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Japanese acid pop outfit Cho Co Pa Co Cho Co Quin Quin channel the globe-trotting spirit of Haruomi Hosono’s 1970s tropical boogie on their debut album, Tradition.

Named after one of the basic rhythms of Cuban folk music and drawing on influences from across the globe, Cho Co Pa Co Cho Co Quin Quin are quite simply a world unto itself.

Comprised of three childhood friends, Daido, Yuta and So, who reconnected during the coronavirus pandemic, Cho Co Pa initially emerged as a playful way for the three 23-year-olds to pass the time. Tapping into their youthful connection, they created a sound that exudes confidence and curiosity, a homage to the masterful world of YMO’s and Happy End’s Haruomi Hosono, rooted in the trio’s own idiosyncratic experience of the present.

Recorded at home and promoted on hugely popular DIY TikTok videos, their debut album Tradition is a technicolour exercise in armchair travelling – a kind of lockdown exotica for the housebound whose nostalgic flights of fancy are laced with a sense of whimsical melancholy for the lost freedoms of youth.

Referencing everything from Afro-Cuban percussion to lo-fi beats, Buddhist spirituality to trap, each member of the band brings different musical inspirations to the table. Latin American and Middle Eastern styles sit adjacent to a fascination for the electronic music of Aphex Twin, Dorian Concept, Underworld and Daft Punk. At times, the music verges on acid pop bliss, at others, it grooves with the instrumental funk sensibility of BADBADNOTGOOD.

“In the first place, when I create a song, my goal is to transport the listener to a mysterious place,” vocalist Daido explained in a recent magazine interview. Using lyrics as another sonic texture in the composition of ideas, Cho Co Pa paint beguiling sonic postcards of far-flung moods across 12 highly original tracks.

Marrying the organic and the electronic on rhythmically sophisticated compositions like ‘Chichibu’ and ‘Watatsumi’, it is on the album’s standout track ‘Gandhara’ that the experimental sound of Cho Co Pa comes to the fore. Referencing the ancient city of Gandhara through which Buddhism made its way from India to China, the track is a vocoder-trap-inspired, Udu drum-driven pop jam that lilts with unmistakable Balearic flair. If that’s difficult to imagine, then know simply that ‘Gandhara’ sounds like nothing else on this side of Saturn. Even Daido seemed surprised by the outcome: “I feel like we were able to create something that exceeded our abilities. That was huge!”

Hugely popular in Japan, with festival appearances lined up alongside BADBADNOTGOOD at Asagiri Jam in October, it's safe to say the success of Tradition has taken Cho Co Pa by surprise. You won’t have heard anything like it."

Extended 3LP edition of Merzbows amazing second vinyl from 1986 in very special package. One of the very best Merzbow albums, first time ever reissued on vinyl and first time ever released with the ORIGINAL tracks! The first edition of this album, released by RRRec in 1986 as double vinyl, was a remix done by RRRec, while our edition is a perfectly mastered first ever vinyl edition of the original recordings, extended to 3 LPs with bonus songs from the same time.

'The Roundhouse Tapes' contains a captivating Opeth performance from
the Camden Roundhouse, London, UK, on November 9th, 2006 (a gig
which also featured Goth metal legends Paradise Lost), & sees mainman
Mikael Akerfeldt & co in scintillating form, churning out a selection of
classics from their illustrious career to date
Since their formation in 1990 in Sweden, Opeth has risen to the forefront of the
metal world over the years; bringing many aspects of progressive rock/metal to a
whole new audience by combining soft acoustic ambience with complex, melodic
& heavy guitar often familiar to forms of death/black metal, perfectly concocted
into a completely peerless sound. A constant factor of their success is that the
band have never been afraid to experiment with their song- writing, taking us
through some truly magical & hypnotic soundscapes from blackened death/prog
debut opus, 'Orchid' back in 1995, through to the highly accomplished prog/rock
outfit witnessed in recent years

Tucked in the heart of Koreatown, Los Angeles, lies The Libra Hotel—the titular architecture of Nick Malkin's new album and site of his musical and psychogeographic exploration. Unlike most musical "site-specific" studies, Malkin remains wholly ambivalent to the documentarian approach, instead sharpening an auteur-like focus on the site as a conceptual and highly expressive backdrop. The Libra is musically explored as a space that houses a noir fragmentation of identity—the exhausted trope of a complicated protagonist walking through rain-soaked street corners and fumy neon lights—where an inner monologue is rendered in both miniature and at a cosmic scale. Casting aside stifling tropes around field recording, ambient, and improvised music, Malkin's work finds its own unique fidelity and emotional core through the assembly and reassembly of memory. Nearly every sound on the album—from frayed saxophones, lambent pianos, and dissected jazz drum kits—are multiplied, shattered, and reconstituted into shapes that adorn The Libra in a motion-blurred fog. The narrative of the Hotel suddenly appears as if out of the mist, with intersecting characters interacting within its walls by happenstance. Adminst the languid set pieces, wraith-like sonic grains gravitate around wide subbass beams that give structural form to The Libra, a narrative tension like when a scene is shot from hundreds of different perspectives: an image both luminous and veiled.

Much like Frank Sinatra's own spatial residency immortalized on "Live at The Sands," "At The Libra Hotel" showcases an exuberant view of entertainment, hospitality, and a form of masculinity, one that can quickly detourn into darkness. Knowing this, Malkin extracts a melancholic core out of The Libra locale. The flickering shadows of American decadence are shown in their ephemeral honesty, lines that trace how even in everyday life virtue is tested, sanity is tested, even reality is tested within the confines of desire, within the night. The album is draped in fleeting textures, carefully arranged with a trance-like microtonality, the faint inflections and articulations of a jazz band cascading into dissipated stillness. Voicemails about changed locations and covert eavesdropping on guests' whispered conversations provide an atmosphere of missed connection and voyeurism—a purloined letter of desire receding into a vanishing point. Like the music itself, The Hotel, a chapel perilous at the intersection of desolation row, the center of it all, yet simultaneously at the edge of town, becomes a structure between libidinous virtuality and actuality—our inevitable half-light.

Ultimately, the pensive atmosphere of "At The Libra Hotel," powerfully asserts a plea for the kinds of intimacy only possible in transient spaces. Here, memory cascades into a force that feels like something supernatural, perhaps even religious, yet always subject to the infidelity of our imagination. Here, the album opens into its primary psychodrama, the transient nature of subjectivity itself and how this becomes fractured in the tumult between our commitments and desires. Within this nocturnal space, to quote Louise Bourgeois, "you pile up associations the way you pile up bricks. Memory itself is a form of architecture."

Live at Café Oto is a journey into Ainu music as ancient vocal chants move into intense mouth-harp acapellas as meditative solo tonkori pieces morph into psychedelic dub-heavy work-outs.

The album follows the critical acclaim for Tonkori in the Moonlight,Mais Um's 2022 compilation of OKI's early work that was chosen as one of the best folk albums of 2022 by The Guardian.

Live at Café Oto features mostly unheard repertoire from OKI and family, recorded in Mais Um's favourite venue in London on a sold out night as part of a captivating European tour - when we heard the recording we knew we had to release it.

K.W. Cahill records and plays acoustic and electric guitars, mandolin, karimba, melodica and an AM/FM portable radio on March 2024 time.

Mastered by James A. Toth in Toronto.

Recorded at Absolute Studio & Soundfirm Melbourne, jan - june 1990.
Engineered by Steve Burgess.

Special thanks to : Steve Burgess, all at Soundfirm, Philip Brophy, Robert Goodge,all the Tunisian extras who sang & played for us between scenes during the shooting of Isabelle Eberhard & finally to Sylvie Partiot for her marvelous sound recordings & atmospheres.

Brilliant Experimental album by the Merzbow co-founder, recorded in 1989 - with sticker and insert

The clear vinyl version is only available in the limited 99 copies boxset "artefAKTs from the Early Japanese Experimental Noise Music Scene

The legends of the golden era of Italian soundtracks and library music go by many names, but the backbone of that era’s definitive sonic identity is most often identified as I Marc 4 (also known as Marc 4 or I Marc Quattro). While the moniker might be less familiar to the uninitiated, it is a simple acronym derived from its founding members: Maurizio Majorana (bass), Antonello Vannucchi (organ), Roberto Podio (drums and percussion), and Carlo Pes (guitar). The number “4” serves to highlight.

In response to popular demand, Traumers « District » is finally getting a vinyl release –the Parisian mastermind's hit is accompanied by a new mega club tool, “At Lanta”,as well two beautiful deep techno pieces from one of today’s most prolific artists and BERG AUDIO’s roster essential elements, Kolter.

HANDSTAMPED LIMITED COPIES !

BERG AUDIO is happy to welcome back one of our favorite producers, Havantepe. In the past few years, the Turkish artist’s output has become rare, greatly increasing our excitement to finally share these masterfully crafted pieces on the label. The release includes a superb collaboration with Christopher Ledger, and a remix from one of Romania’s key artists, Cristi Cons – Artwork by Juli Jah.

The Bronx rapper Tim Dog released his 1991 debut Penicillin on Wax to a hostile audience. Ever a king of controversy, he made a million enemies with his provocative single "Fuck Compton," a shameless attention ploy dissing N.W.A., DJ Quik, and America's entire Pacific Coast. Penicillin on Wax contains more of the same, as Tim trashes everybody from Kwame to Michel'le to Eddie Murphy. The lyrical insults were arguably the opening salvo in what would later become the East Coast versus West Coast hip hop conflict.

There's no doubt that Penicillin On Wax remains one of the true hardcore hip hop classics and one of many landmarks in sounds from the Bronx. Produced by probably the best hip hop producers of the early 90s, the Ultramagnetic MC's, this album contains some of the most energetic tracks you'll ever hear. Guest appearances on the mic from Kool Keith and Ced-Gee also enhance the LP.

Penicillin On Wax is available on black vinyl and includes an insert.

On July 20, 1993, Los Angeles hip-hop legends Cypress Hill unleashed their sophomore opus Black Sunday on the unsuspecting masses. The record changed rap music with its dark undercurrent, Latin inflection, no-holds-barred storytelling, and the inimitable interplay between B-Real and Sen Dog cast over psychedelically spun rap soundscapes courtesy of DJ Muggs.

Now to mark the 30th anniversary, two new remixes are available for fans on 12” black vinyl; “Insane in the Brain” from the esteemed DJ/Producer Statik Selektah, and “Hits From The Bong” crafted by the album’s original producer himself, DJ Muggs.

For over 11 years, Nowadays Records has been shaping the French electronic music scene with boundless energy and total artistic freedom. Much more than a label, Nowadays is a big musical family where every release, meeting and event becomes a real celebration. With over a hundred albums and nearly a thousand titles to its credit, Nowadays Records embodies musical diversity across a variety of genres: abstract hip-hop, house, electronica and alternative pop.



It's in this festive spirit that the Club Nowadays project is born, a true embodiment of the collective's vision. Through its club compilations and evenings featuring label artists and outside guests.



Today, the label continues to chart its course with the release of Club Nowadays Vol. 6, a new opus in its series of compilations, which fully embodies its vision of club music. This sixth volume brings together emblematic figures of the label and emerging artists around the following dance tracks.



Don't Lie, the first single from the compilation, is a heartfelt track born of a broken heart, but turned towards the light. Mira Ló composed this track as an act of resilience, following a break-up in love. She transforms her pain into positive energy, hoping that everyone can recognize themselves in it and find a little sweetness to soothe their own grief.



R1D1 brings together his groovy house and garage influences to create the track Marsupilami around a hand-crafted synth, sharp drums and deep bass. Influenced by hip-hop beatmaking, he incorporates vocals from radio and interviews, transformed into rhythmic elements. The name, a nod to the famous character, comes naturally through the sampled “houba houba”. Between offbeat textures and assertive groove, the track embodies R1D1's singular, hybrid universe.



OOGO & Blanka, two pioneers of the label, offer us Phô Real, a hybrid track between soulful deep house and hip-hop groove, mixing organic and digital textures. A track to get the dancefloor moving, with a delicious nod to La Fine Équipe's culinary universe.



With Tracksuit & Loafers, Yambow creates a bridge between groovy French Touch elegance and the effervescent energy of UK house, in the tradition of producers like Salute and Oppidan. The track is conceived like an acid cocktail: funky, euphoric and dancefloor-friendly. The title is a nod to cultural contrasts - between English tracksuits and French loafers - which translate into a musical interplay between sophistication and fervor.



Finally, Laaanky, the Parisian producer, breaks codes and gives free rein to his passion for raw sound, efficiency and groove on the track Bloom. Between textured house, dub echoes and Afro-tinged post-dubstep rhythms, he explores a danceable, minimalist and percussive electronica. Less is more.

Featuring a prestigious line-up of guests, the album Sonars brings together iconic voices alongside Maxime Dangles and Tommy Rizzitelli: Oxmo Puccino (Continent plastique), Craig Walker, former lead singer of Archive & Power of Dreams (Bug and Delusion), and Aur (Reef).



Conceived during the Art/Science project of the same name, Sonars draws inspiration from reflections on ecology and the shifting biodiversity of our oceans and rivers. It was in Rimouski, on the shores of Quebec’s Saint Lawrence River, that the duo immersed themselves in the imagery and sensations that breathe life into this record. The result is a collection of breathless, driving tracks—a masterly fusion of machines and drums where organic textures meet the urgency of the climate crisis.

Tape Source’s Romain Da Silva Santos further enriches the album with his guitar work, while the visual identity is graced by the work of photographer Jean Gaumy, whose iconic photography features on the cover.

FKJ returns with Tyber— a project that captures a period of personal and creative transformation following the release of his acclaimed album ‘V I N C E N T’. Written and recorded across multiple continents, the album reflects years spent navigating movement, solitude, collaboration and renewal.

The result is FKJ at his most expansive and uninhibited. Across ‘Tyber’, groove-driven compositions sit alongside jazz-led instrumentals, sample-heavy explorations and more direct songwriting moments, moving seamlessly through genres without ever losing cohesion. The album feels both deeply personal and globally informed, spotlighting an artist documenting his evolution in real time. It captures musical snapshots across London, Los Angeles, Paris, Brazil, and beyond to create music that combines intricacy and intimacy seamlessly.

Anchored by themes of emotional equilibrium and self-care, Tyber balances vulnerable storytelling with an unmistakable, groove-laden optimism. The album seamlessly weaves together spontaneous, late-night collaborations with artists like Labrinth, Bas, and Baby Rose, alongside deeply personal solo compositions. Ultimately, Tyber is a vibrant celebration of human connection and resilience, offering listeners an immersive, cinematic invitation into FKJ’s newly restored world.

Trusted Rhythm Records seeks to live up to its name right from the off with a debut vinyl compilation that explores deep house from multiple angles. Yuu Udagawa first comes at things from a soulful perspective, with diffuse pads and jazzy melodies heating up a nice soft groove. DFRA's 'Give Me' (Masaki Morii remix) is a playful, musical sunset sound for when you're dancing by the Med somewhere and the flipside begins with a tropical deep house heater that is organic and baked in sunlight. Trinidadian Deep keeps things dialled in and spiritual with his mix of Jean-Jez and a Coflo remix closes with more bold rhythms but no lesser depth. Sophisticated stylings all round.

Ein Gespräch mit Thee Sinseers kurz vor der Veröffentlichung ihres neuen Albums ,Love Stories" bei Colemine Records macht eines ganz deutlich: Dies ist kein Album, das eine glatte und ordentliche Liebesgeschichte erzählt. Es geht hier nicht um das Happy End. Es geht um alles, was davor, danach und trotz allem passiert. Auf dieser LP hat sich die Band auf eine erdigere Instrumentierung konzentriert - Kontrabass, Gitarren, die durch Verstärker laufen, um einen wärmeren, an die Sechziger angelehnten Klang zu erzielen - und sich von allem inspirieren lassen, wo es sich bot, selbst an den unwahrscheinlichsten Orten. Es ist dieses genreübergreifende Denken, das Sänger Joey Quiñones als das bestimmende Merkmal der Platte ansieht. "Es fühlte sich zu keinem Zeitpunkt so an, als würden wir Soul-Musik machen", sagt er. ,Es fühlte sich an, als würden wir einfach unsere Musik machen." Die Band wollte etwas Ehrlicheres einfangen als nur die Höhepunkte - sie wollte die Höhen und Tiefen romantischer Beziehungen zeigen und gleichzeitig den Rahmen erweitern, um auch das Familiäre, das Komplizierte und das Ungelöste einzubeziehen. Die Eltern der Bandmitglieder sind auf dem Albumcover zu sehen, ihre eigenen Liebesgeschichten sind in die visuelle Identität der Platte eingewoben, manche dieser Geschichten bestehen noch, andere nicht. ,Jeder einzelne Songtitel führt dich auf einen anderen Weg der Liebe - egal, ob du gewinnst oder verlierst." Quiñones wollte, dass die Zuhörer sich auf diese Mehrdeutigkeit einlassen. ,Liebe ist unendlich", sagt er. ,Sie reicht über ein Leben hinaus. Ich möchte, dass die Leute immer noch verwirrt sind - ich möchte, dass es wie ein offenes Buch bleibt." Doch eines bleibt durchgehend konstant: das Bekenntnis von Thee Sinseers zu ihrer Herkunft. Diese East-LA-Identität stellt sich nicht zur Schau - sie existiert einfach, eingewoben in das Gewebe der Musik, ohne als Abzeichen getragen zu werden. Hier wird kein Liebeskummer vorgetäuscht, sondern es ist das Echte.

Ein Gespräch mit Thee Sinseers kurz vor der Veröffentlichung ihres neuen Albums ,Love Stories" bei Colemine Records macht eines ganz deutlich: Dies ist kein Album, das eine glatte und ordentliche Liebesgeschichte erzählt. Es geht hier nicht um das Happy End. Es geht um alles, was davor, danach und trotz allem passiert. Auf dieser LP hat sich die Band auf eine erdigere Instrumentierung konzentriert - Kontrabass, Gitarren, die durch Verstärker laufen, um einen wärmeren, an die Sechziger angelehnten Klang zu erzielen - und sich von allem inspirieren lassen, wo es sich bot, selbst an den unwahrscheinlichsten Orten. Es ist dieses genreübergreifende Denken, das Sänger Joey Quiñones als das bestimmende Merkmal der Platte ansieht. "Es fühlte sich zu keinem Zeitpunkt so an, als würden wir Soul-Musik machen", sagt er. ,Es fühlte sich an, als würden wir einfach unsere Musik machen." Die Band wollte etwas Ehrlicheres einfangen als nur die Höhepunkte - sie wollte die Höhen und Tiefen romantischer Beziehungen zeigen und gleichzeitig den Rahmen erweitern, um auch das Familiäre, das Komplizierte und das Ungelöste einzubeziehen. Die Eltern der Bandmitglieder sind auf dem Albumcover zu sehen, ihre eigenen Liebesgeschichten sind in die visuelle Identität der Platte eingewoben, manche dieser Geschichten bestehen noch, andere nicht. ,Jeder einzelne Songtitel führt dich auf einen anderen Weg der Liebe - egal, ob du gewinnst oder verlierst." Quiñones wollte, dass die Zuhörer sich auf diese Mehrdeutigkeit einlassen. ,Liebe ist unendlich", sagt er. ,Sie reicht über ein Leben hinaus. Ich möchte, dass die Leute immer noch verwirrt sind - ich möchte, dass es wie ein offenes Buch bleibt." Doch eines bleibt durchgehend konstant: das Bekenntnis von Thee Sinseers zu ihrer Herkunft. Diese East-LA-Identität stellt sich nicht zur Schau - sie existiert einfach, eingewoben in das Gewebe der Musik, ohne als Abzeichen getragen zu werden. Hier wird kein Liebeskummer vorgetäuscht, sondern es ist das Echte.

Das in den USA ansässige Trio ist seit 2013 aktiv und besteht aus Ryan Lott, Ian Chang und Rafiq Bhatia. Getragen von Neugier und der Suche nach einem Gleichgewicht zwischen roher emotionaler Intimität und akribischen elektronischen Kompositionen lässt sich Son Lux, wenn nötig, den Genres Experimental Rock, Post-Rock und Electronic Rock zuordnen.

Ihren ersten Durchbruch erlebten sie mit dem Titel „Easy“, einschließlich Alternativversionen von Woodkid (2013) und Lorde (2014). Nominiert für den Oscar® und den BAFTA in der Kategorie „Beste Originalmusik“ für Everything Everywhere All at Once (2022 – Daniel Kwan). Son Lux traten bei den Oscars anlässlich ihrer Nominierung für den besten Song gemeinsam mit David Byrne und Stephanie Hsu auf. Weitere Filmmusiken: „Thunderbolts“ (Marvel).
Im Jahr 2026 arbeitete Son Lux mit Poppy und Harmony Korine an einem neuen Song und Video für Bungie Studios „Marathon“ (Videospiel). Zahlreiche Synchronisierungen, darunter „The Vow“ (HBO), „Skins“ (UK) (E4), „Baby“ (Netflix), „Good Girls“ (NBC) und „American Horror Story“ (FX)...
Lott und seine Bandkollegen – Gitarrist Rafiq Bhatia und Percussionist Ian Chang – stürzten sich in das rhythmisch opulenteste und textlich eindringlichste Son-Lux-Album, das es bisher gab. In fast zwei Jahrzehnten hat sich Son Lux einen Ruf für Pracht und Schwung erworben, doch 'Out Into' ist etwas anderes: eine kraftvolle Suite aus greifbaren, detailverliebten Songs, die aus schillernden Momenten kollektiver Improvisation entstanden sind.

Limited White Vinyl edition of ‘Car Button Cloth’, featuring Lemonheads classics ‘If I Could Talk I’d Tell You’ and ‘The Outdoor Type’. Celebrating the album’s 30th anniversary, this reissue includes the original record + a collection of rarities and unreleased cuts (download only), continuing Fire Records in-depth series of reissues from the legendary band.


‘Car Button Cloth' is an extraordinary affair of musical and emotional extremes, a soundscape spanning “the most beautiful piano-led mourning in the history of the broken heart” that switches into perky jangle-pop for fleeting moments and contains the ultimate self-deprecating classic ‘The Outdoor Type’, penned by Smudge cohort Tom Morgan, as well as a cover of the bluegrass standard ‘Knoxville Girl’ and ‘If I Could Talk I’d Tell You’ co-written with The Vaselines’ Eugene Kelly. All bases are covered.

Savage first-wave screamo from San Diego’s white belt progenitors. Collected for the first time on this 39-minute LP are Antioch Arrow’s complete Gravity recordings, including In Love With Jetts LP (+ a pair of previously unissued outtakes), The Lady Is A Cat 12”, Candle split, and two live Che Cafe tracks captured at the quintet’s spazzy peak. 23 tracks remastered from corroded DATs and annotated by Tony Rettman, plus lyrics, photos, and flyers, all housed in a stunning gatefold jacket for maximum McClard ragebaiting.
”A roar of nothing”—HeartattaCk

Savage first-wave screamo from San Diego’s white belt progenitors. Collected for the first time on this 39-minute LP are Antioch Arrow’s complete Gravity recordings, including In Love With Jetts LP (+ a pair of previously unissued outtakes), The Lady Is A Cat 12”, Candle split, and two live Che Cafe tracks captured at the quintet’s spazzy peak. 23 tracks remastered from corroded DATs and annotated by Tony Rettman, plus lyrics, photos, and flyers, all housed in a stunning gatefold jacket for maximum McClard ragebaiting.
”A roar of nothing”—HeartattaCk

Clear Vinyl


Her sound remains vast and yearning, with gut-punch drums pushing through explosions of colored powder; her voice is a chrome-plated sigh, and her agile melodies soar effortlessly. - Pitchfork *BEST NEW MUSIC*
she achieves some serious cinematic grandeur. - Stereogum
Simply too sublimely crafted to ignore. - Consequence of Sound
A catchy ethereal piece of pop - Brooklyn Vegan
Rose's layered, reverb-laden vocals hit like waves of sunlight, warming her lines almost to the point of wordlessness. - Paste Magazine


"Hila. A record about loss. What persists beyond the range of ordinary perception? The place mourning keeps returning to - not quite transcendence, not quite doubt. The edge of what we can see."
Frankie Rose has spent fifteen years building one of the most quietly distinctive bodies of work in American independent music. Bursting out of the shackles of her legacy on 2024's Love As Projection, 2026's Hila builds on the muscular, dance-ready songwriting and transcendent melodies to result on Rose's most exploratory and affecting record of her career. Imbued with yearning melodies and brooding post-punk dynamics, Hila is Frankie Rose at her most impressionistic and expansive.

Self-produced at her home studio featuring collaborations with drummer Justin Welch (Elastica/Lush), Hila was recorded following extensive touring with The Jesus & Mary Chain and Swervedriver. The result is the most confident, searching music Rose has produced; muscular in its production yet emotionally vulnerable in its diffracted neon glow. A record informed by loss and the way grief mutates our senses, it's fitting that Rose channels the nuanced darkness of later Coil, at times the pounding EBM-production of Skinny Puppy and the near-spiritual alien-ness of Cocteau Twins. On Hila, the doors of perception are constantly melting, revealing the porous nature of the seen and unseen. The result is a synesthesia that flips the senses.

If Love As Projection was an outward-looking record looking to embrace the world, Hila brings the dark cosmos into inner space. Rose's love for 80s production and soaring melodies remain, they're cornerstones to her craft after all, but there's something more assured and gothic underneath the massive waves of sound. Opener Olo shimmers into a pulsating, cinematic brooder, Rose's vocal transcending and swan diving between registers in the chorus breakdowns. First single Cant Be Wrong serves as a transition from the optimistic pop of Rose's previous album, introducing a thumping 80s funk rhythm track under the soaring vocal performance. The ebullient Shadow Twin is that song's sibling, recalling major label-era Strawberry Switchblade melancholy mixed with Robin Guthrie's twinkling guitar work.

Hila blossoms darkly from here on in, blowing out into a glacial wide-screen sonic dynamic. On Rainman and the title track the listener is transported to a rain-soaked, nocturnal cityscape ridden with desire, moonlight cutting through blinds, intoxicating chasms without bounds. Rose's use of saxophone and digital synthesis recalls the nightmusic of Hats-era Blue Nile or the more ambient end of Emeralds' catalog. Indeed, in the towering synthetic cello sounds that climb into the mind on Hila, there's a distinct flavour of the instrumentals on Bowie's Low. This is musick to play in the dark, to light the way a little, just enough to trick the senses.
Leading into the strobe-filled haze, single Manifest pounds forward with a massive Industrial 4/4 beat and post-punk/goth musicality, an exercise in unlit ecstasy. For Best Of Times, the liberal saxophone passages feel like a suppressed, 80s Michael Mann soundtrack with Frankie Rose's effortless, melodic vocal performance probing, searching for connection. Navigating through the dry, iced landscape into a rising sun, closer Velvet Refrain flips the melancholy of the preceding passages. With a massive sound dripping with harmony, the clanging guitar and vocal duet feels they're sound-tracking an unexpected happy ending after bouts of darkness."

Der ehemalige RSD-Botschafter und Hip-Hop-Legende Chuck D (Public Enemy) tut sich mit dem legendären Schlagzeuger der Doors, John Densmore, für ,do+pe = no country for old men" zusammen. Das Album, das eigens für den Record Store Day 2026 aufgenommen wurde, verbindet Spoken Word, Rhythmus und unverblümte gesellschaftliche Kommentare und schlägt damit eine Brücke zwischen Generationen der Rebellion und der Reflexion. Es enthält den RSD-Song des Jahres ,every tick tick tick". Bisher war es ein RSD-Exklusivtitel, wird nun aber in verschiedenen Formaten erhältlich sein, darunter schwarze Schallplatte, CD, Kassette und als digitaler Download. Die Verpackung zieren Originalillustrationen von Chuck D selbst.

Der ehemalige RSD-Botschafter und Hip-Hop-Legende Chuck D (Public Enemy) tut sich mit dem legendären Schlagzeuger der Doors, John Densmore, für ,do+pe = no country for old men" zusammen. Das Album, das eigens für den Record Store Day 2026 aufgenommen wurde, verbindet Spoken Word, Rhythmus und unverblümte gesellschaftliche Kommentare und schlägt damit eine Brücke zwischen Generationen der Rebellion und der Reflexion. Es enthält den RSD-Song des Jahres ,every tick tick tick". Bisher war es ein RSD-Exklusivtitel, wird nun aber in verschiedenen Formaten erhältlich sein, darunter schwarze Schallplatte, CD, Kassette und als digitaler Download. Die Verpackung zieren Originalillustrationen von Chuck D selbst.

Continuing in its series of Yoko Ono reissues, Secretly Canadian has announced that Ono’s seminal 1982 album It’s Alright (I See Rainbows) will be released August 28, 2026, in expanded CD and digital versions, and on vinyl for the first time in more than forty years, with expanded and enhanced artwork. Influenced equally by 1960s girl group vocals and 1980s synthesizer experimentation, It's Alright (I See Rainbows) is an album of “adventurous… lush… committed and convincing avant-gardism” (Rolling Stone). As Ono said in her 1992 Onobox liner notes, “It was ’82 and it seemed as though I was finally in sync with the world.” Vacillating from a widow’s never-truly-over grief, to the necessary uplift for an artist and mother to continue her life’s missions, tracks like “Loneliness” and “Spec of Dust” make way for poptimism via “Let the Tears Dry,” and title track “It’s Alright.” As Ono said of the album in 1983, “It’s like my diary that I went through… and I’m just saying, hey, I’ve got the same kind of emotions that you’ve probably got too, and here I am saying hello… Around December 8th or whatever, I was feeling really heavy and feeling sort of down, you know… and then, side two, it’s all right… It was Sean Lennon who says, ‘Wake up, wake up, mommy.’ Like an angel that came and said, ‘Wake up!’… Wake up and dream love, and let the tears dry and I see rainbows. And sort of I’m saying all that. In result of Sean waking me up, see?” Lennon, speaking of his mother in a more recent interview with NPR in 2025, “She would say that energy is just energy, so you can turn it into anything you like. And she always said that she would take that negative energy and turn it into something productive and creative… It never stopped her from creating and putting herself out there, and I really think that it paid off… You never know how long it'll take for people to appreciate you if you just kind of hang on and don't give up.”

My fourth album begins and ends in nature, a space that has continually shaped and inspired my artistic work. I spend much of my time in forests and landscapes, listening, observing, and absorbing the subtle rhythms and structures of the natural environment. These impressions do more than accompany my music; they become an integral part of it, influencing its atmosphere, form, and sonic character. As a result, this has become my most emotional and profound album to date. The journey begins with captured moments from a Mediterranean island. Fragments of distant church bells, the ticking of a clock, and the hum of insects in the sun are gently joined by my piano... In this way, the opening piece, “Time,” serves as an introduction to the central idea behind Ellipsis. The term derives from the Ancient Greek word λλειψις (élleipsis) and refers to the deliberate omission of ἔ words or parts of a sentence.

What remains unsaid can carry just as much meaning as what is spoken. This idea runs like a thread throughout the entire album. A reduction to the essential, yet enriched with the necessary details that continually create space for imagination, personal interpretation, and those emotions that are not prescribed but emerge through the act of listening. Ellipsis exists within this tension between presence and absence, between acoustic and electronic sounds, between nature and the studio, between memory and perception. It is a place where meaning arises not only from what is audible, but also from what remains unspoken.

Lummer is the Swedish name for the now protected family of vascular plants (Clubmoss/Lycopodiaceae). Lummer grows slowly and the spores with which it reproduces can take 12—20 years to develop. These spores, known as Nikt in Swedish, were once ground into an extremely flammable light yellow “old woman’s gunpowder” that was used for early theatrical pyrotechnics. Volatile and explosive, Lummernikt requires careful handling.

There is something of the small scale dangerous in Finn Loxbo’s Lummernikt, too. A not-at-all-risk-free traversal at the limits of technique: building, blowing up and working through a band’s worth of harmonic scaffolding. Eight songs on a stage. Dramatic, breath-taking. At the same time the wild, flickering rush of tones spins up a centrifugal force that suspends a certain calm or sitting still at the music’s core.

On Lummernikt, Loxbo’s guitar often sounds more like a concert harp or the West African kora as he shifts a set of melodic fragments and extended lines through rapid-fire arpeggiated permutations with a spontaneous energy that is countered only by his extraordinary touch on the instrument and an undeniable sensitivity to his material’s dynamic potential.

It’s a glorious extension of the chiming chords and experimental preparations heard in his contributions to Magnus Granberg's Skogen (Another Timbre) or via his own ensemble Kommun (Fönstret, Thanatosis) and in striking contrast to the distorted wail he contributes to Anna Högberg Attack’s Ensamseglaren (Fönstret) or his all-in-the-red trio Kyosaku (Corbett vs Dempsey).

It’s now several years ago that Finn sent me the first recording of his new band Kommun and asked if I had suggestions for a label that might want to release it. I played that recording on repeat until I couldn’t shake the idea that I needed to start a label to put it out myself. Lummernikt is the spark that keeps that fire alive.

"JPEGMAFIA, a trailblazing force in experimental hip hop, releases his latest solo project, I LAY DOWN MY LIFE FOR YOU. This album, his first since 2021, is a complex and innovative work that showcases his meticulous production skills. Featuring collaborations with Denzel Curry, Vince Staples, and Buzzy Lee, the album explores themes like capitalism, conscription, and propaganda through some of JPEGMAFIA’s most anarchic raps to date. The release is accompanied by an extensive global tour, reinforcing his status as one of the genre’s most incendiary talents. Since his last solo release, JPEGMAFIA has continued to push boundaries in the music industry, most notably with his 2023 collaboration with Danny Brown on Scaring the Hoes, which garnered critical acclaim and chart success. With I Lay Down My Life for You, JPEGMAFIA cements his reputation as a visionary artist, delivering a powerful commentary on the world through his unique lens. The album’s release is set to make a significant impact, both in stores and on stages worldwide."

For years, EYRE LLEW were defined by motion.

Cities blurred into one another. Borders became routine. Airports, night drives, ferry ports, backstage rooms, festival fields, hotel corridors, and long-distance journeys stitched together into a single continuous life of movement. Success, such as it existed, was measured in miles travelled, crowds gathered, and momentum sustained. The band moved because they had to. Because stopping felt like failure. Because “making it” always seemed to live somewhere just ahead.

Then the world stopped.

Lockdown didn’t just interrupt EYRE LLEW’s trajectory; it dismantled it. The relentless forward motion that had shaped their identity for over a decade disappeared overnight. Tours vanished. Plans dissolved. The infrastructure of their lives as musicians collapsed into silence. For a band built on movement, it felt devastating.

Written across lockdown and the years that followed, the album is not a record about absence; it’s a record about presence. About love that feels like home. About stillness as strength. About devotion without spectacle. About grief without melodrama. About healing without performative optimism. About growth that doesn’t announce itself loudly, but happens slowly, privately, and honestly.

After years of movement, it is EYRE LLEW learning how to stand still and discovering that this is where the real growth starts.

For years, EYRE LLEW were defined by motion.

Cities blurred into one another. Borders became routine. Airports, night drives, ferry ports, backstage rooms, festival fields, hotel corridors, and long-distance journeys stitched together into a single continuous life of movement. Success, such as it existed, was measured in miles travelled, crowds gathered, and momentum sustained. The band moved because they had to. Because stopping felt like failure. Because “making it” always seemed to live somewhere just ahead.

Then the world stopped.

Lockdown didn’t just interrupt EYRE LLEW’s trajectory; it dismantled it. The relentless forward motion that had shaped their identity for over a decade disappeared overnight. Tours vanished. Plans dissolved. The infrastructure of their lives as musicians collapsed into silence. For a band built on movement, it felt devastating.

Written across lockdown and the years that followed, the album is not a record about absence; it’s a record about presence. About love that feels like home. About stillness as strength. About devotion without spectacle. About grief without melodrama. About healing without performative optimism. About growth that doesn’t announce itself loudly, but happens slowly, privately, and honestly.

After years of movement, it is EYRE LLEW learning how to stand still and discovering that this is where the real growth starts.

Die Zwanziger - ein Alter voller Möglichkeiten, aber vor allem: verdammt seltsam. LEILAs Debütalbum "20 SOMETHING IS A F*KING STRANGE PLACE" fängt genau dieses Gefühl ein: zwischen Erwachsenwerden, Unsicherheit und dem Drang, sich ständig neu zu erfinden. Mit dabei: die Taube - in jeder Stadt, auf Dächern, im Sound, auf dem Cover. Ein Vogel, der niemandem gehört, aber überall ist. Genau wie LEILA selbst, die zwischen New York, Sarajevo und Bern lebt und dort drei Versionen von sich entdeckt. Die Musik? Ehrlicher Pop, durchzogen von Punk-Energie, UK-Underground und Experimentierfreude. Kein Album, das Antworten gibt, sondern eines, welches die Unordnung der Zwanziger festhält - roh, ehrlich, unaufhaltsam.

Love Big Dummy emerged as the stray creation of Jonathan Stodle (Spite Fug, HEVN III) and Kjetil Skaro (Crispy Carrot). Converging with rhythm section Halvor Dokke and Tore Paulsen, the freewheeling venture soon ripened into its own tantalizing entity. Informed by shoegaze, folk, psychedelic rock and alumni indie, their palette reaches deep into decades past while carrying a riveting sense of urgency and presence. Their melodic craftsmanship and innate ingenuity evoke the sound of life-affirming melancholy. Their self-titled debut was recorded in the cold, dim bunkers of Boksen in Oslo, with noise-whiz Morten Minothi Kristiansen (Kennel/Monomort) piloting the gearship. It"s a San Francisco breeze across the slushed northern pavements.

Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.

BONUS 7”

A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)

"Based in Thiers (63), Ernest Bergez, also known as Sourdure, has been walking a tightrope for the past ten years, combining a spirit of experimentation with a personal, handcrafted approach to traditional music. Affirming and transfiguring the ""Sourdure-esque"" aesthetic, Outredore unfolds a surprising array of discoveries in Occitan and French: hallucinatory laments, oblique rhapsodies, and carnivalesque odes.


A generous and respectful invitation to build unexpected bridges between disparate sonic worlds, the album extrapolates the modal vocabulary specific to traditional Occitan music, blending it with stylistic elements from around the Mediterranean. Carried by a voice more raw than ever and caught in the ebb and flow of a troubled era, Outredore's songs explore the relationship between the personal and the political.


Vulnerable, faltering and visceral, Outredore evokes a nova cançon occitana that has traded folk guitars for electronic machinery."

Whispering Ln. Vol. II was recorded between 2018 and 2019 in America, alongside the pieces that formed the first album. These recordings belong to the same time and space, shaped by the same quiet focus and slow attention to sound.

While remaining rooted in minimalism, this album introduces several more rhythmic pieces, drawing inspiration from early electronic music – echoes of composers such as Tom Dissevelt and Raymond Scott.

Movement and stillness coexist throughout this record. Rhythms and patterns shift and occasionally dissolve. The music asks for little and offers even less explanation, inviting listening without urgency – to slow down and remain present. May it offer a moment of calm, where time loosens, and attention gently settles.

Celebrate a decade of Turnover's iconic sophomore album Peripheral Vision with this 10 Year Anniversary Edition. Retaining the album's iconic cover art, the packaging has been completely overhauled to include a new lyric poster & printed photo inner sleeve. This special limited edition is pressed on limited edition color vinyl also includes two bonus tracks from the era - "Humblest Pleasures" and "Change Irreversible." Released on May 4th, 2015 via Run For Cover Records, Turnover's second album Peripheral Vision is widely regarded as an essential body of the work in the band's discography, maturing its sound into a shoegaze-inflected post-punk direction following the band's 2013 debut record Magnolia. Described as "a tour de force" by Kerrang!, the album set the stage for an extensive and prolific touring history over the past decade and three subsequent albums, including their most recent LP, 2022's Myself in the Way.

"Your prayers have been answered: less songs about Bush and more songs about Jesus!" 20th anniversary pressing of Wolves In Wolves' Clothing. Released in 2006, NOFX's tenth studio album is a blistering blend of aggressive political satire and melodic skate punk. Capturing the sociopolitical anxiety of the second Bush presidency, frontman Fat Mike sharpens his pen to target organized religion, corporate greed, and blind patriotism. Fan favorites like "Seeing Double at the Triple Rock" and "Leaving Jesusland" showcase their signature fast tempos, tight harmonies, and dark humor. Back for good in 2026 on yellow vinyl! Produced by Bill Stevenson at Blasting Room NOFX's critically-acclaimed tenth studio album, songs that go good with a drink! Originally charted at #46 on Billboard 200 and Top 40 in 8+ territories worldwide Features hit singles "Seeing Double At The Triple Rock", "USA-Holes" and "Leaving Jesusland"

"Your prayers have been answered: less songs about Bush and more songs about Jesus!" 20th anniversary pressing of Wolves In Wolves' Clothing. Released in 2006, NOFX's tenth studio album is a blistering blend of aggressive political satire and melodic skate punk. Capturing the sociopolitical anxiety of the second Bush presidency, frontman Fat Mike sharpens his pen to target organized religion, corporate greed, and blind patriotism. Fan favorites like "Seeing Double at the Triple Rock" and "Leaving Jesusland" showcase their signature fast tempos, tight harmonies, and dark humor. Back for good in 2026 on yellow vinyl! Produced by Bill Stevenson at Blasting Room NOFX's critically-acclaimed tenth studio album, songs that go good with a drink! Originally charted at #46 on Billboard 200 and Top 40 in 8+ territories worldwide Features hit singles "Seeing Double At The Triple Rock", "USA-Holes" and "Leaving Jesusland"