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Born in 1981 in Detroit, MI, Negative Approach were the undisputed champs of Midwestern hardcore in the early to mid-'80s. Led by John Brannon's hoarse wail, with OP Moore on drums and brothers Rob and Graham McCulloch playing guitar and bass respectively, the band concocted an extreme sound devoid of frills. This was first documented on their 10 Song 7" released on Touch and Go Records in 1982. The band released the more metallic-sounding Tied Down in 1983. After disbanding Negative Approach in 1985, John Brannon went on to form Laughing Hyenas. For over three decades, Negative Approach's minimalist and aggressive brand of punk has inspired countless hardcore bands around the globe. Their classic LP, Tied Down, is still considered paramount by most hardcore fans new and old.

Buh Records presents Primera Secuencia, the debut album by Ballet Mecánico, the project of Fernando Pinzás. After his time in the synth-punk band Varsovia, Pinzás embarks on a new phase as a solo artist and producer, exploring electronic styles from the 1980s like synthpop, Hi-NRG, Italo disco, and techno pop. The album blends synthesizers, programmed sequences, and pulsating basslines to create a nostalgic yet danceable soundscape. Set against the backdrop of the pandemic and social movements in Peru, each track tells a story, featuring guest vocalists from the Peruvian independent scene, including Susana Fátima (Gomas), Noelia Cabrera (Blue Velvet, Silveria), Kat Kathia, Luxsie, Luminiscencia, Anabhell (Las Ratapunks), Laura Rosales (Solenoide), and Elva Cío (Specto Caligo). Singles No Cederé and Testamento define the project's dark and ethereal pop aesthetic. No Cederé, featuring Susana Fátima, critiques societal notions of success over an Italo disco and Hi-NRG beat. The track includes a remix by Italoconnection, the duo of Fred Ventura and Paolo Gozzetti, who take it into a hypnotic, spacey realm. Testamento, with Luminiscencia, reflects on the emotional weight of the pandemic, blending synthpop and ethereal pop. Other standout tracks include La ciudad de los incendios, a dystopian vision of Lima with dark disco rhythms, and Como la última vez, a synthpop-driven, melancholic song featuring Noelia Cabrera.

Mutant is thrilled to partner with our friends at Neon and Filmtrax to release Edo Van Breemen’s score to Osgood Perkin’s latest horror hit The Monkey.

Based on the Stephen King short story produced by James Wan (The Conjuring, Saw), The Monkey is a new trip by Longlegs writer/director Osgood Perkins. When twin brothers find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart. Twenty-five years later, the monkey begins a new killing spree, forcing the estranged brothers to confront the cursed toy.

The score is as playful as the movie itself, whimsical when it needs to be, but also managing to be terrifying and tense. We have pressed two versions of the score, one is a limited edition Lenticular edition strictly limited to 1000 copies pressed on multicolour Monkey splatter vinyl, and the other is an eco vinyl edition featuring a static sleeve. Both versions are housed in a printed outer O-Card. Composer Edo Van Breemen told us that when they were recording the score, "Mr. King’s Monkey haunted our process for the entire duration of post-production on this film while Mr. Perkins possessed us to mutilate sounds and arrangements in a manner beyond our control. We hope you enjoy this record, and if not... shit, man, that sucks.”

Linda Smith and The Smashing Times are the best of friends. They are both currently based in Baltimore, USA. This split 7” EP celebrates that friendship with two new tracks by each act; united by DIY spirit, a bedroom-pop sensibility and now a puddle of black vinyl.

Songwriter Linda Smith has a gentle but unconventional experimental style that continues to evolve as she adds new entries to her storied catalogue. Smith’s pioneering work with four-track production in the '80s found her at the beginning of a home-recording movement that would set the pace for the decades of indie rock that followed. During this most active period, Smith's music was limited mostly to obscure cassette and 7" releases. This trailblazing time was recently revisited on Captured Tracks’ compilation ‘Till Another Time: 1988-1996’. Shortly after Smith’s retrospective, she teamed up with like-mind and collaborator Nancy Andrews to release an album of beguiling pop entitled ‘A Passing Cloud’ (2023). The duo performed songs from that record at Upset The Rhythm’s 20th anniversary party at Café OTO that same year. 2024 saw further reissues of Smith’s music including Nothing Else Matters (1995) and I So Liked Spring (1996).

The Smashing Times are a premier East Coast Pop Experimental Group. They have also gleefully performed in London for Upset The Rhythm twice in quick succession. Known for their dogtooth style, waggish mod attitude and tumbledown sound, The Smashing Times have holes in their socks and sit idly between The Kinks and Tori Kudo. Their previous albums on K Records, Perennial and Meritorio are a cherished commodity steeped in Paisley psyche and slapdash panache.

[f] A6 Rumpelstilzchen (Und ich melke meine Kuh) [2025 Remaster]

2xLP+Book. Black & White Splatter vinyl. Between 1975-77, Chicago's southside nightclubs were experiencing dark times. The after-hours routine may have been on the up, but the sound of urban blues was on its way down, getting funkier, heavier, picking up a Zeppelin echo from the British rock scene that had raided its larder. Thankfully, lightening came by way of a lanky white guy skulking from club to club with a camera and strobe light. Chicago photographer Michael Abramson hit Perv's House, Pepper's Hideout, The High Chaparral, The Patio Lounge, and The Showcase Lounge nightly, not to capture the artists on stage but instead popping off a half-dozen rolls every night exclusively on the seldom photographed crowd. Light: On The South Side gathers more than 100 beautiful black and white Abramson images, as Numero shines its own light on yet another dark corner of the musical past. The 132-page hardback book features not just these photos, but an extended and wildly colorful ephemera section, plus an essay by British novelist and Numero fan Nick Hornby. Housed in a gorgeous slipcase with the 12X12 monograph is the 2LP set Pepper's Jukebox, a 17-track compilation of Chicago blues in transition, as heard from both the stage and the Wurlitzer.

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

Clear Vinyl. While Jamie Saft has been a significant presence on previous RareNoise recordings by Slobber Pup, Plymouth and Metallic Taste of Blood, the renegade keyboardist and essential Downtown improviser steps into a dramatically different role on The New Standard. A collaborative trio outing featuring the dream rhythm tandem of drummer Bobby Previte and bassist Steve Swallow, both prolific composers and venerable bandleaders in their own right, it showcases Saft alternating between piano and organ and making thoughtful, melodic contributions throughout. The album is the result of a magical recording and direct mixing session in Saft's own Pottervilles Studios, masterfully setup and captured by 5 - Time Grammy winning engineer Joe Ferla, who is regarded as the fourth member of the band for this remarkably empathetic endeavour. Ferla recorded everything analog direct to two-track 1/2" tape through a Neve console. On ten original tracks, seven of which the keyboardist composed, Saft blends brilliantly with his esteemed elders on this remarkable RareNoise release.

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

Veteran Jamaican deejay Tippa Lee returns to the fold with a playful twist on the classic love song, professing his adoration for sweet reggae music and all its provided him.

As per usual, the enigmatic Naram is on riddim duties with a retro-futuristic piece of rub-a-dub mixing live Simmons drums, acoustic piano and a menagerie of colourful synths.

Paired with a stripped back dub version, mixed to tape, and mastered for full effect by New Zealand’s Downbeat Mastering, this is another essential 45 from the Red Robin camp.

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.

French electronic producer heylucas (formerly Luca) steps into a new era with his highly anticipated debut album, "hey".



Following a series of acclaimed singles throughout 2024 and 2025, "hey" marks a turning point in his artistic journey. After his first live performance in late 2024 met with enthusiasm, it became clear, Luca was no longer just a bedroom producer but a true performer. A shift that inspired the name change from Luca to heylucas, embracing a broader vision for his music. This career change is all the more significant now that he has just announced his very first solo live show at POPUP! in Paris on 24 May.


"hey" is a deeply personal recollection of emotions: the highs and the lows, the joy of loved ones, the grief of loss, and the thrill of firsts. From euphoric moments to introspective instants, the album showcase the diverse experience of the artist during this transformative year. Singles like "do the things that bring joy" "either it goes well, or it passes" and "keep dancing" are the perfect example, shaping his signature sound: heartfelt, uplifting tracks that make you want to move and reflect at the same time.


“Do It All Again” in collaboration with Swedish duo HNE, features spoken vocal snippets collected from real-life encounters in the final months of the album’s creation, blend with an energetic/euphoric production.


The album release will be doubled by the release of an exclusive live session by heylucas in which he will reinterpret classics from his repertoire as well as new tracks from his “hey” album.



More than an album, hey is a statement. It’s heylucas’s way of waving hello to listeners, to concertgoers, and to everyone who connects with the emotions he pours into his music.

Donald Byrd’s 1974 R&B-Funk fusion masterpiece Stepping Into Tomorrow was the third album the trumpet legend made in collaboration with visionary producer Larry Mizell. Featuring the standout title track and “Think Twice,” the album became a touchstone for future hip-hop generations and featured Gary Bartz, Fonce Mizell, Chuck Rainey, Harvey Mason, and others. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

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.

The third volume of the AfroColombia Remix series merges African and Colombian sounds with contemporary electronica. It's a collaboration between Colombian labels Galletas Calientes and Palenque Records that celebrates Palenque's 20+ years of activism and Galletas Calientes' two-decade legacy while honouring the late Abelardo Carbono with a remix of his track 'La PiNa Madura' by Voilaaa - it's a standout here with hints of funk, soul and disco all bringing the sunshine. The compilation also reinterprets Nigerian Igbo Highlife and Ekobe music thanks to producers Captain Planet, Uproot Andy and Caribombo. They bring new, funky energy to timeless classics while preserving the original cultural essence.

In the previous episode, the Vibracid technique was discovered as a way to deactivate memories imposed by technocratic elites.

Now, with VIBRACID 2, its real deployment begins: a series of sonic attacks targeting control systems through rave vibrations.

Each track is a weapon. Each producer, a node of resistance. “Vibracid Advent,” the single that launched the assault, opens the mini album with acidic force — delivering the first sonic strike that breaks through imposed control. From the acidic and powerful aggression of Calagad 13 (Spain), through the modular precision and acid techno of C.C.O (Contra Communem Opinionem, Switzerland), to the dark, industrial electro of Mokotron (New Zealand). Atix brings the French 90s rave energy; Wicked Wes, from Florida (USA), builds grooves with bifasic rhythms and glitch textures; and Romphea (Greece) closes with distorted breaks exploring chaos and sonic escape.

Careful sound and mastering, and exceptional design for a limited edition of 150 copies on solid red vinyl.

ZUG is without a doubt one of the leading and most compelling forces in contemporary European body and minimal electronic music. Once again joining forces with Oráculo Records, they present a retrospective that traces the arc of their already extensive and influential career. The result is a powerful compilation that blends previously unreleased material with some of their most iconic tracks to date—specially remixed and remastered for this edition. Every piece captures ZUG’s signature approach: a fusion of machine precision and raw physicality that transcends genre limitations. Tailored for fans of truly experimental, humanized electronica, primal drum patterns, and proto, body-shaking basslines, this release is a visceral listening experience from beginning to end. This is body music in its purest form. Presented in a ONE-OFF, truly limited edition of 300 copies, lacquer-cut and pressed on 180g high-quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

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).

Hugely prolific American ambient artist and analogue drone don zake is back once again with some new re-imaginings of works from a wide range of artists from glitch-pop to post-rock. His singular sound is imprinted on all of the source material which becomes defined by dusty texture and frayed edges as he layers up immersive, meditative soundscapes such as highlights like a haunting take on Beno�t Pioulard's 'Xaipe,' the luminous 'Nicotiana Suite' with Pausal and a poignant reshaping of Inquiri's 'They Come Around.' Each remix reflects zake's deep respect for the originals while also adding something wholly his own.

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.

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

‘Absurd Matter’ is a labyrinthine sonic conundrum that spirals around the two poles of extreme noise and hiphop. It's Berlin-based Italian producer Shapednoise's first album in four years and confidently advances his narrative into the next chapter, building on the groundwork of his prior abstractions to emerge with a coherent genre-warped fusion of urgent rap, crushing bass weight and idiosyncratic sound design. After spending years scrupulously deconstructing club music, Nino Pedone has rebuilt it brick by brick in his image.

The album is the first release on Pedone's brand new imprint WEIGHT LOOMING, a multidisciplinary label platform that's set to explore the depths of bass music, textured noise and abrasive transcendence. It follows a slew of acclaimed releases for Numbers,
Opal Tapes, Type and his own Cosmo Rhythmatic label, and forward thinking collaborations with Kenyan beat alchemist Slikback and Hyperdub-signed Angolan producer Nazar. Pedone's most ambitious project to date, ‘Absurd Matter’ taps into kinetic energy from a hand-picked selection of collaborators, including New York rap duo Armand
Hammer, French DJ/producer Brodinski, Bruiser Brigade's ZelooperZ and vanguard Philly poet, musician, and activist Moor Mother.


On ‘Family’, Billy Woods and Elucid weave a dismal, apocalyptic landscape with their razor-sharp anecdotes. The duo’s macabre imagery is given artificial life by Pedone's industrial scrapes and rattles that curl around their worlds like thick smoke. It's still rap, just about, but lodges itself in the back room of a factory, machines running themselves to an early death. Pairing with techno-rap trailblazer Brodinski, Pedone edges further towards the sound system, spatializing rhythms in four dimensions around Detroit rapper
ZelooperZ's playful expressions. This is the Italian producer's sci-fi tinged liquefaction of radio echoes, a way to fire familiarity into the void and sublime the human voice into weightless mist. When Moor Mother arrives shouting "me me me" on the aptly-titled 'Poetry', it sounds as if all of Pedone's loose threads are being tightened into a knot. His misshapen neo-grime beats sound like a broken jet engine, but smartly cede power to Moor Mother's resonant rhymes. "You can't cancel me" she assures. ‘Absurd Matter’ is a defining personal development for Pedone that not only appraises his career so far, but diverts its logic into frighteningly new sonic territory. From great loss, the producer has determined his work's cardinal themes, and sounds more strident and far heavier than ever before.

DJ Support: Support by Kenneth Bager, Colleen "Cosmo" Murphy, Phil Mison, Chris Coco, Erki Pruul, Steve Cobby, Max Essa, DJ Gripper, Phil Cooper, La Guardia De La Luz, Johan Blende, Bill Brewster, Mike Salta, Pete Herbert, DJ Dribbler / For Mankind and many more.



Greek duo Bonnie & Klein serve up an Aegean musical escape with their new Glam Pulse EP on Hell Yeah.

George Fountzoulas and Thanasis Skouzis are lifelong Balearic brothers who offer up their own soul-stirring take on the sound on labels like Music For Dreams and NuNorthern Soul. They are inspired by the sunsets and seas of their homeland and bring great imagination to their melodies as this new outing proves.

'Glam Pulse' sets a gorgeous tone from the off with wavy grooves and a peppering of percussion. As well as some singing guitar riffs, sundown synths and shimmering chords make this a steamy and seductive gem. 'Haleakala' is another perfect soundtrack to lazing on the beach and watching the sun sink into the sea while new age motifs wash over you and carry away your woes. Proggy guitars speak to the soul on 'Horizon Avenue' as woody xylophones and wispy leads ride on dubby bass and 'Sunion' closes with hints of melancholy - a lament for the final dance of a long hot summer with lingering trumpets lodging deep in your heart.

Bonnie & Klein tap into real Balearic magic on this EP and effortlessly transport you to a sandy paradise.

2024 Repress

Double Vinyl on 140g includes DLC, gatefold sleeve, printed inners. Following the reissue of ‘Hex’ in late 2017, Fire Records reissue Bark Psychosis’ second studio album ‘///Codename:Dustsucker’ (2004) “which finds the band in remarkable form” (Pitchfork). Arriving ten years after the band disbanded, the long-awaited and criminally overlooked follow up brings with it an evolution of their sound. Their experimentations are layered with blissed out electronics, shoegaze, post-rock and jazz are still at its fore as are Sutton’s crystalline vocals. Languid and brooding, the soundscapes are dark and sustained while their “trademark cocoon of limpid, rippling guitar figures and jazzy adornment is buffeted by sharp leftward turns” (Uncut). Recorded in Graham Sutton’s East London DustSuckerSound studio between 1999 and 2004, it features contributions from Talk Talk sticksman Lee Harris and ‘found drumming’ from ex-band member Mark Simnett. Bark Psychosis’

Featuring waves of neon synths, pristine machine funk, scorched ambient drones, gnarled bass lines, playful radiophonics & industrial percussion, this thrilling selection of obscure 1980's electronica is compiled by Zyklus (Alan Gubby / Revbjelde) and presented on 10" white vinyl. "On a teaching placement during the pandemic, I found a dusty cupboard above our college theatre holding 200+ library music CDs. Most of the discs were from the Arcadia Cosmos library, a prolific production house active during the late 1980s and early 1990s. I spent the next few weeks working through the discs and found several interesting electronic pieces although, pseudonym or not, I didn't recognise any of the composers involved. Further research kept leading to dead ends with Arcadia's owners having long vacated their last known address and web links either broken or abandoned. So more questions than answers remain about the library's provenance. For instance, who was / is the brilliantly named David Beast? Did Kraftwerk engage trans-european lawyers after hearing Endurance Test? Was Sylvia Sommer deliberately channelling vintage 1960's radiophonics by John Baker? What studio gear was used to create the distinctive Arcadia sound? And, for what appears to have been a UK-based company, why are so many of the album titles, tracks and composer names distinctly Germanic? If anyone has the answers please get in touch." Zyklus / Winter 2024

‘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.

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.

RAWAX proudly presents the 6th release by Fresh & Low aka Phresh N Low on their own RAWAX TREASURES series!
This time we have the honor to re-issue "New Wave Bang" - originally released on Deep Freeze Recordings in 2000!

The 25 years anniversary edition on RAWAX is re-mastered and will be out early June.

Don't feed the Discogs Sharks!

The SAR EP shines a spotlight on the Womack family, initially known as the Womack Brothers before transitioning into R&B as The Valentinos. Three of the four tracks are originally unreleased, while the fourth is the Womack Brothers’ version of “Couldn’t Hear Nobody Pray” (SAR 123)—a virtually impossible-to-find gem that predates “Looking For A Love” by a year. Thanks to Friendly Womack for his help on this project.

**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.
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2025 Repress

Laurie Torres is a Canadian musician and composer raised in Montréal, Québec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK.

In 2023, Laurie shifted focus to work on her own creations, a process of making time - the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio and ML Buch, 'Après coup' finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of "other options".

"Being othered and tokenized as a woman who plays music, as well as a queer and black person, takes a toll, while also positively feeding a strong urge to push and be seen."

Centering around piano, drums and synthesizer with interweaving field recordings, 'Après coup' follows the precursor ep 'Correspondances' in the form of a sprawling 11-track album. Translating directly from French - afterwards, after the event - its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where 'normal' life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild in St-Zénon, Québec offered an unparalleled location and set up for her freeform creativity.

Instrumental music seemed like a natural response and evolution for Torres who had long basked in the world of "pop music" as she elaborates: "I had an urge to use creativity as a sort of resting place, a place where things can unfold slowly and take time to reveal themselves. In other worlds words, I felt the need to make something slower, more elusive"

The immediacy of Torres' recorded takes doubled with minimal overdubs create a fiercely direct, intimate and unpolished lo-fi beauty. 'Après coup' then is self-reflective, open and inclusive with Torres allowing herself to be fully seen. An album to be felt at close distance with unrivalled authenticity. This album stands as a testament to Laurie's artistic evolution and serves as a beacon, inspiring her to continue nurturing her own creative pursuits and finding exhilarating freedom.

Scowl is a band that sounds exactly like their name implies. Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), Scowl is aiming to funnel all that aggression through a more expansive version of themselves.Much of Are We All Angels grapples with Scowl's newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single "Not Hell, Not Heaven" outright rejects the narratives cast onto them by outsiders. "It's about feeling victimized and being a victim, but not wanting to identify with being a victim," explains vocalist Kat Moss. "It's trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain't working for me." The band breaks from a sense of disassociation to seek deeper connections on "Fantasy." "It's incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated," Moss says. "`Fantasy' is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard." The album ends in a philosophical place on the closing, titular track, "Are We All Angels," asking questions like, "Is this all there is?" and ultimately putting it on the listener to decide. "It's about the personal struggle between good and evil. It doesn't matter how `good' or `bad' you are, there are systems that will try to rewrite your narrative no matter what you actually do," explains Moss, noting that punctuation on "Are We All Angels" has been deliberately omitted in an attempt to leave the statement open-ended. Are We All Angels is the highly anticipated follow-up to Scowl's debut, 2021's How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record's sonic outlier, a cleaner interlude called "Seeds to Sow," that, true to its name, planted the seed for what was to come for the band. "It kind of laid out this destiny for us, and I feel like now we're fulfilling that," says drummer Cole Gilbert. The band continued to expand their sound on 2023's widely acclaimed Psychic Dance Routine EP, incorporating more pop hooks and favoring gentler singing over heavy screaming, paving the way for what would come next.Scowl's growth got a huge boost from producer Will Yip (Turnstile, Title Fight, Code Orange, Balance and Composure), who broadened the band's scope. "Will would say, `Everything you have here is correct, but it's in the wrong place,'" says Gilbert. Moss adds: "Will really helped restructure a lot of the material. Some songs he tore apart to make more space for the really good hooks and choruses." But even through this more eclectic approach, Scowl loses none of their edge, and still manages to convey the anger and frustration that lies underneath. They are deeply committed to carrying the ethos of punk and its sense of community. "Hardcore and punk have sculpted how we operate, what we want to do as a band, and how we participate," says guitarist Malachi Greene. "At our core, we are a punk and a hardcore band, regardless of how the song shifts and changes."

2025 Repress

Inexplicably, yet true, Lexx has never appeared in any way, shape, or form on International Feel recordings – until now. And it’s been worth the wait. Into the Stream is one of the finest endeavors of the Zurich record hound, DJ, musical mastermind, and Balearic baron to date. Bespoke for International Feel, it feels like a comforting blanket for hard times. Inspired by early 90s electronica and serene landscapes, the title track embodies those magical moments just before sunset on warm summer days — a light breeze carrying the sweet scent of earth as you cycle past a peaceful herd of white, black, and brown sheep moving in unison.
Revisiting stages of faith and devotion of one of the favorite bands of nearly every 1980s teenager, and using their formal vocabulary after a deep dive into their rich discography, Lexx delivers a respectful nod and a heartfelt bow, one that is not only a question of lust, but simply irresistible.
Last, but not least, Abun-dance is a celebration of life and love. It manages to tap into the stream and discover the true abundance of the (Balearic) bliss that surrounds us. A match made in heaven.
Lexx, we salute you. credits