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Piero Piccioni undoubtedly was the most “dandy” of Italian film music composers. The most stylish one, in art as in life. On the centenary of the composer’s birth, CAM Sugar celebrates his art with a compilation that draws from both his well-know and lesser-known works, alongside a precious handful of tracks that, surprisingly, have remained fully unreleased until today. The result is a journey of rediscovery of the unique, dazzling and unmistakable sound of the Turin-born composer. The silky, sensual and emotional “Piccioni's touch” can be detected in every single composition he happened to work on during his long career which spanned jazz, bossa nova, funk, disco, and orchestral music. It is a touch that gives harmony and coherence to a corpus of soundtracks that stands out as one of the most prestigious and important discographies in the world: eternal music destined to last forever, without ever sounding out of place, just like the timeless elegance of Italy and Piccioni.

Back to the 80s: A Holy Grail of Italo Disco Returns on Vinyl

Oh, those magical 1980s… an era forever entwined with iconic music that still stirs the soul. For the young, it’s a source of fascination; for those who lived it, a flood of unforgettable memories. And when you combine that nostalgia with a collector’s thrill and the magic words “Italo Disco”, only a handful of legendary labels come to mind. One of them? Sensation Records: the experimental sub-label of the iconic Disco Magic, headquartered at Via Mecenate 78/A in Milan. Known for its distinctive blue label, Sensation was home to less commercial, often bold and boundary-pushing releases – tracks that dared to be different.

Today, Vintage Pleasure Boutique dives deep into the vaults of Sensation Records to revive one of the genre’s most coveted treasures: Marylinlove – “Another Love.”

Produced by none other than Bruno Mosti – a mastermind behind some of the most sought-after Italo tracks of the era. This is more than a reissue. It’s the return of a true cult classic, a holy grail for collectors and genre lovers alike.

If you know, you know. And if you don’t, this is your moment to own a piece of history. Don’t miss your chance to grab this stunning vinyl reissue, before it disappears again.

One of the very rare chances, and quite possibly the only chance to listen to the genius of Ennio Morricone engaging with the musical world of jazz. His soundtrack for the film The Blue-Eyed Bandit (Il Bandito Dagli Occhi Azzuri by Alfredo Giannetti, 1980) is marked by a relentless rhythm that perfectly matches the atmosphere of the film. The film was shot in Genoa – one of the most iconic cities of the Italian detective (poliziottesco) film genre – and stars Franco Nero, one of the leading stars of the whole genre. The main theme, Città Viva, is a vibrant and metropolitan piece, beautifully arranged for big band + trio of soloists, hand-picked by Morricone himself; his friend and collaborator Enrico Pieranunzi (piano), Roberto Gatto (drums) and Riccardo Del Fra (double bass). This is one of the very few times in which Ennio Morricone, who was famously suspicious of jazz improvisation, asked his musicians to be free and improvise, adding their solos to the original structure – the solo viola of Dino Asciolla, one of the greatest violists of all time, in particular stands out. This is the first time the soundtrack has been released on vinyl since its original release in 1982

NOW is pleased to announce the next addition in the Millennium series NOW –the ultimate celebration of the finest pop hits from the 2000s . NOW – Millennium 2008-2009, bringing the first decade to a close – out September 27th! Available on STD 4CD set and a special edition 84-track 4CD set is housed in ‘hard-back-book’ packaging, including a 28-page booklet summary of the years and a track-by-track guide and 30 tracks across 2LP’s, pressed in a Gorgeous Gold and a White Vinyl, showcasing some of the most iconic sounds of the noughties!

Drummer and Composer Nadav Schneerson, based in London has been making moves in the UK Jazz scene having already played with the likes of Charlie Stacey (Yussef Dayes), Steamdown, Dargz, Finn Rees (Allysha Joy), Don Glori and many more across the UK scene and beyond. Highly in demand as a drummer, he's been bubbling as a bandleader with his full 7 piece ensemble gracing many stages in and around London. Having met many of his musical collaborators through Tomorrows Warriors such as Sultan Stevenson, his ensemble line ups feature musicians who have played with many great artists such as Ebi Soda, Levitation Orchestra, Hak Baker, Moses Boyd and much more. Nadav's music is a unique blend of contemporary jazz with various influences from around the Middle East and all being informed by the bustling UK Jazz styles which surround him.

Nadav Schneerson's debut album, Sheva was recorded over two days at the Fish Factory Studio in London. All tracked live, the impressive 7 piece outfit shines through the dynamic range of tracks on the album. Featuring Drums, Double Bass, Grand Piano & Fender Rhodes, Trumpet & Flugelhorn, Tenor Sax, Trombone & Live FX and Oud, there are tracks that are more modal and freeform, allowing the soloists to really let loose. Whereas there are compoisitons more thoroughly arranged, with intricate parts intearweaving through each voice.

Mr Bongo proudly presents the third album by Melbourne/Naarm multi-instrumentalist, Don Glori, entitled ‘Paper Can’t Wrap Fire’. A kaleidoscopic genre-surfing odyssey that brings together the worlds of jazz, soul and funk. Feeling both contemporary and classic, familiar yet novel, it’s an assured third release that sees an artist in full flight, showcasing their creative prowess and the uniqueness of their musical voice.

Steering in a new direction, Don Glori (aka Gordon Li) has delved headfirst into his songwriting with ‘Paper Can’t Wrap Fire’. Deftly showcasing his talents as a writer and bandleader, he brings with him a whole host of friends from the creative crossroads that is Naarm. It’s an album enriched with more soul, R&B, and funk-oriented songs than his previous jazz-rooted productions, yet there’s still plenty of jazz material for those familiar fans of Don's earlier works.

The album’s title is an old Chinese proverb, roughly translated as 'you can’t deny the truth'. This underlying thread is woven between the songs. “A lot of them are in some way about truth-seeking, observations and the masks you put on to deal with life (hence the cover art)”, Don mentions. Take, for instance, the sensational soul single 'Brown Eyes' featuring silky lead vocals by ML Hall. A dissection of the minority experience, and the power and comfort in building those communities. Elsewhere, 'Disaster' is a satirical take on the structures serving everyone but the artists, and 'Flicker' tackles notations of truth and clarity after introspection.

To marry that meaning with the level of musicianship on these tracks is what really stands out. Don has set out his stall here as an artist who can write songs that hit home in the heart, as much as they do in the head. It’s a journey infused with a glistening jazz finesse, layered with nourishing vocal harmonies and powered by an instantly relatable human soul.

Recorded over two hot summer days in Rolling Stock Studios in Collingwood, Naarm, the lineup of musicians is built up of Don's friends and family. Featuring the backbone team of Tim Cox, Al Kennedy, Joel Trigg, Robyn Cummins and Lachlan Thompson, who were part of Don's touring band before he relocated to London, and a stunning selection of vocalists in the form of ML Hall, Ruby Dargaville, Isadora Lauritz, and Bianca Kyriacou. Also gracing the album are trumpeter extraordinaire Audrey Powne, saxophonist Joshua Moshe, and Alcides Neto who sprinkles some Brazilian magic into the record.

Taking influence from artists including Azymuth, SAULT, Jordan Rakei and Lynda Dawn, as well as from London musical beacons such as NTS and Total Refreshment Centre, Don has run with this, leaned in and come out with a record truly unique to himself and his distinctive core, with no mask necessary.

The 1968 debut album from Norwegian guitar legend Terje Rypdal stands as a significant entry in the late 1960s jazz landscape, exemplifying the transition from psychedelic rock to a more intricate, freeform blend of jazz elements. Collaborating with legendary musicians like Jan Garbarek, Rypdal's work on this album showcases his innovative talent.

Recorded during three sessions in Oslo in 1968, Bleak House marks Rypdal’s departure from the psychedelic group The Dream as he ventured into new musical territories. He would go on to become one of the most recognizable instrumentalists in European jazz, with releases on the ECM label filled with his searing, evocative guitar sounds that evoke a future tundra.

Though only 21 at the time, Rypdal was already creating music that was incredibly mature, smooth, and sophisticated. While it undeniably captures the essence of the 60s, it remains enjoyable today. The album, originally released on Polydor, features slight Latin and blues influences, along with big-band arrangements that are both well-crafted and enchantingly loose.

The reissue of Bleak House offers much to unpack. Historically, it represents a bridge in the European transition from jazz-rock to a unique avant-garde/free jazz hybrid. Even at this early point in his career, Rypdal's ability to incorporate post-bop, fusion, and avant-garde elements into a cohesive album was an impressive feat of imagination. Rypdal has always been a bold composer, capable of weaving intoxicatingly discordant melodies, as exemplified in tracks like "Winter Serenade", or evoking an unearthly sadness in his more reflective pieces.
Bleak House is a timeless and important recording, and it is a pleasure to hear it in this 180g virgin vinyl format.
A must-listen for anyone interested in the evolution of modern jazz.

Carwyn Ellis & Rio 18 release their new album "Fontana Rosa". Possibly the world's only musical group to fuse Latin music of all kinds with the Welsh language, this time Rio 18 draw inspiration from slightly different musical corners, including Chicano Soul, Nuyorican pop, and Salsoul disco plus Latin sounds filtered through the cultural spectrum of the USA.

Most significantly though, the album was among the last ever to be recorded by the acclaimed producer Liam Watson at his legendary studio and shrine to all things analogue, Toerag Studios - a huge inspiration and influence on Rio 18's Carwyn Ellis. The "Fontana Rosa" sessions saw Ellis draw together an all-star band at the fabled studio which is perhaps best known through its place in the White Stripes history.

Talking about the story and gestation of the album, Carwyn said:

"I was in Mexico City with Baldo Verdú when I heard that Toerag Studios in London was going to close. It came as a shock - Toerag and Liam Watson, its owner and resident producer had been a massive influence on me. Liam, along with Edwyn Collins, had taught me much of what I know about recording, had hired me as an instrumentalist on countless sessions and had helped me to get started when I began my own solo career. And over the years, I'd still go in to record with Liam whenever the opportunity arose. When I heard that Liam was shutting up shop, I took it upon myself to try and ensure he went out with a musical bang. I rounded up the best band I could get: the aforementioned Venezuelan percussion wiz and singer, Baldo Verdú: American drummer, multi-instrumentalist and producer Shawn Lee: the Isle of Wight's finest drum and percussion master, producer and composer Rupert Brown (whom I'd originally met at Toerag many moons ago): Elan Rhys, one of Wales's finest voices and long term collaborator with Rio 18, as well as being one third of the wonderful folk group, Plu: and Kassin - my Brazilian brother from Rio de Janeiro, bassist and producer with artists such as Jorge Ben, Caetano Veloso, Gilberto Gil and a multitude of others, including Carwyn Ellis & Rio 18.

So this was my dream team, assembled to make beautiful music one more time at Toerag (I have to add at this point that Shawn and Rupert hit it off so well at our sessions that they booked their own session shortly afterwards! Look out for the brilliant Shawn Lee's Toerag Orchestra 'Percussion Discussion' album). Toerag, if you're not familiar with the place, made its name as London's foremost analogue studio for some 30 years, recording directly to tape which in essence means musicians playing live, together in a room until they get it right. And the sound? Oh the SOUND!! And this is all Liam Watson's doing, his sonic aesthetic - a real master engineer. The studio is perhaps best known as the place where the White Stripes recorded their monster hit album 'Elephant' but for me it's where I got to record with James Hunter, Lay Low (from Iceland), Quruli (from Japan), Fabienne Delsol (from France) and made many lasting friendships, learnt a great deal about popular music, as well as making a bunch of my own best recordings with Colorama.

Over the course of five days we laid down as much music as we could. We had some visitors too: guitar slinger Little Barrie (Primal Scream, The The and Liam Gallagher among other things, but also my dear bandmate in Edwyn Collins's band): sax and flute maestro Jim Hunt (Amy Winehouse, Primal Scream, Duffy and very many others): and Diego Laverde Rojas, the Colombian Latin harp virtuoso.

This time the music had a slightly different edge - although we still maintained our Brazilian/Welsh connection on 'Deffro'r Dydd' (written with and sung by Elan Rhys), our Cumbia vibe and some Merengue ('Mariposa' and 'Te Adoro', sung by Baldo Verdú) and even a traditional Afro-Venezuelan tune ('La Quichimba', again sung by Baldo) - the main influence for me this time was Latin music as recorded in the USA, both new and old. 'No More Secrets' is a straight up slice of Salsoul disco, while 'Hei Ti' is a punky funky but of Nu Yorican pop somewhere between ESG and the Beastie Boys. But one of my main influences in the last couple of years has been the current wave of Chicano Soul coming from California, particularly via the Penrose and Big Crown labels. I was turned on to this music when I was in Japan in early 2023 - Takashi-san at Pleased To Meet Me Records in Nara played me the Altons' 'Float' and I was hooked!

And that music has a similar aesthetic to Toerag: music recorded live to tape by excellent engineers, performed by fine musicians and singers. So our songs 'Impossible', 'Heartbreaker' and 'Lovesick' are very much in this vein. And that just leaves the title track, 'Fontana Rosa'."

wetdogg was born in a grotto in Detroit, Michigan with a mission to information to the masses. Through sonic awakening, wetdoggs mission is to enlighten the subconscious and shine light on the deepest crevices of the human psyche. Allowing pathways back into animalistic intuition and away from the technocracy, dig a hole, plant a seed, run in circles and free your mind.

Coming out of Detroit based label Hold Me Records started by Detroit Techno aficionado MGUN and Underground don of all dons Ryan Spencer, wetdogg releases her first Album pssssssp…

From the artist:
"When a dog runs into a river and comes out and shakes itself dry, there is no data collected, technology does not aim to control those that it cannot. Numbers are definite and infinite, a linear path to doomsday. With every move we make, we are tracked and traced and categorized in order to sell ourselves into data hell. Intimacy used to have meaning, the present moment, truth and love but so much of it has been taken captive by technology that seeks to psychologically manipulate and control. A dog runs into the water because that is what dogs do, but it seems these days we are starved from our natural instincts, instead relying on someone else's answer that we of course seek online. "

Using the primitive technology of the password journal (often marketed to little girls to keep their secrets) wetdogg uses the idea of the password journal to imagine a utopia free of the surveillance state in her upcoming album pssssssp…

Founded in 2022, Hold Me Recordings is an independent record label based in southwest Detroit, MI. It is run by Manuel Gonzales (MGUN) & Ryan Spencer, who with a deep-rooted connection to the city's musical history, showcase innovative sounds that challenge the status quo and push the boundaries of contemporary electronic music. Focused on promoting both emerging and established artists, Hold Me is releasing genre-defying tracks that blend unconventional productions with the sincerity of Detroit's legacy. From experimental techno, to downtempo and ambient, Hold Me is committed to offering music that sounds fresh, exciting, and unlike anything you've heard before.

The most pivotal moment yet in the journey of one of dance music's most in-demand duos, Shogun Audio are proud to present 'Overgrown', the highly-anticipated fourth studio album from Pola & Bryson.
Having always strived to encapsulate the experience of euphoria they felt in their early raving days, ‘Overgrown’ is Pola & Bryson’s way of paying homage to music that’s shaped their lives. Across all fifteen tracks, the UK-based duo showcase their stunning approach to electronic music production like never before. Innovative, unique, and just as addictive on the hundredth listen as the first, the UK-based duo continue to cement their position as some of the best in the business.
Featuring one of drum and bass' most notable recent singles, the scene-shattering 'Phoneline w/ Emily Makis', an incredible slice of euphoric drum and bass in the form of 'The One I Need w/ Kelli-Leigh', the massive crossover hit 'Want It w/ IYAMAH', and the sound-system destroying sounds of ‘This Chance w/ Break & Cimone’, the singles released before the full album drop have already accumulated over 75M streams, mass DSP editorial support, consistent UK specialist and playlist radio support, and 100s of millions of views online.
Fresh cuts, including ‘Listen w/ goddard.’, ‘How It Was w/ Monroe & Charli Brix’, ‘Falling 4 U w/ MPH’, as well as superb solo offerings like ‘Insomnia’, ‘Temple Stomp’, and ‘Aurora’, all flawlessly gel together under the umbrella of big synths and pure euphoria to create what is sure to be one of the most talked about and repeatedly listened to moments in electronic dance music this year.
“This album is the evolution of us branching off to a more euphoric and club-orientated sound, which heavily influenced the album title. ‘Overgrown’ as a title also represents the relationship between the digital and organic sounds in our music, which in turn, also represents the contrasting factors of nature and urban environments that we both grew up in, both of which have influenced our sound massively.” - Pola & Bryson
A coming-of-age moment for some of the most talented artists the scene has to offer, the act that Sub Focus once claimed was "leading the new wave of liquid drum and bass" has now taken centre stage.

'the fun years', comprised of multi-instrumentalists Ben Recht and Isaac Sparks, have been making music together since the turn of the century, producing intriguing interrogations of ambient, drone, post-rock, and turntablism. Originally released in 2008 on the now-defunct Barge Recordings, 'baby it’s cold inside' is perhaps the high watermark of their discography. Equally concerned with microtonal nuance and harmonic intensity, it is both a product of its time and something well past it. The chief protagonist is surely the turntable, deployed to create woolly, evocative loops from unidentifiable source material that recall, at times, the work of Philip Jeck or Jan Jelinek—churning, roiling, hissing, atrophied textures further articulated with nuanced processing and buoyed by baritone guitar drones and anti-riffing.

The title of opener "my lowville" feels like a wink to the famed slowcore duo, with spare post-rock motifs hovering in a dusty ether, slowly consumed by distorted washes of rich, harmonic sound. One of the most satisfying aspects of the album is that despite the recumbent nature of most of their sound design choices and compositional proclivities, Recht and Sparks are loath to sit still. "auto show of the dead" is a serpentine piano/guitar exploration full of subtle detail, preceding the immaculately titled "fucking milwaukee’s been hesher forever," in which the tactile delights of clicks+cuts are liberated from the laboratory and allowed to slum it in the world of tape gunk and '90s plate reverb. Later, "re: we’re again buried under" presents an inky black ambience that feels truly expansive and almost overwhelming, and closer “The Surge is Working” tears apart an anthemic shoegaze dirge at the seams, leaving only billowing filtered noise and negative space in its wake.

Presented here with a brilliant remaster by LUPO, 'baby it’s cold Inside should be considered alongside records like Belong’s October Language and Polmo Polpo’s Like Hearts Swelling—an arresting early aughts ambient marvel that warrants ongoing investigation.

GOLD DISC CLASSIC SERIES

Classic track with the voice of our dear friend & legendaryJamaican vocalist Michael Prophet. For sure one of our most successful tunes ever released and a timeless roots anthem that we still play at every session. Here we re-issue it with a never before heard dubplate mix on the b-side. Part of the SCOOPS Gold Disc Classic Series !!


Vibronics is one of the most established names in UK Dub/Reggae music achieving millions of views on YouTube, millions of Spotify streams and many tens of thousands of vinyl record sales. Collaborators include Michael prophet, Macka B, Iration Steppas, Soom T, Aba-Shanti and more.

In the Andes of Peru, in a valley formed by the Huallaga River, lies the city of Huanuco. There, a little over fifty years ago, the emblematic cumbia band Los Darlings de Huánuco was born, and since then their compositions have gone around the world, bringing their homeland to the ears of music lovers and collectors. Adversities kept them away from music for two decades, but in spite of this, they marked a parallel path and created their own history in the maximum splendor of Peruvian cumbia. In a valley formed by the Huallaga River lies a temperate land located on the eastern slopes of the central Andes of Peru: Huánuco. A little more than seventy years ago, in that land of mountains and starry skies at almost 2,000 meters above sea level, Juan Nájera was born. A multifaceted musician by profession, he did not always have the privilege of being able to dedicate his life to music. For almost ten years he ran a family hardware store in Huánuco and then a mechanic shop on La Marina Avenue in Lima. He was also a truck driver. A decade of military dictatorships in Latin America made the artist's path very hard in the region, and Peru was no exception. Nájera was only nineteen when his first son was born. He had to make a living and the possibilities for entrepreneurship were slim. But if we go back in history, Juan Nájera was, first and foremost, a boy who dreamed of becoming a musician. Later, he was a boy who made it. Los Darlings de Huánuco managed to cross borders, not only in the capital of Peru, but also abroad. There are many collectors and music lovers around the world who seek and appreciate their songs, musical gems that have toured different latitudes and have managed to position this band from the Peruvian countryside in the most remote places on the planet. In a country characterized by its centralism, where opportunities in the countryside are much scarcer than in the capital, where the foreigner is greeted with more warmth than the local, and where getting ahead, especially in the musical field, implies an extraordinary effort, Los Darlings de Huánuco managed to take their sound to where they never thought it would be possible. From the Andes to the skyscrapers, from the heart of Huánuco to the immensity of other continents.

GOLD DISC CLASSIC SERIES


The biggest and baddest Vibronics anthem of all time featuring the original clarion call from Professa Natti. The Professa rose to fame
as mic chanter on the Jah Tubbys Sound System. This tune was first released back in 2012 and immediately sold out, the vinyl record has
now become a serious collectors item. Here we re-issue it with a never before heard dub mix on the b-side. Part of the SCOOPS Gold Disc Classic Series !!


Vibronics is one of the most established names in UK Dub/Reggae music achieving millions of views on YouTube, millions of Spotify
streams and many tens of thousands of vinyl record sales. Collaborators include Michael prophet, Macka B, Iration Steppas, Soom T,
Aba-Shanti and more.

Born at Theme Ltd, one of London’s most exciting new music studios in the heart of Camden, ‘Driver’s Seat’ is an unapologetically bold and enduring work. MICHAEL, staying true to his name, delivers a debut project that is authentic and unfiltered, offering a glimpse into his true self. Staying true to the ethos of Theme Ltd, he channels his optimistic spirit into tracks that radiate hope and possibility. ‘Driver’s Seat’ combines infectious raw technique with a mesmeric, intimate journey into the mind of a true artist. The collaboration with Theme Ltd is unmistakable, evident in the crisp precision of the audio. This is elevated by the use of their new Live Studio, acoustically treated to perfection by audio legend Paul Gilleron, who also lent his expertise to iconic venues like the O2 and Roundhouse.

‘Drivers Seat’ opens with ‘In The Rain,’ where veteran vocalist Chili graces the track with her soothing yet powerful voice, perfectly complementing a timeless R&B instrumental reminiscent of Anita Baker / Patrice Rushen. MICHAEL uses this introduction to immerse listeners in his musical utopia. The next track, ‘Drivers Seat’—the project's namesake—oozes effortless cool, with a memorable chorus and a captivating melody that leaves listeners both intrigued and enamoured by the enigmatic MICHAEL character. The B side continues the motif of positive self-expression and praise with ‘Satisfaction’ an optimistic celebration of love. The prospect of joy is more ambiguous in the ultimate track ‘And I Love You’ cruising down an infectious baseline, crafted in collaboration with resident producer Theme, the soft beautiful vocals take us to the natural end of a uniquely wonderful debut project.

Co-Accused are back for their first release of 2025 with a dose of raw and relentless techno from one of Glasgow’s most solid of underground forces Fear-E. 9 Darter EP presents four slabs of peak-time pressure, polished with the refined edge of the Posh End Music boss’s production. No surprise this EP is in parts inspired by the sounds of UK techno legend Dave Angel and in others of the general free-wheeling ethos of the 90s - feeling as relentless as a basement session in that golden era.

Fear-E has built a reputation as a beacon of putting out high quality club tracks through his career, releasing on the likes of Dame Music, Dixon Avenue Basement Jams and Dark Entries, while also running his own imprint Posh End Music alongside its hardcore-driven sister label Breakbeat Energy. His records are regularly supported by the likes of Dave Clarke, Ben Sims, The Hacker, Randomer, Jerome Hill, Marcel Dettmann, and James Ruskin, with airplay on BBC Radio 1 and 6 Music.

In a world where physical experiences are becoming rarer, artists are looking to connect their process to something more tangible, and with A/V rinsed, scent is an obvious next sense to plunder. Florian TM Zeisig - who last appeared on Somewhere Press as Angel R, goes the extra mile, teaming up with perfumer Angel Paradise to develop a suite of music that plays like a bouquet of memory-triggering aromas, coupled with a fragrance that captures the oily essence of their bucolic alpine setting. The project came about when both artists were living in Hinang, a small farming village in the rural Bavarian alps. Paradise was studying alpine plant behaviour and using her research to inform her approach to scent creation, developing natural perfumes based on the landscape. Zeisig, meantime, composed his own response to the mountains and forests that surrounded them. He wrote ‘Spool’ as a poignant farewell (or spiritual rebirth) as they prepared to leave, considering teenage nostalgia as well as the idyllic locale, and the pastoral suite of lulled loops, field recordings and dissociated instrumental vamps plays like a contemporary Heimatfilme soundtrack, locking into the genre’s idyllic, fantastical simplicity and romance. Drunken horn loops and mushy piano chords concertina around a wobbly axis on ‘Oneandhalf’, met by dreamy guitars and whispered, lysergic vocals. The sweet-smelling notes form an enigmatic compound, prompting us to think of Codeine or Galaxie 500 without solidifying completely. It’s music that works with outlines and traces, catching us off guard with flickers of samples and veiled base notes: the Cocteau Twins-like phased piano on ‘Threeandhalf’ that’s drowned out by gunked tape fog, or the smudges of ‘Spirit of Eden’ ambience on ‘Alright’ that creep between tweezed piano phrases. There’s depth too; Zeisig doesn’t restrict himself to Romance-cum-Basinski loopmuzak, he intersperses his GASeous orchestral waves with serene, relatively demure reflections that capture the pristine beauty of a dewy alpine morning. ‘Four’ is an ASMR-rich blend of crunching leaves and mossy, decelerated pads, and ‘Plus’ burns its drones down to crackling embers, letting the faint harmonies flicker through the coal dust. Importantly, it’s emotional music, but not overly melodramatic, finding peace in nostalgia and the calm of nature.

The incredibly elusive band Sault release their debut album 5 on Vinyl via independent record label Forever Living Originals. The record fuses African, soul, funk and post-punk vibes amongst other flavours. With support from Radio 6's Lauren Laverne and USA's KWRC and KEXP, the band are set to go from strength to strength becoming one of the most prolific bands of 2020 with a barrage of material up their sleeves

Dean Josiah Cover aka Inflo has been composing for Michael Kiwanuka, The Kooks, Tom Odell, The Jungle and Little Simz

2025 Repress

Om Unit surprises us with a second volume of his 'Acid Dub Studies' project, once again fusing his love for the 303 with studio techniques given to us by musical heroes such as King Tubby, Adrian Sherwood, Jammys and Basic Channel

This second volume further solidifies the convincing narrative created by its best-selling predecessor, heading in a more groove-based direction in places whilst being underpinned by the same sonic narrative that has been enjoyed by many music fans from a variety of different spheres for the past 18 months or so

Support so far for the Acid Dub Studies project has come from many corners including some of the most highly respected names in UK Radio such as Don Letts and Steve Barker, Benji B and Tom Ravenscroft as well as a whole host of truly global worldwide underground support both via radio and in the dance

Om Unit says of this record: 'I felt encouraged by the sheer love for the original selection of works to go back in again and continue to experiment with this approach to writing whilst refining some of the process. Being able to combine processes and influence has been the mainstay of my creative life and I hope this next volume of Acid Dub will be enjoyed by everyone who was a fan of the first'

The beloved 303 bassline continues to inspire every new generation and Acid Dub Studies II is another storybook of sound in that vast continuum that shows no sign of slowing down.

Claire Chicha aka Spill Tab is feeling more free than ever before. The LA-based, French-Korean songwriter and producer,has spent the past five years as spill tab honing a sound that is as raw-edged as it is refined, channelling low-slung guitar-strumming confessionals as well as the earworming melodic hooks of anthemic pop to produce a heady and distinctive mix.

Following the 2019 release of her intimate and infectious debut single “Decompose”, Spill Tab has evolved her spill tab project through three EPs: 2020’s synth-pop influenced Oatmilk, 2021’s playful, uptempo Bonnie, featuring Gus Dapperton and Tommy Genesis, and 2023’s co-produced, sonically-intricate Klepto, which gleefully meanders from the Hiatus Kaiyote-influenced jazz freakouts of “CRÈME BRÛLÉE!” to the guitar-chugging thump of “Splinter”. Live, meanwhile, Spill Tab has been tapped for her explosively energetic presence to open the North American leg of popstar Sabrina Carpenter’s tour, as well as touring through Australia with alt-rock trio Wallows.
With “PINK LEMONADE”, opening single from her forthcoming debut album “ANGIE” , spill tab’s freewheeling sound finds its fullest expression, harnessing this onstage experience and recorded experimentation with her bass-weight and pitched-up vocals. Here we find Chicha only ever chasing that “weird thing”, fizzing with an infectious enthusiasm and intricate musicianship. “The best songs come from writing the main idea in a day, as it’s so instinctual,” she says, such as “PINK LEMONADE” recorded “from a clip taken out of a 40-minute jam that we then chopped and spliced”.
Born to her French Algerian composer father and Korean pianist mother, Claire Chicha spent her early childhood in the mixing room of her parents’ LA post-production studio, bringing coffees to artists as they tracked scores for exciting new projects. “I hung out in that studio all the time until I was around 10 years old, absorbing jazz music my dad was into and classical music that my mom loved,” Chicha says. “My mom had a big hand in making me an adventurous kid, always trying new things from piano to harp and violin, forever soaking up new sounds.”

At 12, Chicha’s life was uprooted as she relocated to Thailand to live with her mother’s family following the collapse of her parents’ business after the 2008 recession. What followed was an unstable and formative few years of early teenagedom, navigating new cultures and life changes. In Thailand, Chicha began learning guitar to cover the Paramore and Green Day tracks she had grown to love while also becoming immersed in Thai traditional music. After a year, she moved once more to live with her aunt in Paris and there she was introduced to the classic sound of Serge Gainsbourg and Édith Piaf before ultimately returning to LA following the untimely death of her father.

“I had to become a real people person to fit in everywhere I was moving, and it immersed me into so many different styles of music,” she says. “I went from listening to the nasal singing of Thai traditional music at muay thai fights in Bangkok, to emotive classic French songs. It definitely informed the need to experiment with my sound as I became more interested in making music.”

At high school in LA, Chicha joined one of the country’s foremost show choirs and realised a natural aptitude for stagecraft and performance as she sang medleys in competitions throughout the US. Going on to study Music Business at NYU, Chicha found a love for the alternative soul and singer-songwriting of the likes of Moses Sumney and Bon Iver, as well as developing her own sound while spending summers interning as an A&R at Atlantic Records and being exposed to the gamut of New York’s live music scene.

“I was going to so many shows as an A&R intern and seeing just how much a lot of music sounded alike,” she says. “It made me realise I wanted my music to feel different, to cut through the noise but still make something that felt honest to me.”

Beginning to independently release tracks, Soill Tab gradually built a loyal fanbase with the release of wistful early numbers “Calvaire” and “Cotton Candy” and soon found herself signed to a major label. Yet, as her career progressed through the COVID pandemic the demands of a corporate major began to conflict with her own searching style. “My last two EPs were under contract and it felt like I was always chasing the carrot,” she says, “I felt a certain pressure to put out tracks quickly and find that ‘hit’. It wasn’t the right environment to truly make what I wanted.”

Ultimately parting ways with her label, Chicha began work on a new album, exploring new sounds and ideas with her LA-based community of collaborators like producer David Marinelli, Solomonophonic, Wyatt and Austin and John DeBold, without expectation. “It became this beautiful experience of only following ideas that I really believed in and exploring all the musical avenues I hadn’t before,” she says. “I’ve never been more excited about songs and I’ve never felt like a project is more mine.”

Writing and recording while touring with Sabrina Carpenter and Wallows, Chicha road-tested her new tracks to see what might land best with an audience who had likely never heard her music before. “You have to win people’s hearts as an opener and you can see what resonates and what doesn’t,” she says. “I would watch people fall in love or not and it’s usually always the song you’re having the most fun with that does the best. That’s what I put on the record.”

« Angie », Spill’s Tab debut album is relased on because Music and expected for May 16th release.

Only the first plate of the LP. (AB side)

New Zealand drum & bass titans The Upbeats have galvanized the global turbulence and turmoil during COVID to create their most explorative and emotionally heavy album to date "Not Forever". Featuring the likes of Fat Freddys Drop frontman Joe Dukie, Jordan Dennis, Levine Lale, Sylvee, Syrene Favero and US MC don Armanni Reign, "Not Forever" is unlike anything the duo has released before. Written in a different way, approached from another perspective, created with a newfound love for the creative process and the scene at large; It's a whole new side to the duo who have continually pushed themselves and their sound into the unknown...

PHONOLAB is the new collaborative project from Anglo-Italian musician, solo artist and producer Gaudi and experimental electronica composer Eraldo Bernocchi Both fearless creators known for pushing the boundaries of sound for almost four decades, the duo's new album 'Disturbia' is set for release on the 11th April via Subsound Records and features contributions from heavyweights including Gerald Casale (Devo), Flowdan, Bill Laswell and the late Mark Stewart (The Pop Group).

With its eclectic blend of electronic innovation, deep basslines, and cutting- edge sound design, 'Disturbia' challenges and captivates listeners with its bold, genredefying vision, resulting in a deeply immersive and forward-thinking sonic experience. The title of the album was created by late post-punk pioneer and lead singer of The Pop Group, Mark Stewart, who was recording with PHONOLAB, shortly before he died. Some of the disruption and creative defance Stewart embodied can be heard throughout the album including tracks such as the glitchy 'Lapis Lazuli' and album title track, 'Disturbia.' The album acts as a homage to one of the most infuential post

SAMOSA RECORDS EARTH, WIND & FUNK VOL.2 - Pt.1

Samosa Records comes at you with all the elements for Earth, Wind & Funk Vol. 2 – a succulent double slice of vinyl heaven!

On side A1 label favourites Dirty Elements & Drunkdrivers start the party with the knee-slapping treat ‘Koko’. A bouncing bassline and some sweet clavinet keys act as the starters to this trip around the discophere. Lush strings and sassy vocals provide a delicious cherry on top. Mesmerising stuff.

For A2, Macchianera undergoes a De Gama Re-Groove with ‘Gotta Dance’, a deceptive 115bpm chugger that could travel the tracks for an eternity. Deep, groovy bass and soulful vocals combine perfectly in the build-up to the brass-soaked chorus line. Oh, and you know that rhythm guitar is gonna get you.

Side B1 finds Niels F. ‘Trying To Love’ with a little help from some De Gama Re-Drums. ‘Trying To Love’ breaks out into its stride from the off. With an almost ‘2-step’ vibe at the intro, ‘Trying To Love’ nicely builds to a rag time jam of lush strings, smile-inducing brass and a wicked vocal – all applied perfectly and filtered expertly. Let the good times roll!

B2 brings the Afro inspired delights of MP Soundworks and ‘Gotta Get It’. There’s a tribal vibe in the air at this party, a hypnotic runaway train of a track that makes full use of filtered build ups, looped vocal samples and a wicked, wicked bassline. Bouncier than supper-concentrated Zectron.

In Earth, Wind & Funk Vol. 2 Samosa Records has produced a stunning double slab release, featuring a good mix of some of the label’s most prolific artists and some welcome newcomers.

Continuing the Hyperspace instrumental ambient series tradition are two ensembles: Mindstreams, and the duet Squash and Biscuit. This LP features a full side for each artist and is pressed in lavender vinyl. Mindstreams is a vocalized ambient bed of sound by JP Berreondo and Stefanie Naifeh. From opera to avant-garde, neo-cabaret to singing world music in 15 languages, Naifeh journeys through a colorful mosaic of music. She began her classical training at the age of 8, performed with the San Francisco Opera in the children's choir in Carmen, and majored in opera at UCLA. She later formed the avant-garde, neo-cabaret band, The Underthings in 1987. Squash and Biscuit is a Los Angeles based husband/wife team featuring composers Shuwen Zhao and Brian Griffith. Recorded live from 2020-2021, each piece serves as a short investigation into the world between sound and music using found sounds, musical samples, instrument recordings, and voice manipulation. Limited to 300 copies

For customers of the Rush Hour shop, this item ships for its may 23rd release date. Any items ordered along with this will ship then also

A classic returns. Mystery, one of The RAH Band’s most beloved albums, celebrates its 40th anniversary with this long-awaited reissue - the album's first time on vinyl since its original 1985 release.

The RAH Band, the brainchild of producer and arranger Richard Anthony Hewson, has been synthesizing jazz, funk, and electronic pop into out-of-this-world tracks since the late 1970s. Mystery marked an important moment in Richard's career, following on from The Crunch & Beyond (1978), RAH (1980), and Going Up (1983). With this album, Hewson took his pop songwriting and commercial success to new heights while never compromising his unique and unbound production style.

At the heart of the album are eight perfectly crafted pop songs, each standing strong on its own, with no filler in sight. The lead single, Are You Satisfied?, set the tone for the album’s jazz-funk evolution, but it was Clouds Across The Moon, with its futuristic narrative of love and longing across the cosmos, that became a chart-topping phenomenon, reaching #6 in the UK. The track’s space-age storytelling cemented its place in pop history, with many still recalling that 1985 Top of the Pops performance as the moment they fell in love with The RAH Band - if you know, you know.

From the dreamy synth-jazz of Float, a club and radio favourite to this day, to the smooth saxophone solo on Out On The Edge, recently featured on Steven Julien (aka Funkineven)'s DJ Kicks mix, Mystery remains an essential album four decades later - a testament to the genius of one of the most quietly influential songwriter-producer-arrangers of our time.

The EP Mosaic marks the debut release of artist Yakoba on the Amsterdam-based label recursie. Spanning 30 minutes, the record features three house tracks and one ambient piece, drawing inspiration from diverse influences such as jazz, trip-hop, and dub. Each of the four tracks merges cohesive, dreamy, organic sounds with rhythmic layers that flow alongside melancholic and deep psychedelic nuances.

The Orchestra (For Now), eine der derzeit essentiellsten Londoner Livebands und auf der Watchlist vieler Magazine, stellen ihre Debüt-EP "Plan 75" vor. Vier Tracks voller Angst, Erfindungsreichtum und Können, die zeigen, wie viel es sich auszahlt, alles zu zerreissen und neu anzufangen.

- "It feels no exaggeration to say that the bands debut is one of the most highly anticipated of the year." - So Young

- "A completely distinctive sound, hugely progressive in scope and tone." - Clash Magazine

- "The Orchestra (For Now) are further cementing their prime position among next year's ones to watch." - DIY Magazine

Lynn White hails from Mobile, AL and started singing at the age of six in her local church. She worked in Ike Darby’s record store where she would sing along to the sounds that were playing, and it wasn’t long before the owner decided to record her on his local label Darby Records in 1978 at the age of 25. Three singles and the highly collectable album “Am I Too Much Woman For You” ensued, but they didn’t bring much success to the label, which folded shortly afterwards. They did get married though.

Her sultry bluesy Darby-penned/produced “I Don't Ever Wanna See Your Face Again” was released in 1982 on another local label, Sho-Me Records, and it quickly came to the attention of Willie Mitchell, who signed her immediately to his Waylo imprint. A fruitful period followed with 7 albums and 12 singles released for the Memphis-based label during the rest of that decade. Her mid-paced “See You Later Bye” was a huge favourite with the modern soul scenes in Europe, and it was a pleasure to see White as part of Waylo’s A Memphis Soul Night - Live In Europe in 1990 when she appeared with Otis Clay, Ann Peebles and David Hudson, performing in Amsterdam, Rotterdam, Berlin and London; each artist doing a solo spot then all four joining together for some rousing soul medleys.

By now a Memphis resident, she switched to S.O.H. Distributions in 1990, which gave her more control of her output, and these two sides are from that period; “I Don’t Know Why” (1993), clearly her most popular track was only available as a 12” single, and featured the amazing but uncredited vocals of Farris Lanier Jr., who was lead singer of another Waylo act, Lanier & Co. Now very hard to find, this will be an eagerly awaited release as a 7” single. The flip is a gorgeous stepper written by George Jackson (previously recorded by Otis Clay) and from her CD only album The New Me (1990). White’s version just oozes with soul and makes for an essential double-sider.

Wallace & Gromit: Vengeance Most Fowl is a stop-motion animated Netflix film released in 2024. It was directed by Nick Park, creator of Wallace & Gromit,

and met with critical acclaim. The movie received two BAFTA awards and was also nominated for an Academy Award.

The music was of the film was composed by Emmy nominated composer Lorne Balfe (known for his work on The Dark Knight, Iron Man, The Lego Batman Movie and

Sherlock Holmes) and by BAFTA-nominated composer Julian Nott (known for his previous work on Wallace & Gromit).

Wallace & Gromit: Vengeance Most Fowl is available as a limited edition of 750 numbered copies on orange

coloured vinyl and includes a 4-page booklet with an exclusive drawing by director and creator Nick Park.

Die bahnbrechende britisch-japanische Newcomerin Miso Extra unterstreicht mit ihrem herausragenden Debütalbum, warum ihr 2025 der ganz große Durchbruch gelingen könnte. 'Earcandy' wurde im Sommer 2024 mit Ricky Damian (dem mit einem Grammy ausgezeichneten Toningenieur, der für seine Arbeit mit Ezra Collective, Jorja Smith und Sampha bekannt ist) in Damon Albarns Studio 13 geschrieben und aufgenommen. Mit ihrem innovativen Synthie-House Popsound erschafft die selbstbewusste junge Künstlerin ihr eigenes genre-fluides 'Misoverse', das Musikliebhabende aus aller Welt in den kommenden Monaten in ihren Bann ziehen wird.

Grails - the experimental rock institution who have cultivated a quarter-century career out of crate-plunging cultural curiosities - returns a mere two years after the lauded Anches En Maat with their most personal and emotionally resonant album to date. While the band still revel in rearranging bizarre and obscure sources into something often revelatory and surreal, Miracle Music does so with an ascendant melodic power that feels hallowed. The Miracle Music lineup includes cofounders Emil Amos (Om, Holy Sons, Lilacs & Champagne) and Alex Hall (Lilacs & Champagne), alongside returning members, AE Paterra (Zombi, Majeure), Jesse Bates, and Ilyas Ahmed. Produced by Amos, Miracle Music reunites the group with recording engineer Jason Powers and his Type Foundry studio in Portland, Oregon, where the earliest Grails records were made more than two decades ago. Replete with acoustic and electric guitars, synths, woodwinds, brass, samples, percussion - and featuring horn arrangements by Kelly Pratt (David Byrne, M. Ward) - Miracle Music unveils an exquisite new horizon for Grails. Creatively tireless as ever, Grails balance the boundary-pushing claustrophobia of early Industrial music with the airy melodies of Classical compositions to craft the heavy mood that is Miracle Music. In a catalog defined by mercurial departures, this is Grails' most sentimental and high-minded trip yet.

Grails - the experimental rock institution who have cultivated a quarter-century career out of crate-plunging cultural curiosities - returns a mere two years after the lauded Anches En Maat with their most personal and emotionally resonant album to date. While the band still revel in rearranging bizarre and obscure sources into something often revelatory and surreal, Miracle Music does so with an ascendant melodic power that feels hallowed. The Miracle Music lineup includes cofounders Emil Amos (Om, Holy Sons, Lilacs & Champagne) and Alex Hall (Lilacs & Champagne), alongside returning members, AE Paterra (Zombi, Majeure), Jesse Bates, and Ilyas Ahmed. Produced by Amos, Miracle Music reunites the group with recording engineer Jason Powers and his Type Foundry studio in Portland, Oregon, where the earliest Grails records were made more than two decades ago. Replete with acoustic and electric guitars, synths, woodwinds, brass, samples, percussion - and featuring horn arrangements by Kelly Pratt (David Byrne, M. Ward) - Miracle Music unveils an exquisite new horizon for Grails. Creatively tireless as ever, Grails balance the boundary-pushing claustrophobia of early Industrial music with the airy melodies of Classical compositions to craft the heavy mood that is Miracle Music. In a catalog defined by mercurial departures, this is Grails' most sentimental and high-minded trip yet.

"Amazing! Like stumbling on a treasure-trove of unheard Charlie Patton and Blind Willie McTell 78s, but imbued with the spirit of Mahlathini and Ladysmith." Joe Boyd

'But for this compilation of rescued songs masterfully restored from rare 78 rpm shellacs, few could imagine the diversely beautiful roots of Zulu Guitar Music emerging during the period 1950 – 1965. Story-tellers and master musicians appropriate outlaw personae, re-purpose country and western, Hawaiian and other styles, to stretch and challenge our notion of “the Zulu guitar”.

Twenty-five songs (18 on vinyl) plunge us into the depths of the migrant experience. Translations in the liner notes offer us glimpses of pugnacity, melancholy and heartache, all coloured by the paternalism that circumscribed the singers’ apartheid-dominated lives.

The early *mbaqanga* undertow in many of the songs subverts the wanderlust of Country and Western music into a fugitivity burdened by nostalgia. Something irretrievable has been lost, prompting a blending of ideas and cultures to make sense through thankless acts of musical divination. Inadvertently they have been thrust into the role of the antihero, where outwitting competition for lovers is as important as evading the Black Jacks (apartheid’s municipal cops) and their informants.

Considering the politically repressive period that this music emerges from, we can surmise that the specificity in the storytelling went a long way towards evading censure. But even when words are absent, there is a narrative arc suggested by the musical expression.

With most of the master tapes wilfully destroyed or lost, modern transcription and restoration techniques from the original shellac discs present the original sound most likely more clearly than ever heard before.'

Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music and Siemon Allen at Flatinternational.
Artwork design by Siemon Allen.
Liner note and translations by Kwanele Sosibo.
Audio restoration and lacquers by Frank Merritt at The Carvery and pressed at Pallas, Germany.
Original 78rpm recordings sourced from the collections of Chris Albertyn at Matsuli Music, and Siemon Allen at the Flatinternational Archive.

Outtakes is a retrospective album featuring nine previously unreleased tracks
from Micke Bjorklof & Blue Strip - This unique collection contains songs,
recorded over the years but for various reasons, were left off past albums,
capture the band's evolving sound and dedication to blues-rock excellence
We usually had a few extra songs when we went into the studio to record the album in
case some of the songs didn't "take off" as expected. Sometimes the direction of
production can also change as the process progresses, which affects the album as a
whole. However, a lot of effort has been put into these songs and they have been
carefully prepared for the album and produced to completion. It is at least justified to
give them another chance to reach listeners, and we felt they deserved a platform of
their own. Although the songs are from different eras, I think they formed a very good
and balanced whole" says Micke Bjorklof.
Spanning from the early 2000s to the present, Outtakes showcases the shifting styles
and influences of one of Finland's most celebrated blues-rock bands. Outtakes is not
only a collection of rare tracks but also a kind of time travel through the arc of the
band's musical and sonic evolution from the early 2000s to the present day. Each
song reflects the shifting moods, styles, and influences the band has embraced over
the years, capturing the essence of one of Finland's most celebrated blues-rock bands
over 30-year journey in the blues-rock scene.

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

On And the Wind (Live and Loose!), the Asheville-based Lenderman handles most of the playing, but with The Wind, it"s a multi-headed beast. This live album is culled from sold-out summer 2023 shows on a brief headline run during what some might call a wild-*ss couple of months. It captures a near-euphoric moment in time - dizzying and exhausting and, most of all, having some real true-blue f**king fun with your best friends. It"s 90s college rock meets Americana hootenanny, an electrifying piece of the MJ Lenderman lore that needs to be experienced live with a light beer in-hand - but in the interim, And the Wind (Live and Loose!) does its best to commit the scene to tape.

Following the departure of Wire's drummer Robert Grey in 1990 WIR had risen phoenix like from the ashes of the acclaimed UK post-punk band after and were created to fulfil the final phase of Wire's Mute Records contract. With a more sequence based sound, WIR saw the band breaking all their own rules by creating a new sparse electronic music with Graham Lewis singing most of the vocals and even cannibalising their own catalogue by sometimes sampling their own older material. WIR was, however, not a long-term project and besides completing their only album, The First Letter, their only other activities were a very small number of gigs and two multi-artist "conceptual happenings" under the name I Saw You. One of these was in Clapham in April 1992 on election night and the other in Vienna in Feb 1993. On that Vienna trip, in addition to playing the gig, the band recorded a radio session for the Austrian national broadcaster ORF which was organised by Peter Rehberg - later the person behind MEGO & sadly no longer with us. This was released in 1996 by Touch on CD and consisted of two long tracks with a running time of almost 25 minutes. Once the short run of CDs had sold out, the rights technically fell to the band, and pinkflag released it - digital only - in 2007 and now released on vinyl for the first time. The remastered 2025 vinyl / CD / digital edition adds a newly recorded, Taylor Swift style re-recording of what is undoubtedly WIR's most pop moment, the dark brooding shadows of So and Slow. The version released here is based on how the band played it live, so, inspite of being instantly recognisable, it does not follow the arrangement of any previously released version.

Trash Mountain, Lily Seabird’s new LP out April 04, 2025, via Lame-O Records, is her most searching and immediate effort to date. Over nine delicate but sturdy tracks of intimate folk rock, she pares her songwriting down to its most resonant essen- tials.

There’s not a second wasted as she sings
of loss, growing up, and finding your center when things get overwhelming. It’s an album of unwel- come exits and uncertain futures, but there’s resil- iency and hope at its core. Recorded with producer Kevin Copeland (Hannah Frances, Lightning Bug, Allegra Krieger), it’s a testament to finding joy and connection in life’s chaos and confusion.

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

SLEEP THEORY"S meteoric rise since bursting onto the scene in 2023 has been nothing short of extraordinary. Their breakout single "Numb" smashed into the Top 10 on Active Rock Radio, introducing a sound that feels as polished as it is powerful-something most bands take years to master. Following that initial strike, tracks like "Fallout" and "Stuck in My Head" cemented their place as chart-topping heavyweights. But SLEEP THEORY isn"t just a studio phenomenon-they"ve cut their teeth on the road, delivering blistering performances alongside heavy hitters like Beartooth, Daughtry, and Falling in Reverse. From dominating festival stages at Welcome to Rockville and Sonic Temple to the electrifying chaos of Louder Than Life, their relentless touring schedule has forged a reputation for anthemic live shows that demand your attention. Now, 2025 is shaping up to be SLEEP THEORY"S defining year. Their highly anticipated debut album, Afterglow, drops May 16th, and it promises to be a revelation. Packed with razor-sharp songwriting, impeccable musicianship, and vocals that will leave you breathless, this is the record fans have been waiting for. With over 230 million streams and listeners devouring their music at a staggering 5 million streams weekly, Sleep Theory is on the verge of transcending rock"s boundaries to become one of the genre"s defining voices. Brace yourselves: Afterglow is more than just an album-it"s a statement of intent from a band destined to shake the foundations of modern rock.

Risk/Reward is the brainchild of New York based, London-born underground music scene veteran and Archivio Records owner Daniel Dutts.

The label fuses leading contemporary artists, with iconic 90s producers to create a playful yet sophisticated sound, firmly focused on creating dance floor magic!

The first EP showcases rising Philadelphia talents Post Play (Sweater & John Raffaele), whose previous excursion on Small Moves became a much sought after cult classic.

Danger is what’s commonly known by DJs as a “sure thing”, guaranteed to get the most stubborn of crowds moving. A cheeky bass groove, quirky stabs, hip hop breaks and scratched vocals, create a vibe best described as “if DJ Premier made a track for Wiggle in the late 90s”

Go blends vintage Nu Groove style NYC house with progressive and techy elements to create a unique dancefloor monster. warping speed garage style sub bass combines with punchy stabs, lush pads, trippy synth leads and skippy, swinging drums, creating an atmospheric but driving track, that keeps you guessing til the very end.

Bushwacka! channels his Plank-era heyday to create a remix of Danger that delivers multiple “what the f#%k was that?” moments, as he takes you on a breakbeat voyage with crisp percussion, devastating low end, hypnotic ragga vocals and a didgeridoo no less! A reminder of the man’s genius and genre-defining sound.

What I Meant To Tell You merges warm, J Dilla style sampled chords, with punchy 808s, a deep and warm bassline, dreamy pads and enchanting male/female call and response vocals. Perfect for a warm up or deep in the afters.

With heavy support from the likes of Dyed Soundorom, Tini, Harry McCanna and more, the Post Play boys are ready to add another buy on sight record to their growing discography.

Energy 52's Café Del Mar is one of the most iconic tracks in dance music. Over the years, Café Del Mar has achieved legendary status, regularly featuring in lists of the greatest dance tracks of all time. To put it simply, Café Del Mar is a cultural phenomenon, encapsulating the spirit of an era and influencing generations of artists and fans alike. This 10 inch release includes the new remixes from UK producer Amirali and Latvian DJ REZarin.

2005's Naturally was a pivotal moment in the history of soul music. It was the first Daptone album tracked at the renowned "House of Soul", a recording studio handbuilt by Sharon and the rest of the Daptone family in a two story rental in Bushwick, Brooklyn. The album has gone on to sell over 200,000 records, with hit singles "How Long Do I Have To Wait?" and "This Land is Your Land" streaming in the hundreds of millions- staggering figures for a wholly independent release.

Up to this point Sharon Jones & the Dap-Kings had yet to reach an audience outside of dingy, hole-in-the-wall clubs, dive bars, and underground DJ parties, attended by only the most in-the-know. This was the scene where the band began to flourish, developing the sound that would forever alter the musical landscape and set a lofty new bar for what could be considered real-deal soul music. It made Daptone a household name and opened doors for countless musicians and record labels to come. Naturally sparked a renaissance that is still vibrating today- a testament to Sharon Jones' legacy as the undisputed, reigning Queen of Heavyweight Soul.

A full LP of never before released Hurley recordings from 1972-73! Great early versions of classic Hurley songs such as Automatic Slim & The Fatboys, Drivin' Wheel, Ghost Woman Blues, Watchin' The Show and The Portland Water that come off for the most part better than later releases of these songs.Hurley is backed up by ''The Fatboys'' - not the rotund hip hop crew from the film ''Disorderlies'' but rather a bunch of not so fat nice guys in Vermont who played mostly for the local dairy farmers (Later they were known as ''Sheriff Mocus & the Deranged Cowboys'').A laid back countryish album sure to please the hard core Hurley fan & casual listener too. Deep & breezy. Cover painting by Michael. A co-release with our friends label in San Francisco - Secret Seven.

Mutant, in partnership with Back Lot Music, are proud to present the premiere physical release of Grammy-and Emmy-nominated composer Benjamin Wallfisch's score to the hit film Twisters.

Not to be confused with  Twisters: The Album - the various artists, country pop compilation - the original motion picture soundtrack to Twisters exclusively features Benjamin Wallfisch's beautiful, romantic and action packed score.

From the opening notes of the first track "Nature's Masterpiece" the tone is set for a score that marvels in awe of the beauty of the American landscape, and the powers that mother nature contains.

“It was such a thrill and joy to work with director Lee Isaac Chung on Twisters. Even in the most intense and powerful action pieces he still manages to always make it feel personal and about the characters." says composer Wallfisch. "The sheer power and majesty of the storms is always grounded in us rooting for Kate, Tyler, Javi and all the others, and finding a way to capture that balance and tone was the main starting point for the score. As a huge fan of the 1996 movie, it was an honor to have been invited to be a part of this incredible film.”

For its latest release, Last Year in Marienbad welcomes back French producer Moonee, who delivers an EP brimming with his signature blend of euphoric and emotive grooves.

One of François Lefevre’s main aliases, Moonee explores the airier side of dance music, crafting deeply immersive sonic experiences that evoke introspection and escapism. While initially focused on deep house, his sound has evolved across recent releases, particularly on his Sandquest LP for OATH. His finely curated approach highlights fluid, intuitive soundscapes that invite repeat listens.

His new EP, Brotherhood, is perhaps his most refined and carefully poised work to date. The title track’s Glitched version opens with a sense of urgency, combining a stepping garage beat, lo-fi vocal snippets, and deep basslines. Existenzfollows, elevating four-on- the-floor energy with intricate rhythmic textures and a rich, orchestral-like melodic palette. Panorama rounds off the EP’s initial arc with playful vocal samples and an uplifting bassline—perfect for late-night city wanderings.

Closing out the release, Oath affiliate Moomin reinterprets the title track with an electro-infused remix. More understated than the original, his version builds gradually, offering a masterclass in energy control.For those seeking enriching grooves, entrancing melodies, and warmth, Brotherhood delivers. It’s a journey through electronic currents, shifting effortlessly between moments of calm and surging energy—press play and dive in.

At long last, our unofficial companion piece to "Rocks & Mountains" sees the light of day. Another mystical dubplate tune by an unknown artist, "Warrior" developed a reputation among the most dedicated students of dubplates. The mysterious artist credit comes from a master tape box labeled with several Sly & Robbie dubplate tunes, in fact the very same tape which yielded our "Rocks & Mountains" master! However, part of the tape had been erased and re-used, so only a few seconds of the tune remained! It was heartbreaking, but enough to keep us hunting for the tune. It's now a few years after that near miss, and we finally secured a crisp master to bring this tune out. Hard, minimal, dubplate style roots from Sly & Robbie at Channel 1. Ciddy Bop, who are you?

In 2012 Gruff Rhys embarked on a solo 'investigative concert tour' through the heart of America following the route taken by his distant relative John Evans. Every night he presented songs augmented by a power point presentation that detailed his relative's unbelievable history, along with any new piece of information that had come his way during the day. He was ultimately looking for Evans's lost unmarked grave. Along with many major cities, the tour took him to play shows at the Mandan and Omaha tribe reservations, a Missouri vineyard, villages that no longer exist and lay at the bottom the Mississippi river and a New Orleans bordello. What transpired from that ‘investigative concert tour’ was a 2014 album, American Interior, plus a book, film and exhaustive tour of the same name. With the aid of the dusted-off power point presentation, Gruff Rhys and a full band revisits the project in 2025 to perform the songs that formed both the album, and the soundtrack to the film.

Gruff says of the reissue -

“Revisiting American Interior 11 years later, feels very prescient. In following the unusual story of explorer John Evans (1770-1799) it becomes clear that faked narratives can have profound and unpredictable consequences in real life. His barely believable journey of verification in searching through continental scale wilderness for a fictitious Welsh speaking tribe believed to be living on the Great Plains of North America (an ancient folk tale perpetuated by the Elizabethan court following the subjugation of Wales, to make colonial claims on behalf of the British on the Americas) had a dramatic political effect on the fledgling USA and a devastating impact on himself and some of those who helped him on his way. I wrote an album of songs inspired by his life; American Interior, which also served as a soundtrack to a documentary film based on a book that detailed his journey, intertwined with my own investigative concert tour, all three of which I worked on simultaneously during a 2-year fever 2012-14. By far the most ambitious undertaking I’ve ever attempted. Living with one foot in the 18th century, wearing the same clothes (for cinematic continuity) for that entire period, left me pretty exhausted. (Imagine a cold extra from The Revenant movie). It took me a while to process the whole experience and its lessons and feel I owe it to my former self to take these songs back on the road for a couple of months and re-tell the story for a new decade. To celebrate it further Rough Trade will reissue a remastered version of the album with previously unreleased tracks.”

On his second solo album, "Gamle Mester" (Old Master), Lars Fredrik Froislie pays homage to the greats of the past. Drawing inspiration not only from the pioneers of progressive rock but also from art, literature, and mythology, the album reflects on timeless acts of creativity that still resonate today. The title is derived from the ancient oak tree "Den Gamle Mester," found at Krodsherad Prestegård, which also inspired a poem of the same name by Jorgen Moe. This symbolic tree serves as a unifying theme throughout the album, representing wisdom, endurance, and the passage of time. From the opening track "Demring" (Dawn) to the closing "Skumring" (Dusk), the album embarks on a dynamic journey filled with masterful instrumentation and some of Froislie's most compelling songwriting to date. The album reaches its crescendo with "De tre gratier" (The Three Graces), named after the daughters of Zeus. Spanning 12 minutes, this opus encapsulates everything that makes "Gamle Mester" a triumph. Shifting between light and dark, the track is a treasure trove of rich keyboard textures, soaring flute melodies, dynamic percussion, and the virtuosic bass work of Nikolai Hængsle. With "Gamle Mester," Lars Fredrik Froislie delivers an album steeped in history, mythology, and musical brilliance. A must-have for progressive rock enthusiasts and collectors alike.

Marbled vinyl, limited to 600 copies. On his second solo album, "Gamle Mester" (Old Master), Lars Fredrik Froislie pays homage to the greats of the past. Drawing inspiration not only from the pioneers of progressive rock but also from art, literature, and mythology, the album reflects on timeless acts of creativity that still resonate today. The title is derived from the ancient oak tree "Den Gamle Mester," found at Krodsherad Prestegård, which also inspired a poem of the same name by Jorgen Moe. This symbolic tree serves as a unifying theme throughout the album, representing wisdom, endurance, and the passage of time. From the opening track "Demring" (Dawn) to the closing "Skumring" (Dusk), the album embarks on a dynamic journey filled with masterful instrumentation and some of Froislie's most compelling songwriting to date. The album reaches its crescendo with "De tre gratier" (The Three Graces), named after the daughters of Zeus. Spanning 12 minutes, this opus encapsulates everything that makes "Gamle Mester" a triumph. Shifting between light and dark, the track is a treasure trove of rich keyboard textures, soaring flute melodies, dynamic percussion, and the virtuosic bass work of Nikolai Hængsle. With "Gamle Mester," Lars Fredrik Froislie delivers an album steeped in history, mythology, and musical brilliance. A must-have for progressive rock enthusiasts and collectors alike.

TÖRZS, Hungary's premier instrumental post-rock band, return with the understated sonic beauty of `Menedèk', their first new music in six years. Loosely translating as `Refuge', `Menedèk' sees the freshly bolstered trio in their element; finding shelter, comfort and joy in the act of creative collaboration whilst the storm of day to day life weathers ever on. A steadfast and admirable mission statement centred on staying true to themselves in the moment, being open to growth and documenting this process as honestly as possible has led to TÖRZS building a reputation as one of Hungary's most exciting musical collectives. Three stunning albums of organic and perfectly composed contemplation, as well as the band's transcendental live shows alongside acts including contemporaries We Lost The Sea, Oh Hiroshima, Föllakzoid and more have placed TÖRZS at the forefront of a post-rock movement that prizes the shared experience of band and listener above all else. The band's previous full-length release, 2019's `Tükor', was recorded live at Aggteleki Cseppkobarlang, a UNESCO World Heritage protected cave system, 500 metres below the Aggteleki National Park. Embracing the cave's utterly unique natural reverb almost as a fourth member led to `Tükor' receiving critical acclaim, with TÖRZS were subsequently nominated for the HEMI Music Awards 2022 and invited to perform at the likes of Moscow Music Week (2020), The Budapest Showcase Hub (2021) and 2024's Changeover Festival in Belgrade, Serbia. Whilst the intervening years have seen unprecedented change on a global scale, TÖRZS too found themselves in a state of flux. The band returned to the more traditional studio setting in 2023, working alongside long-time producer György Ligeti, in order to faithfully capture the intimate energy of songs meticulously crafted together in their small rehearsal space, a far cry from 2019's subterranean setting. However, having spent countless hours writing, orchestrating and recording the pieces that have become `Menedèk', the band's founding drummer Zsombor Lehoczky stepped away from the band and music as a whole. Where this might have been catastrophic for any other band, remaining members Soma Balázs and Dániel Nyitray soon found a connection with Tamás Szijártó, who approached TÖRZS' music with the same openness to creativity in the moment; not `performing' as such, but simply working together to produce breathtaking, musical escapism away from the daily humdrum. The album's themes of shelter, refuge and support resound clearly on lead single `Otthon'. Meaning `At Home' in Hungarian, `Otthon' serves as a de facto introduction to the record. The song's lilting groove, soaring yet soft guitar palette and the band's signature delicate dynamism all combine to invite the listener to reflect; not steering one way or another yet inviting us to close our eyes and join the flow. Elsewhere, the pounding, chiming `Levegovétel' proves TÖRZS are still staying true to their mission statement of documenting the inevitable process of change. Here the band embrace elements of post-rock's harsher, heavier side with a cacophony of driving half-time drums and distorted, open-chord guitars yet still provide brief havens of space for themselves, the song and the listener alike to breathe before the euphoric swell rises anew. Whilst TÖRZS' previous full-length effort was a spectacular collision of the band's tight-knit existence and the (literal) echo chamber of the world outside, `Menedèk' is introspective, understated and refreshingly brave in its honesty. TÖRZS have opened the doors to their inner sanctum, their rehearsal space, their songwriting process, their friendship; inviting us to live in it with them, to revel in the moment together. FOR FANS OF Godspeed You! Black Emperor, Explosions In The Sky, This Will Destroy You, Caspian, MONO, Sigur Rós

TÖRZS, Hungary's premier instrumental post-rock band, return with the understated sonic beauty of `Menedèk', their first new music in six years. Loosely translating as `Refuge', `Menedèk' sees the freshly bolstered trio in their element; finding shelter, comfort and joy in the act of creative collaboration whilst the storm of day to day life weathers ever on. A steadfast and admirable mission statement centred on staying true to themselves in the moment, being open to growth and documenting this process as honestly as possible has led to TÖRZS building a reputation as one of Hungary's most exciting musical collectives. Three stunning albums of organic and perfectly composed contemplation, as well as the band's transcendental live shows alongside acts including contemporaries We Lost The Sea, Oh Hiroshima, Föllakzoid and more have placed TÖRZS at the forefront of a post-rock movement that prizes the shared experience of band and listener above all else. The band's previous full-length release, 2019's `Tükor', was recorded live at Aggteleki Cseppkobarlang, a UNESCO World Heritage protected cave system, 500 metres below the Aggteleki National Park. Embracing the cave's utterly unique natural reverb almost as a fourth member led to `Tükor' receiving critical acclaim, with TÖRZS were subsequently nominated for the HEMI Music Awards 2022 and invited to perform at the likes of Moscow Music Week (2020), The Budapest Showcase Hub (2021) and 2024's Changeover Festival in Belgrade, Serbia. Whilst the intervening years have seen unprecedented change on a global scale, TÖRZS too found themselves in a state of flux. The band returned to the more traditional studio setting in 2023, working alongside long-time producer György Ligeti, in order to faithfully capture the intimate energy of songs meticulously crafted together in their small rehearsal space, a far cry from 2019's subterranean setting. However, having spent countless hours writing, orchestrating and recording the pieces that have become `Menedèk', the band's founding drummer Zsombor Lehoczky stepped away from the band and music as a whole. Where this might have been catastrophic for any other band, remaining members Soma Balázs and Dániel Nyitray soon found a connection with Tamás Szijártó, who approached TÖRZS' music with the same openness to creativity in the moment; not `performing' as such, but simply working together to produce breathtaking, musical escapism away from the daily humdrum. The album's themes of shelter, refuge and support resound clearly on lead single `Otthon'. Meaning `At Home' in Hungarian, `Otthon' serves as a de facto introduction to the record. The song's lilting groove, soaring yet soft guitar palette and the band's signature delicate dynamism all combine to invite the listener to reflect; not steering one way or another yet inviting us to close our eyes and join the flow. Elsewhere, the pounding, chiming `Levegovétel' proves TÖRZS are still staying true to their mission statement of documenting the inevitable process of change. Here the band embrace elements of post-rock's harsher, heavier side with a cacophony of driving half-time drums and distorted, open-chord guitars yet still provide brief havens of space for themselves, the song and the listener alike to breathe before the euphoric swell rises anew. Whilst TÖRZS' previous full-length effort was a spectacular collision of the band's tight-knit existence and the (literal) echo chamber of the world outside, `Menedèk' is introspective, understated and refreshingly brave in its honesty. TÖRZS have opened the doors to their inner sanctum, their rehearsal space, their songwriting process, their friendship; inviting us to live in it with them, to revel in the moment together. FOR FANS OF Godspeed You! Black Emperor, Explosions In The Sky, This Will Destroy You, Caspian, MONO, Sigur Rós

In 2012 Gruff Rhys embarked on a solo 'investigative concert tour' through the heart of America following the route taken by his distant relative John Evans. Every night he presented songs augmented by a power point presentation that detailed his relative's unbelievable history, along with any new piece of information that had come his way during the day. He was ultimately looking for Evans's lost unmarked grave. Along with many major cities, the tour took him to play shows at the Mandan and Omaha tribe reservations, a Missouri vineyard, villages that no longer exist and lay at the bottom the Mississippi river and a New Orleans bordello. What transpired from that ‘investigative concert tour’ was a 2014 album, American Interior, plus a book, film and exhaustive tour of the same name. With the aid of the dusted-off power point presentation, Gruff Rhys and a full band revisits the project in 2025 to perform the songs that formed both the album, and the soundtrack to the film.

Gruff says of the reissue -

“Revisiting American Interior 11 years later, feels very prescient. In following the unusual story of explorer John Evans (1770-1799) it becomes clear that faked narratives can have profound and unpredictable consequences in real life. His barely believable journey of verification in searching through continental scale wilderness for a fictitious Welsh speaking tribe believed to be living on the Great Plains of North America (an ancient folk tale perpetuated by the Elizabethan court following the subjugation of Wales, to make colonial claims on behalf of the British on the Americas) had a dramatic political effect on the fledgling USA and a devastating impact on himself and some of those who helped him on his way. I wrote an album of songs inspired by his life; American Interior, which also served as a soundtrack to a documentary film based on a book that detailed his journey, intertwined with my own investigative concert tour, all three of which I worked on simultaneously during a 2-year fever 2012-14. By far the most ambitious undertaking I’ve ever attempted. Living with one foot in the 18th century, wearing the same clothes (for cinematic continuity) for that entire period, left me pretty exhausted. (Imagine a cold extra from The Revenant movie). It took me a while to process the whole experience and its lessons and feel I owe it to my former self to take these songs back on the road for a couple of months and re-tell the story for a new decade. To celebrate it further Rough Trade will reissue a remastered version of the album with previously unreleased tracks.”

Clear vinyl w/ blue splatter. Limited to 250 copies. Formed in 2000, Boston-based band Death Before Dishonor has made a name for themselves with their uncompromising style of hardcore and energetic, intense live performances. Throughout their career, the band has released five albums, building a dedicated international fanbase. On May 16th, Death Before Dishonor will release their sixth album, Nowhere Bound, through Bridge Nine Records. Produced by Zeuss, the record showcases 11 aggressive, fast-paced, and purposeful tracks that are made for the moshpit.

A special Japan connection for the next release on DJ Nobu's Bitta label. Osaka-based Erik Luebs joins the roster with an EP of iconic, tranceinfluenced techno melancholia. Having released most of his work through his own DIY channels, Luebs' sounds have reached many dancefloors worldwide. He now teams up with Bitta for something special. On Nontemporal Void, Luebs delivers four tracks that perfectly showcase his diverse sound palette. Each track hits a different box of energy--all while injecting a healthy dose of hypnotism. With a keen eye for detail, the EP moves from slowly built-up tension to eyes-closed techno grooves and synth-heavy euphoria, showcasing the many sides of a magnificent sound designer and creative artist.

“In my category, I’m the one and only,” proclaimed Oakland legend Too $hort on his 1990 single “Short But Funky.” Few disagreed then, and even fewer would do so decades later. First appearing in the mid-1980s, slinging homemade tapes out of his car trunk, the man born Todd Shaw has always stayed true to himself. Although he is known more for the dirty side of his rap game, on “Short But Funky,” he also reminds listeners of an important fact: “There’s a serious side to everything I say.” Short Dog’s In The House, was $hort’s sixth studio album, and his second for the Jive label. By the time it hit, he was a West Coast legend, but his rep was growing Eastwards, as the rest of the country started opening its ears to new sounds. Peaking at #20 on the national Billboard 200 chart, the album was exactly what his dedicated fans expected funky, 70s drenched beats made for cars on the boulevard, and no nonsense lyrics that made more sense and dropped more knowledge than he was ever given credit for. For examples of his conscious side, look no further than the P-Funk fueled “It’s Your Life” or the album’s lead single, “The Ghetto.” The album’s second single “Short But Funky” landed somewhere in the middle of $hort and Todd Shaw, talking about where he was at as the new decade broke, and making it clear that he wasn’t going anywhere. His mortality was mainly on his mind after rumors had surfaced the year before that he had died in a crack house. He speaks directly to this crazy episode on “Dead Or Alive.” And although it’s mostly a solo affair, he brings in some heavy artillery and a lot of not for the kids profanity on “Ain’t Nothin’ But A Word To Me,” featuring none other than Ice Cube In between, $hort distributed plenty of tales and charisma for fans to eat up, continuing to build his legendary status as one of the rap trailblazers of the era. Get On Down has repressed this 1990 Bay Area classic album on Blue and Ruby Color-In-Color vinyl

Tarja Turunen is a Finnish singer-songwriter and one of the most iconic voices in symphonic metal. She blends her classically trained soprano with metal and rock influences, creating a unique style. Since launching her solo career, Tarja has released critically acclaimed albums spanning genres from symphonic metal to classical and Christmas music. Her powerful live performances, theatrical stage presence, and global fanbase solidify her as a pioneering artist in modern music.
THE PRODUCT
The “Circus Life” concert was an unforgettable live experience, recorded with 16 musicians in a unique “In the Round” format at the circus in Bucharest. Tarja was joined by talented vocalists, including her brother Toni, and a mix of musicians from various stages of her career.
The concert captured the joy and camaraderie among the performers, with Tarja opting for a minimalistic approach to her wardrobe to prioritize the music. The whole experience, marked by togetherness and spontaneity, became a cherished memory before the world shut down in 2020. The setlist spans her career, featuring greatest hits such as “I Walk Alone”, “Until My Last Breath” and “Innocence”, as well as fan favorites like “Victim Of Ritual” and “Demons In You”, showcasing her evolution as an artist.
The show was originally included as bonus content in the strictly limited and sold-out Mediabook and Box Set of Tarja’s 2022 “Best Of: Living The Dream” release. It is now made available stand-alone as “Ltd. 2CD+Blu-ray Digipak”, featuring the 2-hour live show as audio and video, “Ltd. Black 3LP Gatefold”, including a LP-sized booklet and Blu-ray softcase.

"Ars Moriendi" is the natural continuation of SlugoS' sound and his most ambitious work to date, taken to a new level of sophistication and sensitivity. This album not only stands out for its musical innovation but also as a conceptual piece that allows the listener to get closer to the artist's inner world.

Inspired by global funeral rites and shaped by industrial, dissonant, and distorted techno, Ars Moriendi unfolds as a spiritual and emotional descent, both brutal and transcendent. Aggressive yet elegant, this album flawlessly fuses elements: from apocalyptic dancefloor destroyers to introspective, IDM-tinged moments, the album offers more than just techno for the body; it is a ceremonial passage for the soul.

Composed of 12 original tracks, each gains new meaning as part of a whole, allowing for a listening experience that flows both from beginning to end and in reverse order. With a refined and detailed sonic palette, the album reaches an audience less attuned to the usual rawness of the artist's work.

In a musical landscape where intensity is often associated with a lack of sensitivity, Ars Moriendi comes as a breath of fresh air, proving that hardness does not have to be at odds with subtlety. With this release, Caedite Eos reaffirms its place at the forefront of uncompromising hard techno.

60’s pop, 70’s junkshop glam and the best of catchy punk from Ramones to Jay Reatard come together in one irresistible power pop package. “Hangin’ Out” and “Sticker Song” both deal with some of the most basic aspects of the rockers' everyday life: standing around on corners, listening to Sheena on the radio, playing pinball and crate digging while avoiding local enemies. Hooks for days and absolutely relentless playing make sure this lands firmly in the thrilling-rather-than-tired camp for anyone who has ever loved catchy fast music.
In this light “Terry” is an obvious choice for a more DIY-oriented makeover that fully retains the originals sense of up-yours fun while upping the tempo and infusing it with vocal harmonies that are more New York Dolls than high gloss and giving the guitar solo a punked-up Thin Lizzy treatment.

Veteran Drummer Ken Serio has been a staple on the New York
studio scene for over 30 years
and has appeared on over 70 CDs,
as well as 18 as a leader. His new release Brooklyn Oasis is his most ambitious release to date and features Jazz Legend Ron Carter
on Bass as well as Tomoko Ohno
on Piano, and Saxophist Dave Mullen. Recorded October
24th at The Acoustic Studio in Brooklyn NY, and produced by
Bob Cowley, it features two
originals The title track
“Brooklyn Oasis” penned
by Ohno, as well as "For Micheal
" a heartfelt tribute to the late
Micheal Brecker by Dave Mullen
. Liner notes by Jazz journalist
Bill Millkowski, and also Hammond great Brian Charette. Other songs include the McCoy Tyner burner “
Changes”, “Dindi”, the Jobim classic,“Hard Eights” by Lyle Mays
, “In Your Own Sweet Way”, by
Dave Brubeck, and the lovely “
Skylark” by Hoagie Carmicheal.

Tàrrega 91’s straightforward take on Discharge-inspired hardcore punk is a glass of fresh water in a polluted sea of bands trying to break through the algorithm and grab a few seconds of our ever-decreasing supply of attention. There are no gimmicks on Ckaos Total, just simple three and four-chord riffs, a driving drumbeat (you can guess which one), and thoughtful lyrics delivered with power and passion. Tempos vary from fast, to really fast, to ultra fast, with most songs in the latter category. Without studio effects, silly costumes, or metal chops to distract, the focus falls on the songs themselves, which distill a profound sense of hopelessness and frustration into a few defiant words to yell into the void. In their lyrics and artwork, Tàrrega 91' continues to draw inspiration from the 1991 uprising in their town that ended with the arrest of 86 young people, a history that makes them keenly aware of exactly what they’re pushing against. While so many contemporary bands emulate the aesthetics of punk’s classic era, on Ckaos Total Tàrrega 91 taps into the power of bands like Discharge, Wretched, and MG-15 by creating simple, sincere—and sincerely pissed—protest music.

Italian jazz guitarist Andrea Rinciari's 'Soho Sessions', presents eight carefully
curated jazz standards and hidden gems with a stellar quartet featuring tenor
saxophonist Alex Garnett, bassist Lorenzo Morabito and drummer Mark
Taylor
"The album represents a great period of my life where I was playing in Soho every
week with this band and we were able to create a vast repertoire of tunes by various
different composers, from American songbook composers to the most obscure
bebop artists," explains Rinciari. "So, the tracks of this album are a good
representation of those tunes."
'Soho Sessions' features a mix of classic and lesser-known compositions, including a
Barry Harris arrangement of 'Bean And The Boys', a rare John Collins piece ('John's
Delight'), and a reharmonised 'I Can't Get Started' inspired by Teddy Wilson. Other
highlights include a fresh take on 'Tea For Two', Bud Powell's groove- driven 'John's
Abbey', and deep cuts by Freddie Redd and Elmo Hope/Sonny Rollins, 'Time to Smile'
and 'Carvin' the Rock' respectively. The album closes with Rinciari's signature
contrapuntal solo interpretation of 'Polka Dots And Moonbeams'.
Rinciari's dynamic quartet breathes new life into the music while exploring fresh
harmonic and melodic ideas. "This album is a reflection of the magic that happens
when musicians play together regularly. The tracks capture the spirit of our weekly
Soho sessions - improvised, refined, and always evolving," concludes Rinciari. "It's a
tribute to the jazz greats who have inspired me and the amazing musicians I'm lucky
to play with."

A fully licensed, analogue reissue -- sure, on cassette and not on vinyl, that's a
long story -- of the first Index LP, originally released in 1967
The "Black Album" is one of the all-time holy grails of psychedelia, with originals going
for more than $4,000. It is an album "with a really druggie sound, full of feedback and
fuzzy guitars. The vocals, when present, are not easily heard. The cover of 'Eight Miles
High' is very good, probably one of the best cover versions I have ever heard. The
original songs all follow a similar pattern as the covers, with hazy guitar riffs and loud
rhythms. The last track is particularly noisy and unstructured. Hidden in amongst the
echoing canyons of sound there's some really snotty punk attitude wrapped up in
trippy velvet fuzz."
This record is magnificent-- bizarre, atmospheric, amateurish (in the best of all
possible ways). It has a wonderful bleak sound, both droning and murky... the atonal
sound of 1960's rock that would leave the most lasting impression on what would
become future punk, post-punk and indie rock artists.
"Much has been written about this incredible band. Much of it isn't true. Index was
formed in the early spring of 1967 in Grosse Pointe, Michigan. I was 18 years old
when I met a chain-smoking 16-year-old named Gary Francis. Our conversation soon
got around to rock and roll. He told me that he and his friend, John Ford, were forming
a band. I told him that I played drums and we arranged a jam session at John's home
on Lakeshore Drive. Our first meeting was incredible. Our sound was full and
powerful. John's lead guitar techniques were fresh and innovative. After our first
sessions we knew we had something special. Index was born. Soon we hit the local
'sock hop' circuit, playing at high schools and teen clubs in the area. We poured our
unique sound out at The Hideout, Undercroft and G.P. War Memorial every weekend.
One afternoon John pulled out a new album he had been listening to. It was a new
band with a mind-shattering sound called 'The Jimi Hendrix Experience.' John played
some songs he had written inspired by this 'psychedelic' sound. Over the next few
days, 'Fire Eyes,' 'Shock Wave' and 'Feedback' were written. This album was recorded
in December of 1967 at the Ford estate. It is recorded in mono with literally one
microphone and with all instruments and vocals recorded at the same time. The cover
photo is of founders of a singing group John joined at Yale. The stiff, board- like
figures seem to characterize the exact opposite of this musical collection. This
reissue is taken from the original recordings. Nothing has been added and all songs
are in their original length. Over the years various bootleg copies of this album have
surfaced but this is the original work." --Jim Valice

'Better The Devil You Know' marks the long-awaited comeback of British band The Spitfires. Their first release with a refreshed line-up and also their debut on Bellevue Music, the track sees the band teaming up with producer Simon Dine (Paul Weller, Dexys Midnight Runners, Noonday Underground) to deliver a punchy, politically charged anthem.

On the B side, exclusive to the physical release only, is a remix of new track 'A Man Of Time' by french wizard and Paul Weller collaborator Le SuperHomard. Another new song to discover in its original form on the forthcoming album " MKII ". With musical hints of The Clash, The Specials and Hard-Fi at their most outspoken, 'Better The Devil You Know' is a sharp reflection on the ongoing turmoil in the Middle East. Frontman and songwriter Billy Sullivan explains "It relates to all war. A true protest song" The band is set to hit the road for a UK and European tour ( see below for details ), culminating in a headline show at London's KOKO on May 23rd.

"Music collectors have the chance to rediscover a lost gem from the golden age of psychedelic rock. This Half-Speed Mastered Edition offers the ultimate listening experience of the Texan band"s legendary 1967 debut-and only-album. Originally pressed by the International Artists label, Power Plant has gained mythic status among fans of the genre, often fetching up to $2,000 for an original pressing. But this exclusive reissue surpasses even the most sought-after versions, delivering a superlative experience that uncovers astonishing stereo details never before heard. Recorded at the height of the Texas psych-rock explosion, Power Plant stands as the only album on the International Artists label to rival the cult-like fascination surrounding the 13th Floor Elevators. Fronted by George Kinney, The Golden Dawn crafted a sound both haunting and transcendental, blending poetic lyrics, distorted guitars, and dreamlike vocals. Fans old and new will be transported back to the heart of the 1967 psych revolution, reliving this masterpiece as it was meant to be heard.

"The Lost EP" is back on vinyl for the first time in almost four decades, a cornerstone of New Zealand's 'Dunedin Sound' of the 1980s. Faithfully restored with original artwork and insert, the EP is pressed on single yellow vinyl, still running at 45rpm and features six tracks of sublime pop from the pen of The Chills' mainstay Martin Phillipps. "The songwriter that helped kick off indie rock as we know it." NPR. Originally released in 1985, after the master tapes had been mislaid for 12 months, "The "Lost" EP' is the perfect mix of Phillipps' pop sensibilities and his often-dark lyrics. Doffing a cap to dream pop, garage punk, psychedelic whimsey and old school indie along the way, it's a band truly finding themselves. "Even at his most cynical, the tone of Phillipps' voice and the major-chord bounce of the music makes him sound in love with the world." The Guardian. 1000 copies worldwide

OVERVIEW We're delighted to announce the release of all Orange Goblin's Rise Above Records releases on vinyl, most of which will be for the first time. First is their landmark 1997 debut album, Frequencies From Planet Ten. Goblin singer Ben Ward recalls the album. "Frequencies from Planet Ten is the sound of Orange Goblin trying to establish ourselves and experimenting with an array of different influences. It was an exciting time for us as we were just finding our feet as a band. We were young and the UK stoner /doom scene was just coming to fruition so it was great to be a part of that. I think the songs still sound strong and relevant, which is why we still include a lot of this material in our live set to this day and a lot of the newer OG fans can discover where it all started. Its great that the album is finally getting a release on vinyl. Deluxe vinyl edition of ORANGE GOBLIN's debut album released for the very first time on vinyl from the original masters. British Doom/Stoner Metal legends. Features never before seen pictures & exclusive liner notes from singer BEN WARD. Hi quality 180gm vinyl. Gatefold sleeve with full colour insert. Includes bonus 7 single in picture sleeve. Tracklist: A. Aquatic Fanatic (originally released on a split 7" with Electric Wizard) / B. Sarumans Wish (Demo version)

Sonic Interventions is a diaspora-futuristic band of interdisciplinary artists from five continents. Emerged in 2020 from the transcultural Berlin Jazz scene, the group unites diverse languages, instruments, rhythms and dance for collective meditation and healing, improvisation and groove.

Since then, the band has established itself as one of Berlin's most acclaimed underground Jazz collectives. Known for inclusive live spectacles, in which moments of meditation and trance rise into heavy grooves, traditional rhythms of the African and Latin American continents coalesce with urban styles such as Hip Hop, Trap and House. The band combines poetry and dance inspired by the cosmos, ancient alchemy and world mythologies.

"Sebastian Mullaert has always favoured the long arc: of tracks, of creative cycles, of artistic trust. His next chapter unfolds in the form of a new vinyl only label, born in close collaboration with Ulf Eriksson - his longtime friend, ally and the steady pulse behind Kontra Musik, a label that's been both home and launchpad for many of Mullaert's most vital releases. K-Files is built on two foundations: singularity and multiplicity. Every release will present a single track refracted through three or four different versions - each one approaching the core idea from a distinct creative angle. These are tools not just for DJs, but for listeners who hear dance music as more than just rhythm - as mood, as exploration, as transformation. The first release, K-FILES 01, sets the tone: deep, dubby, and spacious, it invites patience and immersion. But like all good rituals, the process will shift. Future releases are already poised to explore other territories: sharper energies, stranger grooves, unexpected colours. In a world increasingly defined by instant access and digital saturation, K-Files stands intentionally apart - a slower offering. A return to physicality, to process, to the tactile rituals of listening, selecting, and playing music with care. K-Files is a sublabel for those who play records not just to move bodies, but to open space. A platform for sonic evolution, variation, and perspective. A place where dance music is not pinned down - but opened up. Each record will be released exclusively on vinyl."

"Kindred spirits and loyal soldiers on the frontlines of the dub war Detroit's 2Lanes and Los Angeles' Cromie link up to present to the world, Destiny Cloud. With a project name inspired by a mystical vacant storefront in Cromie's neighborhood of Altadena (still standing after the fires, bless), the guys formed like a storm after being intro'd by a notorious LA promoter and hotboy producer matchmaker. Funnily enough, the first session was foiled by a missing cable, so it wasn't until the sexy summer of 2023 that the cloud seeds that went on to become Sun Phase/Moon Phase were planted. From the jump, their vision was lucid and their objective collective: lock in at the stu(s) to make the most jiggy, psychedelic, tripped out club shit they could muster. Fast forward to today, Destiny Cloud is proud to bring you the latest missive on 2Lanes' Auto Shop imprint.

On the A side, Sun Phase sets it off with searing stabs from the hands of session killer Ji Hoon on a heavenly Jupiter-8 (sorry not sorry, the real thing does sound better) before a bassline straight off the Adriatic's Argonaughty comes in to funk up the flow over a bed swung hi-hats and drum circle conga lines the Wickedest west coast house heads can appreciate (no hippy shit, but we ARE on Hipp-E's dick). A keep-it-simple-stupid *muah' organ line plays nice with a gang of embellishments to take this one through its duration (Joey pressed record and said "ooh-wah" into the vocoder; no lie, I was there). With his Toxic Love remix, NYC upstart DJ John Brooklyn injects the tune with the highest grade octane to up the revs. The aforementioned organ becomes a timeless trance lead, and new pipes are inserted reminding us all that house music is forever.

Day turns to night on the B Side with Moon Phase, where booming kicks let you know off the rip that this is some real deal late night trunk funk. We're talking dualities here y'all; Cromie's deep-as-the-Pacific bassline meets Joey's frozen-lake-cold Detroit stabs as the drums speak in tongues with those on the other side of the slab. Reverb ghosts and rhythmic acid have this one veering more psychedelic without losing the jiggy factor, while diving proggy synths will have the Global Underground saying, "yea this is our shit, for real." With a run time that allows for maximum fun time, the ambient outro gives you a kiss on the forehead to put that ass to sleep. The iconic DJ Miss Parker takes the wheel on the remix, taking this one straight down the Tunnel with new-school/true-school Tenaglia-isms that wouldn't sound out of place in 2000, 2005 or 2025.

Like all the work we do, this one's a team effort. Salar Ansari put's his deft touch on the mixdowns and Jack Anderson blesses the center of both sides of the disc. Out mid-May, just in time for when things start heating up

Kalita is excited to present the third volume in their groundbreaking ‘Borga Revolution!’ compilation series, exploring the revolutionary phenomenon of ‘Burger Highlife.’ This unique style fused West African melodies with synthesizers, disco, and boogie, a sound that took Ghanaian airwaves by storm in the 1980s and beyond. With previous volumes receiving strong support by tastemakers such as Gilles Peterson, Antal, Tom Ravenscroft, and Hunee, Volume 3 takes a deeper dive than ever before into the world of Ghanaian digital dance music. This volume features rare, sought-after tracks from artists including Obibini Takyi, Osei Banahene, and Okyerema Asante, as well as Burger Highlife trailblazers George Darko and Lee Dodou. Borga Revolution! Volume 3 offers a curated mix of standout anthems and rediscovered gems, many of which are otherwise nearly impossible to find, making this collection a must-have for fans and collectors alike.

The 1970s and 80s saw Ghanaian musicians begin to incorporate Western sounds like funk and disco into their music, reflecting the changing global musical landscape. However, the country's political instability and economic hardships, marked by military regimes and curfews, forced many artists to leave Ghana in search of better opportunities abroad. In Europe and the U.S., these musicians fused their traditional highlife roots with emerging digital sounds, using cutting-edge technology like the DX7 synthesizer and drum machines to create the genre now known as Burger Highlife. With ‘Borga Revolution!’ Kalita offers a vivid exposition of this musical transformation, using rare interviews, archival photos, and detailed liner notes to bring to life the pioneering spirit of both well-known icons and unsung innovators of Burger Highlife, one of West Africa’s most exciting musical movements.

"JUJU" drops on May 17th (WERF Records) and is programmed at Gent Jazz Festival (July 11th)



Juju continues the work done on the second album half, with the Terre Sol Four quartet: Willems' voice, drums, percussion objects, keyboards and field recordings accompanied by the saxes of Marc De Maeseneer, Vincent Brijs and John Snauwaert.Juju fits perfectly in Willems' output. Also: in the coherent oeuvre it has become, it is perhaps her most consistent release yet. It's infectious as hell, carefully crafted, packs a punch and more accessible than ever before.



Everything is connected. Not just in the grand scheme of things - politically, culturally, socially,... - but also in the colourful universe of Karen Willems. A lifelong quest for profound experiences through organizing sound led to the crucial Terre Sol-series, four tapes released in 2020. Out of that fertile well, Grichte (2022) was born. A double LP that presented Willems as an original explorer as well as a committed bandleader, it was her boldest statement to date.

While the first (solo) album halfalready received a follow-up in K A A P M I J (2023), another tape release that suggested there's still a lot of ground left to uncover, Juju continues the work done on the second album half, with the Terre Sol Four quartet: Willems' voice, drums, percussion objects, keyboards and field recordings accompanied by the saxes of Marc De Maeseneer, Vincent Brijs and John Snauwaert. It was already something to behold on Grichte, swerving from introspective exploration to expressionist riff rock and semi-Dadaist avant-garde.

On Juju, the four-piece digs even deeper and the results are utterly spellbinding. One of the many attractions of Willems' recent work is that it combines relentless artistic experimentation with a commitment to broader socio-political issues. In essence, the artist tries to set up a discussion with her surroundings, sending out musical invitations to connect and participate, reminding ourselves of responsibilities that are too easily forgotten in these hectic, self-centered times. The refugee crisis is one, ecology awareness another, and it's hard not to consider "Voor De Stranden Verdrinken" ("Before The Beaches Drown") a caustic warning. Things need to change.

As said earlier, the music on Juju remains as adventurous as before, but this time around, the playing feels even more confident, diverse and punchy. If the album opener accentuates its urgency with a throbbing pulse and reed sirens, "Tako Deli" continues with rich vocal arrangements, roaring saxes and sweeping melodies. What follows strikes with vigor and consistency: "Nuuki" is as dense as it is infectious, while "Fuzzy Williams" manages to combine Ellingtonian abundance with Swans-like preaching.

And there's more, much more. Eccentricity and playfulness ("The Woo Woo Room, Dance Back In Style", "In Open Veld") go hand in hand with smoldering exercises in tension and release ("Koortsdromen") and a ridiculously infectious call for connection in antisocial times ("Come Vai"). Guest contributions by Nabou Claerhout, Kapinga Gysel, Esther Lybeert and Filip Wauters enrich the band's sound considerably. By the time you reach album closer "When Daytime Lands", Willems takes you on a short trip through that eerie soundscape-land she previously explored.

In short: Juju fits perfectly in Willems' output. Also: in the coherent oeuvre it has become, it is perhaps her most consistent release yet. It's infectious as hell, carefully crafted, packs a punch and more accessible than ever before. It's the sound of an artist at the peak of her powers, not just expanding her range, but digging deeper with obvious glee. It's not just intriguing; it's inspiring to witness..

Das 1979 von Gian Piero Reverberi gegründete Italienische Orchester RONDO VENEZIANO verbindet weltweit einzigartig Musik im Stile der venezianischen Barockmusik mit modernen Elementen wie Schlagzeug, Gitarre und Synthesierklängen.

Für alle Fans von RONDO VENEZIANO gibt es jetzt wieder die großen Erfolge auf Vinyl. Zu hören sind u.a. Musica…

Fantasia, La Serenissima, Carrousel, La Piazza, San Marco.

Diese zeitlos schöne Musik hat auch im Jahr 2022 nichts an seiner Faszination verloren

Just as Duster's landmark debut album Stratosphere was making its first orbit, Clay Parton, Dove Amber, and Jason Albertini tracked a largely improvised companion capsule under their Valium Aggelein alter ego. An ode to '70s Kosmische, Hier Kommt Der Schwartze Mond is a skeletal space nap for the prozac generation. Remixed and remastered from the original 16 track analog tapes, the 1998 album has been adjoined by 15 period-appropriate bonus tracks. A fuzzy masterpiece, hidden in plain sight, by the most important slowcore band of all time.

Amber Broos, the rising star of Belgium's techno scene, has released a thrilling remake of the iconic anthem 'Arpegia'. Originally released in 1995 by Belgian dance act The Mackenzie, this legendary track has captivated clubgoers for decades and earned its place as a true cult classic. Amber Broos, known for her dynamic fusion of techno and Belgian retro influences, breathes new life into 'Arpegia' with a powerful, energy-infused version on the Belgian label Serious Beats Classics. Her reimagined version for a new generation of dance music lovers features an epic breakdown, driving beats, and an electrifying intensity that cements her reputation as the next-generation artist to watch. With this bold and electrifying remake, Amber Broos continues to carve her path as one of the most promising female artists in the electronic music scene.

Amber Broos: "'Arpegia' is a track that has shaped Belgium's dance scene, and I'm honoured to bring it back to life with my own twist. It's a tribute to the past, but also a vision of the future."

At just 22 years old, Amber Broos is already a force to be reckoned within the global electronic music industry. She has made waves with her radio shows on Belgium's leading station Studio Brussel and Tomorrowland's One World Radio, and has become a favourite among fans for her energetic performances and happy dance vibes. Her impact was undeniable at Tomorrowland Belgium, where she not only hosted her own stage at the Atmosphere tent but also performed on the iconic Mainstage for the second time in her career - a historic moment as the youngest female DJ ever to achieve this milestone.

Soul Jazz Records’ new Secret Superstar Sounds brings together a wealth of incredibly catchy tunes from late-70s/early-80s British groups that you have probably never heard of! Powerpop mixed together a love of lyrical and melodically beautiful 60s pop and garage sounds, together with the energy and attitude of 70s punk. Almost completely out of kilter with the fashions of the day (punk, new wave and post-punk) these bands managed to fall between the musical cracks at almost every step of the way – leaving them practically unknown to all but a few.

Inspired by the D-I-Y messaging of bands like The Desperate Bicycles, Sniffing Glue fanzine and early UK punk labels like Stiff, Chiswick and Rough Trade, these bands chose mainly to go into a studio and make their own private press/D-I-Y records themselves – then try to work out everything else (promotion, marketing, etc) afterwards. As mainly outsiders to the mainstream music industry, and usually unable to make any inroads into it, save for sending their own record to John Peel, most of these bands fell at the first hurdle.

These records remain both beautifully crafted 3-minute musical gems, and long-lost micro-histories of an essentially hidden genre.
Featured bands here include The Squares, The Meanies, The Monitors, Plummet Airline, Tours, Gobblinz, Krypton Tunes and more. Most of these records were self-published D-I-Y releases made in very limited-editions and were often the only tracks ever released by these groups.

To celebrate 20 years since the release of Kylie Minogue’s sensational album Fever, a special 20th anniversary edition of the album will be released on white vinyl including a print.
Following the immense success of Light Years, Kylie returned the following year with an album that would go on to be one of the most important and influential records of the 21st century. In collaboration with writers and producers such as Cathy Dennis, Richard Stannard, Julian Gallagher, Ash Howes, Rob Davis and many more, it led to colossal global chart success, winning Kylie both International Album and International Female Solo Artist at the 2002 Brit Awards.
Featuring Kylie’s iconic hit ‘Can’t Get You Out Of My Head’ which amassed a staggering 40 number ones across the globe, as well as ‘It’s In Your Eyes’ and ‘Love at First Sight.’

As one of the most prolific and influential producers of the last thirty years, The Hacker’s imprint on electronic music already spans genres, eras and scene revolutions. And still, there’s more. In spirited collaboration with friend and fellow French journeyman Endrik Schroeder, the first release from The Hacker & Endrik Schroeder Project eschews EBM excess or gritty electro. Instead, two introductory tracks slip into the continuum of evergreen underground techno, influenced in equal part by the digital soul of Detroit, and the futurist experimentations of Sheffield.

Quickly escalating from a classic beat to a hoover-rave ascent determined to fill the vacuum of any warehouse, ‘Puissance’ is an unapologetic anthem that doubles as an elegant and impactful introduction to the Hacker & Schroeder partnership. Hypnotising dancers with ever-more forceful acid oscillations, the pair masterfully stave off the pressure with a wide-eyed organ riff, played live and direct from rave heaven.

‘The Voyagers’ contrasts with a cosmic groove, certain to satisfy heads-down bleep purists, while dedicating time and space for the charisma and quirks of this machine-led dance to shine through, including emotional pads and whispering voices, par excellence.

Now releasing their third album together, ‘Deep Freedom’ on Connessioni, Lorenzo Fortino and Brody have grown even closer and more complementary as artists.
Renowned and recognized globally as producers thanks to their two previous albums, they take another step forward with this new work, delivering something truly unique and unlike anything else. Their sound remains consistent, mature, and decisive, driven by a commitment to absolute artistic freedom.
The EP opens with “Our Truth” (A1), a techno/electro track where electronic drums, bass, and atmospheric synths blend seamlessly. Lorenzo’s processed vocals add depth to the composition, uilding to a point where body and mind move in unison on the dancefloor.
The journey continues on the same side with “Homemade Mould” (A2), a raw and direct house track that most closely embodies the recognizable hallmark of the two Italian producers.
Side B begins with “Deep Freedom” (B1), featuring singer Veronica Marini in her recording debut. The song delivers an explicit message of rebellion, layered with a profound call to action for the world. Set against a deep, immersive soundscape that bridges house and techno, it seeks to awaken the spirit—encouraging listeners to embrace life and fight for freedom.
The album concludes with “Leave Those Memories” (B2), a house track that feels like an instant global hit from the very first listen. The drums, bass, and synths come together flawlessly, creating the perfect backdrop for Veronica Marini to shine. Her remarkable jazz-infused soul takes center stage, moving effortlessly through lyrics that showcase her distinctive interpretative style — one that can only come.

Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

Definitive Recordings Reissues the Classic "Do It" by Las Americas with Remixes by St. David.

Definitive Recordings proudly presents the reissue of "Do It", a timeless house classic by Las Americas, the project of renowned producer David Alvarado. Originally released in 1994, this track returns in remastered form, accompanied by two fresh remixes by Italian house maestro St. David and a remastered version of the Chuck Phulasole remix.

St. David, born Davide Disanto in Bari, Italy in 1991, leads this reissue with his distinctive old-school house style. His influence shines throughout this reissue, showcasing why he is one of the most respected figures in the underground house music scene. With a career rooted in the 90s house aesthetic, he has reached the top of the World Vinyl Charts multiple times, with support from icons like The Martinez Brothers, Jovonn, and Chris Stussy. Drawing inspiration from legendary American house labels such as Strictly Rhythm and Nervous Records, St. David has built a reputation for blending timeless grooves with modern energy.

His "St. David Big Tool Mix" is a playful and catchy reimagining that manipulates the iconic vocal phrase "Do It" with rhythmic sampling, injecting a vibrant groove into the original. The "St. David Drum Tool Dub" takes a funkier, stomping approach, layering the track with sharp, rhythmic guitar licks and adding a fresh twist to the vocal hook.

The remastered original from 1994 remains a testament to David Alvarado's legacy, with its repetitive 90s house structure, featuring classic basslines and funky guitar riffs centered around the unforgettable vocal motif. Rounding out the release is the Chuck Phulasole remix, which leans into a moodier vibe with its focus on keys and a prominent Moog bassline, adding depth and texture to the track.

The "Do It" reissue is a celebration of house music's enduring influence, pairing a remastered classic with fresh interpretations for contemporary dancefloors.