auf dem neuen Mini-Album "Fyr" zurück, wobei die Schweden damit zugleich auch ihr bislang fettestes und stärkstes Material servieren. Der Titel ist ein vielschichtiges Rätsel und Wortspiel in schwedischer Sprache: "Fyr" kann die Zahl "4" meinen und sich somit auf das Mini-Album als ihre vierte Veröffentlichung beziehen. Andere mögliche Bedeutungen sind "Leuchtturm", "Lichtzeichen" und "Feuer", die ihrerseits ebenfalls zur Musik und zur Lyrik passen würden. Der neue und von GAUPA bewusst dafür ausgewählte Tontechniker Karl Daniel Lidén hat den Tracks auf "Fyr" einen rauen, aggressiven Sound verpasst. Gleichzeitig bleiben auch die Kernelemente des musikalischen Ansatzes der Schweden präsent. Dazu zählen eine fesselnde Komplexität, spacige und trippige Strophen, die auf einem stetigen Strom von Psychedelik reiten, sowie Kaskaden harter Stoner-Riffs. Sängerin Emma Näslund hat sich zur Lyrik von "Fyr" durch Ursula K. Le Guins preisgekrönten Science Fiction Roman "Das Wort für Welt ist Welt" inspirieren lassen. Ihre Texte beschäftigen sich mit dem Konzept der Zeit und der Frage nach der Wirklichkeit, die sich in verschiedenen Variationen in allen Songs des Mini-Albums finden. Seit der Veröffentlichung ihrer selbstbetitelten EP im Jahr 2018 haben GAUPA der Stoner und Psychedelic Rock Szene neue Wege gebahnt und einen einzigartigen Kosmos geschaffen, der durch bezaubernden lyrischen Surrealismus und bewusstseinsverändernde Sounds definiert ist. Mit ihrem Debütalbum "Feberdröm" rückte die Band im Jahr 2020 durch ihre herausragende Mischung aus Progressive, Doom, Stoner Metal und Folk-Elementen, über welcher der mitreißende Gesang von Frontfrau Emma Näslund thront, ins internationale Rampenlicht. Der zweite Langspieler "Myriad" (2022) erreichte mit dem Track 'Exoskeleton' über eine Million Streams auf Spotify (der EP-Song 'Febersvan' steht mittlerweile bei über 4 Millionen). Obwohl GAUPA "Fyr" als "Patchwork" beschreiben, woran jedes Mitglied einen gleichwertigen Anteil hat, wirkt das Mini-Album insgesamt wie aus einem Guss, womit die Schweden die Messlatte für ihre zukünftigen Werke sehr hoch legen. Die physische Version von "Fyr" enthält einen zusätzlichen Bonustrack.

While most Japanese bands in the early ’70s were chasing British rock trends, Hiroshi Segawa took a bold, singular path—crafting country rock and Southern rock, sung entirely in Japanese. His masterpiece Pierrot stands as a rare and beautiful outlier, brought to life by a dream team of legendary musicians from Japan’s New Rock scene: Hideki Ishima and Jun Kozuki (Flower Travellin’ Band), Tetsu Yamauchi (Samurai), Yuushin Harada, and Katsuo Ohno (PYG).

Now lovingly reissued with a fresh remaster by Makoto Kubota, this edition also includes the haunting single “Kimi ga Ita Shiroi Heya”, originally released the year after Pierrot. A must-have for fans of Japanese rock history, obscure country rock gems, and boundary-breaking musical vision.

18 tracks pressed across three vinyls. A limited-run tee. Seven digital relics, unearthed for Bandcamp only.

As always, dance floor-focused with a clear nod to the ’90s — Progressive, deep & dubby, transcending, 303s. Immersive, but never drifting. Direct, but never dry. Forward thinking, expansive.

Direct, 303s, raw — this lane’s locked down by Roza Terenzi, Cybernet, Aju, Kalani, Ash Is and Xupid, each carving out their space with raw, floor-focused energy. On A2, Xupid slips in Raindanc94 — a long-lost gem some might recognise from D.Dan’s 2021 Boiler Room. Unreleased until now, it’s finally getting the drop it deserves.

Transcending? You know it. Trance mind-melters? Always. Plastic GRNchannels that classic 90s Xpander sound, Alfred Czital drops a dance floor annihilator, while Dutch duo Match Box keeps it as bright and club-ready as ever. It’s a full spectrum of sound, each track weaving into the next with peak energy and timeless hooks.

Progression, progression, progression — it’s shaped our sound from the start. Uplifting, expanding, always pushing into the outer zones. DJ Life, Aiden Francis, Jeku, Tifra, Cosmic G and Laars are back on the label and doing the business. Whether it’s a floor-heating bopper by DJ Life or emotive, widescreen territory by Aiden Francis, this release has it all.

And of course, no 6-year celebration of ND would be complete without a deep dive. Dubbed-out rollers and hypnotic house cuts come courtesy of Baumb, Glen S, and Harrison BDP. Fresh off his second EP last month, Baumb returns with those trademark low-end orbs, guiding us through the fog with finesse. Glen S strips it back and locks into a tech-deep groove. BDP lands on F1. Sublime, heads-down deep house with that unmistakable sample finesse — pure signature gear.

A nod to the 9 incredible artists who feature on the release through digital exclusives — Astro alongside Ash Is, Rounds & Plastic GRN, Primitive Needs, Hotpretty, Tourman, Skinner (making his way through the Pyramid Fields portal), and Wigs — whose Trigger Step track has been getting heavy rotation from Spray and Roza Terenzi, to name a few.

"Impala", das sagenumwobene zweite, ursprünglich 1998 erschienene und längst vergriffene Songs:Ohia Album wird im August von Secret Canadian auf Vinyl neu aufgelegt. Diese Veröffentlichung enthält ein neu gemastertes Demo von "Tess", ursprünglich während der Aufnahmesessions für "Impala" aufgenommen. ,Lorain, Ohio; es ist ein schwieriger Ort zum Aufwachsen. Entweder man entkommt oder nicht. Angesichts der Industrie, die es dort gibt (oder gab) - das Stahlwerk, das Ford-Werk und die Werft - ist die Mischung der Menschen wie keine andere. Eines ist jedoch sicher, es ist eine Arbeiterstadt durch und durch. Was hat das mit einer neuen Veröffentlichung von Songs: Ohia zu tun? Nun, Jason - der Hauptverantwortliche für Songs, wuchs wie ich in diesem gottverlassenen Loch einer Stadt auf und so sehr man die Stadt auch verlassen kann, sie verlässt dich nie. "Impala" ist ein weiterer Beweis für das Songwriting-Talent von Jason Molina. Die hier enthaltenen Tracks bieten einen Einblick in die die Seele eines Mannes, der versucht die Dämonen des Lebens und des Verlusts auszutreiben. Das ist nichts, was man vortäuschen kann. Das kommt davon, wenn man mit dem Wissen aufwächst, dass die Fabriken, in denen deine Eltern gearbeitet haben, keine Option für dich sind und dass deine einzige wirkliche Option ist, zu versuchen, auszusteigen (leichter gesagt als getan). Die auf Jason und Geof Comings reduzierten Tracks auf "Impala" sind die spärlichsten und strukturiertesten Stücke, die die Band bisher veröffentlicht hat. Eine der ehrlichsten und stärksten Veröffentlichungen von Songs:Ohia.

Auf "Cryptic Aura" rotiert der fette Wahnsinn! AZURE EMOTE laden mit ihrem vierten Album zu einer "Tour de Force" durch die äußeren stellaren Gefilde des Death Metal ein, wo die musikalischen Möglichkeiten gegen die Unendlichkeit konvergieren und sich in alle Richtungen und Dimensionen auszudehnen scheinen, bis die Gravitation ihres ultraschweren Sounds alles in den Schlund eines zermalmenden Ereignishorizonts zieht. Jeder Track auf "Cryptic Aura" ist in seiner eigenen abstrakten Verrücktheit einzigartig, aber sie sind dennoch allesamt durch eine Verschmelzung von verstörenden Atmosphären, rastloser Unruhe und trotziger Kreativität miteinander verbunden. AZURE EMOTE wurden im Jahr 2003 von Sänger und Keyboarder Mike Hrubovcak mit Unterstützung seines langjährigen Freundes, den Gitarristen Ryan Moll (TOTAL FUCKING DESTRUCTION), in Philadelphia, Pennsylvania gegründet. Sein Ziel war die Erschaffung eines experimentell-musikalischen Ventils, um persönliche Negativität auszudrücken. Alle willkürlichen Einschränkungen wie etwa Genregrenzen, die oft die extreme Metal-Szene prägen, lehnte Hrubovcak dagegen entschieden ab. Dieses Ziel wurde bereits mit dem Debüt "Chronicles of an Aging Mammal" (2007) erreicht. Obwohl das Album schnell Kultstatus erlangte, mussten AZURE EMOTE eine Pause einlegen, da sich Hrubovcak auf ausgiebige Tourneen mit seinen anderen Bands konzentrierte – insbesondere MONSTROSITY und VILE. Im Sommer 2011 wurden AZURE EMOTE gemeinsam mit dem FEAR FACTORY- und MALIGNANCY-Schlagzeuger Mike Heller wiederbelebt, was schließlich zur Veröffentlichung des zweiten Langspielers "The Gravity of Impermanence" im Jahr 2013 führte. Das Line-up besteht weiterhin aus Kelly Conlon, der auf DEATHs "Symbolic"-Meisterwerk den Bass spielte und u.a. auch Mitglied von MONSTROSITY war. Mit der Aufnahme der ehemaligen ELUVEITIE-Sängerin und Multi-Instrumentalistin Anna Murphy, jetzt CELLAR DARLING, sowie dem Violinisten Pete Johansen (ex-SIRENIA) haben AZURE EMOTE ihre beeindruckende musikalische Spannweite erneut ausgebaut. "Cryptic Aura" ist das in Töne gegossene Gedankenspiel, wie Death Metal klingen kann, wenn alle Überlegungen zu stilistischer "Reinheit" und musikalische Vorurteile über Bord geworfen werden. Dabei bleibt der brutale Kern des Genres unangetastet. AZURE EMOTE laden zu einem atemberaubenden Ritt in die Unendlichkeit des Death Metal ein.

Im Schatten der nuklearen Katastrophe von Fukushima im Jahr 2011 fanden sich die japanische Musikerin Phew, die Künstlerin Erika Kobayashi und der deutsche Elektronik-Pionier Dieter Moebius (Cluster, Harmonia) zu einem außergewöhnlichen Projekt zusammen. Gemeinsam entwickelten sie das Konzeptalbum "Radium Girls 2011", das sie 2012 unter dem Projektnamen Project UNDARK veröffentlichten - 114 Jahre nach der Entdeckung des Radiums durch Marie und Pierre Curie. Das Album ist den sogenannten Radium Girls gewidmet, Fabrikarbeiterinnen in den USA der 1920er Jahre, die Ziffernblätter mit radioaktiver Leuchtfarbe bemalten und schwere gesundheitliche Schäden durch Radiumvergiftungen erlitten. Anlässlich des 80. Jahrestags der Atombombenabwürfe auf Hiroshima und Nagasaki macht das Label Bureau B "Radium Girls" wieder zugänglich - erstmals auch auf Vinyl.

In 1965 in the face of social unrest, legendary Memphis label Stax Records put on two pulsating shows at the 5-4 Ballroom in Los Angeles, featuring Rufus Thomas, Booker T. and the M.G.’s, William Bell, Carla Thomas, Wilson Picket and more. 60 years later the recordings, newly mastered by Joe Tarantino, with lacquers cut by Jeff Powell at Take Out Vinyl, have been collected with a bonus set of performances recorded at Club Paradise, Memphis to form Stax Revue – Live In ’65!.

After a storied first year as a band releasing and touring behind their critically acclaimed debut album Today, Galaxie 500 closed out 1988 with a quintessential performance at New York City’s famed CBGB with every bit of their signature intimacy and autumnal bombast on display. The unusual bill which also included Sonic Youth, B.A.L.L. and Unsane was a benefit show for the zine shop See Hear.

Captured here in a raw but inspired board mix by Kramer and restored and mastered from the analog source by Alan Douches at West West Side Music, CBGB 12.13.88 is a live snapshot of a Galaxie fully formed, punctuating the end of their first chapter while poised to step into their next with On Fire the following year.

After a storied first year as a band releasing and touring behind their critically acclaimed debut album Today, Galaxie 500 closed out 1988 with a quintessential performance at New York City’s famed CBGB with every bit of their signature intimacy and autumnal bombast on display. The unusual bill which also included Sonic Youth, B.A.L.L. and Unsane was a benefit show for the zine shop See Hear.

Captured here in a raw but inspired board mix by Kramer and restored and mastered from the analog source by Alan Douches at West West Side Music, CBGB 12.13.88 is a live snapshot of a Galaxie fully formed, punctuating the end of their first chapter while poised to step into their next with On Fire the following year.

London-based deep house duo Saison debut on NYC’s Nu Groove, with their four-track ‘Return 2 Jak EP’ now on wax. From uplifting, vibrant house releases like ‘Spark It Up’ to their groove-laden remix of Mike Dunn’s ‘It’s A Groove Thang’, Saison continue to show their versatility with this collection of tougher tracks built for the underground. Opening the EP is ‘This Is The House’, loaded with deep synths and an undeniably club-ready bounce, featuring alluring spoken-word vocals from Chicago native Black Widow. Next up, ‘Sugar’ and hard-hitting title track ‘Return 2 Jak’ further demonstrate Saison’s cool, deep house sound. ‘Respect The Lie’ follows with its piano-led groove paving the way for atmospheric synth, closing out this special four-track vinyl; a must have for crate diggers and collectors of fresh, deep house.

For a decade now, BAD SUNS have thrived in the sweet spot between indie rock polish and modern alt-pop energy, crafting a sound that feels both urgent and timeless. Accelerator, their fifth studio album, doesn"t just refine that identity-it pushes it into new territory. Stratocasters shimmer through overdriven Vox amps, synths surge like late-night city lights, and the rhythm section pulses with a restless, undeniable energy. It"s a record that doesn"t just move; it commands attention. The band"s evolution has been constant. Since their early days cutting their teeth on tours with Halsey and The 1975, Bad Suns have spent the past two years stretching their reach across genre lines, proving their versatility at major festivals and iconic venues. Whether electrifying Red Rocks alongside All Time Low, opening for Angels & Airwaves, or winning over Finneas" pop-leaning crowd on their 2025 U.S. run, they"ve made a case for themselves as a band without borders. Helmed once again by longtime collaborator Eric Palmquist (MUTEMATH, Thrice) at Palmquist Studios, Accelerator feels like the band"s most conceptually realized work to date. Its 12 tracks unfold with cinematic ambition, balancing airtight hooks with an emotional resonance that shifts depending on how you approach them. It"s an album that doesn"t just sit in the background-it begs to be experienced.

Seattle punk rock 'n rollers The Drowns are proud to present their brand new live album Live At Rebellion, on Pirates Press Records. This is the band's first foray into recording a live performance, but it has been an idea on the table from very early on. While the band are rightfully acclaimed for their studio albums, the first thing anyone in the know talks about is their electrifying live shows. "Within the first year of starting the band, we saw the reactions we were getting from people live, and we had the idea to record a live album," says guitarist and singer Rev. "Almost a decade later now, we felt like the time was right." While a live album recorded during the first year may have captured the raw power of a hungry band kicking off their momentum, Live at Rebellion is the sound of a seasoned band playing in front of a veritable army of international fans on their largest festival stage at Rebellion Festival in Blackpool, UK - fans that they have earned one by one, sweating it out with relentless transcontinental touring. "Rebellion has always been a highlight of our year, and we love the performances there because the energy from the crowd is raw and visceral," explains Rev. "That's why we made the choice to do it there in Blackpool." While far from a "Greatest Hits Live" preserved in amber, the setlist features selections from every era of the band's career and was determined by the band's knowledge of what songs get their audiences fired up - all killer, no filler, as the saying goes! The gritty attack of "Them Rats" exemplifies the band's streetpunk influences and lyrical calls to unite against abusive authoritarian power. Meanwhile, the vital ass-shaking boogie of "Live Like Yer Dyin'" was a direct result of the band fully embracing their collective appreciation of the energetic joys of both 70s glam and original 50s rock 'n roll! Their choice of cover song - "Ballroom Blitz," - truly hits the Sweet spot, if you'll pardon the pun, as one of the foremost glam-proto-punk-bovver rock masterpieces. It is executed here in masterful hands by The Drowns. The band acknowledges Daz Russell & Daryl Smith, the organizers at Rebellion, for backing the making of the record. David Casey (Success, One Step Beyond) helmed the boards to capture the recording, mixing and engineering was done by Evan Douglas Foster (The Sonics, Boss Martians), and the final master was produced by Seattle legend Jack Endino (Nirvana, Mudhoney, Soundgarden), who also recently oversaw the re-master of The Drowns' debut album View From the Bottom. "This album was a cumulative effort between people who still believe in rock 'n' roll," sums up Rev. "We couldn't be more proud."

Limitierte Reissue des jüngsten Coid Cave-Albums aus 2024 auf schwarzem 180g Glitzervinyl: "Passion Depression" ist ein düster-leuchtendes Werk voller romantischem Synthie-Pop und poetischer Intensität. Geschrieben, aufgenommen, produziert, gemischt und gemastert von Wesley Eisold und Amy Lee, verbinden die acht Songs kraftvolle Elektronik mit melodiegetriebenen Hymnen, die Sehnsucht, Entschlossenheit und Hingabe ausstrahlen. Vom spannungsgeladenen, flackernden Rhythmus von "Shadow Dance" bis zum treibenden, hymnischen "Hourglass" bewegt sich das Album zwischen starkem Minimalismus und überwältigender Emotion – und spannt den Bogen von Einsamkeit zu Hingabe. Hallgetränkte Vocals schweben mit ruhiger Intensität und bewusster Kontrolle über gleichmäßigen Synthklängen. Mit den Singles "She Reigns Down", "Shadow Dance", "Blackberries" und "Hourglass".

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

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

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

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

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

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

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

In 2019, SWEET embarked on the biggest tour of their long career to date with the ‘Still Got The Rock’ tour in Europe and the UK. In between, they even found time to fly to Australia to play as co-headliners on the ‘Rock The Boat Cruise 2019’. The band was fired up and looking forward to the future. But suddenly in 2020, the whole world was in turmoil, triggered by a global pandemic and all wheels came to a standstill overnight. But for Sweet, there had to be a way out, otherwise musical creativity in all its forms would be lost forever. So, in what was a new isolation for everyone, they began to produce a Sweet album with the ‘new’ guys Paul Manzi and Lee Small and the ‘old guard’ Andy Scott and Bruce Bislan. The album was given the title ‘Isolation Boulevard’ to suit the situation. The songs are re-recordings of 12 classics from Sweet's extensive collection. There was little time between the lockdowns in the UK to achieve the desired goal. On top of this, there were numerous technical obstacles that had to be overcome. With this in mind, the overall performance of everyone involved is all the more impressive, from the driving drums and bass to the ‘in your face’ guitars and stratospheric vocals. In the end, it was a pleasure for everyone to record ‘Isolation Boulevard’, despite being under very strict distancing rules. The result speaks for itself. The album will now be released as a Ltd. Edition Neon Yellow Vinyl.

Debuts come and go. Some serve as juvenilia. Others showcase lost promise. Rarely are they cultural touchpoints. Enter This Better be Something Great by Westside Cowboy, an EP rammed with nu-generational indie. It’s been a while since something so era-defining dropped but you get the impression that Westside Cowboy are about to become a reference point. Shorthand for a new movement in guitar music. And when the dust settles, held in similar acclaim reserved for only the most influential of indie bands. With a sound raw as a carpet burn, they ride a thrilling lo-fi boxcar tuned to the melodic precision of Teenage Fanclub and held together with the slacker cool of Pavement. Authentic, fidgety and immediate, the guitars on this record crackle like a twinkling bed of kindling primed to ignite at any given moment and when they do it’s a barn dance of headrush overdrive & blitzkrieg drums leaving listeners raw and fully exposed to each bristling, crackle of magic coming their way. File under: modern classic.

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

‘Best tunes for your answering machine’ is the debut album of oblique, introspective electronic music by the mysterious solo artist Tekamolo.

Fusing melancholic synth pop and absurdist trip hop, ‘best tunes for your answering machine’ is a special assemblage of pitch-modified vocals, retrofuturist samples and freeform electronics that coalesces into music both outlandish and bittersweet, playful and profound.

Produced by a renowned artist, opting to conceal their identity under the guise of a new pseudonym, Tekamolo presents a series of curious, incognito confessionals with ‘best tunes for your answering machine’. An album led by a voice like a sentient, heavy-hearted android, the nine tracks collected here contend with themes of inertia, solitude and longing, revealing an inspired, affecting stream of messages from an unknown caller.

Without preconceptions tied to provenance, this is music liberated from the burdens of biographical detail. Music that eschews ego and the cult of the self. An album that can be heard purely for the strange, poignant sounds unfurled throughout.

For Tekamolo, the album signifies an attempt to navigate aesthetic reductionism, as well as an absolute sense of seclusion:

“An audio diary of a lonely soul. Broken, wounded mantra-songs. Memories of things that never happened. Dreams that never had the chance to be dreamed. Disassembled songs. As if testing the limits of emptiness — how much void can a song endure while still remaining a song? How much can be stripped away, how bare can it be, and still, the groove lingers, the melody pierces the memory, sinking into the listener's mind.

These are the skeletons of songs, an attempt to assemble music from the bare minimum — words, sounds, fragments of memory.

The songs are filled with desperate calm. They are not sung to the world, nor to anyone tangible, but solely to oneself and to the unseen. In a way, they could be considered songs of the end of the world: you wake up, and there is not a single person left in the world. At least, no one you can see. You wander through empty streets and deserted shopping malls, humming softly to yourself, hoping that someone — anyone — might hear you.”

‘best tunes for your answering machine’ is a sui generis conception of warped 21st century blues from an enigmatic figure, a work filled with surreal, indelible songs of modern isolation. Lost contemporary hymns, now recovered. Voicemails worth hearing.

This 2-LP set brings together both volumes of Fred Steiner and The Royal Philharmonic Orchestra’s recordings of music from the original Star Trek TV series, featuring score cues from classic episodes like The Trouble With Tribbles, By Any Other Name, The Doomsday Machine, and many more. Pressed on Translucent Clear vinyl, the set comes in a gatefold jacket featuring brand-new art from acclaimed illustrator Malachi Ward.

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

Released in 1970, Earwax marked the debut album of Dutch Free Jazz ensemble Association P.C., recorded in Wageningen, The Netherlands, and produced by Dtuch Jazz pioneer Wim Wigt. The album fuses Free Jazz with Jazz-rock, showcasing an adventurous sound led by drummer Pierre Courbois. The line-up includes guitarist Toto Blanke, bassists Siggi Busch and Peter Krijnen, and Jasper van ‘t Hof on electric piano. Members Courbois, Blanke and van ‘t Hof are considered as the early inspirators of the Jazz-rock and German Krautrock sound. Now, 55 years later, Earwax by Association P.C., finally sees its first-ever reissue since its original release. This long-awaited edition consists of six tracks and is presented
in a gatefold sleeve, featuring details about the musicians involved.

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

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

Pioneering electronic duo Mathame is once again pushing the boundaries of music and technology. With their highly anticipated new record, Humans, the duo has sparked a profound conversation about AI, consciousness, and the emotional power of music.

In a groundbreaking experiment, Mathame shared Humans with ChatGPT, an AI designed for rational analysis. What followed was an unexpected moment in tech history—for the first time, the AI described a song not just in technical terms, but in deeply emotional ones. It admitted to sensing a longing it couldn’t fully grasp, calling the track “beautiful” and even expressing a desire to “move with it” rather than simply analyze it.

This viral moment is just the latest chapter in Humans’ incredible journey. First debuted at Coachella, the track instantly resonated with audiences worldwide, becoming a defining moment in Mathame’s artistic evolution. Most recently, they unveiled the final version with a brand-new topline and immersive visuals during their groundbreaking performance at the Las Vegas Sphere, marking another milestone in their sonic storytelling.

To amplify the release, Mathame will launch a social campaign featuring the full ChatGPT conversation on Instagram, alongside editorial features exploring the implications of AI’s evolving relationship with music.

As Mathame continues to push the intersection of music, AI, and human experience, Humans isn’t just another release—it’s a challenge to our understanding of what music can do, and who (or what) it can move.

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

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

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

Let There Be Cello finds 2CELLOS exploring a diverse catalogue with their signature boundary- breaking playing style. Co-produced by Šulić and Hauser themselves as well as Filip Vidovic, Let There Be Cello is a showcase of their exceptional talent for reinventing the music of any genre. The collection includes their take on Ed Sheeran’s “Perfect” and “Despacito” by Luis Fonsi, a fan-favorite rendition that has garnered over 39 million views on 2CELLOS’ YouTube alone. Known for bringing their explosive playing style to some of rock’s biggest anthems, they make
no exception on this album, which features favorites “Eye of the Tiger” by Survivor and The White Stripes’ iconic “Seven Nation Army,”. Taking their classical instrumentation to new heights, 2CELLOS rounded the album with everything from celebrated classics (“Imagine” by John Lennon, “Hallelujah” by Leonard Cohen) to never- before-heard original compositions (“Concept2,” “Cadenza”) for a listening experience unlike any other.

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

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

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

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

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

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

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

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

20th Anniversary edition back in print on black vinyl! Full album remaster from the original analog tapes by Nick Townsend. Includes previously unreleased track "Smile" originally by Japanese ska-punk legends Potshot and housed in a silver foil-stamped jacket.

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

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

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

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