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The iconic Hôtel Costes music collection, a veritable benchmark of Parisian luxury and refinement, continues to captivate lovers of sophisticated sounds. Famous for its unique blends of warm vocals, funk, jazzy and pop grooves, fusing electronic sounds and acoustic instruments, this series is a must for connoisseurs of refined music.



This eighth volume, orchestrated by the talented Stéphane Pompougnac, offers light electro soul and racy house, perfect for livening up the most elegant evenings and keeping the most reluctant dancing until the wee hours. The Hôtel Costes series has revealed exceptional talents such as Pink Martini, Flight Facilities, General Elektriks, Angus & Julia Stone and Brigitte, while mixing hidden nuggets with masters such as Gotan Project, Femi Kuti, Trentemøller, Thievery Corporation, Shirley Bassey and Grace Jones.



With over 5 million copies sold worldwide, following the resounding success of the reissue of the first six volumes, this eighth opus is finally available for the first time on vinyl. A true gem that will delight long-time fans and appeal to a new generation of listeners worldwide.

The iconic Hôtel Costes music collection, a veritable benchmark of Parisian luxury and refinement, continues to captivate lovers of sophisticated sounds. Famous for its unique blends of warm vocals, funk, jazzy and pop grooves, fusing electronic sounds and acoustic instruments, this series is a must for connoisseurs of refined music.



This ninth volume, orchestrated by the talented Stéphane Pompougnac, offers light electro soul and racy house, perfect for livening up the most elegant evenings and keeping the most reluctant dancing until the wee hours. The Hôtel Costes series has revealed exceptional talents such as Pink Martini, Flight Facilities, General Elektriks, Angus & Julia Stone and Brigitte, while mixing hidden nuggets with masters such as Gotan Project, Femi Kuti, Trentemøller, Thievery Corporation, Shirley Bassey and Grace Jones.



With over 5 million copies sold worldwide, following the resounding success of the reissue of the first six volumes, this ninth opus is finally available for the first time on vinyl. A true gem that will delight long-time fans and appeal to a new generation of listeners worldwide.

Der Soundtrack von Carlos Rafael Rivera erhielt 2024 zwei von insgesamt 10 prestigeträchtigen Emmy-Nominierungen, die Apples Miniserie "Lessons In Chemistry" (2023) einheimsen konnte, nämlich für "Outstanding Music Composition" und "Outstanding Main Title Theme Music". Rivera schrieb eine optimistische, subtile und vorsichtige Grundlage, die durch starke Leistungen der Besetzung getragen wird und eine ernsthafte, emotionale Reflexion des Kampfes der weiblichen Hauptfigur darstellt, in die Grenzen der gesellschaftlichen Erwartungen zu passen.

"Lessons in Chemistry" spielt in den frühen 1950er Jahren und handelt von Elizabeth Zott (Brie Larson), deren Traum, Wissenschaftlerin zu werden, in einer patriarchalischen Gesellschaft auf Eis gelegt wird. Als Elizabeth aus ihrem Labor gefeuert wird, nimmt sie einen Job als Moderatorin einer Kochshow im Fernsehen an und macht sich daran, einer Nation übersehener Hausfrauen – und den Männern, die plötzlich zuhören – viel mehr als nur Rezepte beizubringen.

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

" Pickled Eggs and Sherbet is the sole album by English electronic group All Seeing I - the production trio of Dean Honer, Jason Buckle and Richard Barrett (aka DJ Parrot).

" Part of the late nineties big beat / trip hop scene, it brought together many disparate threads of the Sheffield's music scene past (and then) present including contributions from the likes of cabaret crooner Tony Christie, Human League frontman Phil Oakey and Pulp's Jarvis Cocker.

" Lead single "The Beat Goes On" which had a huge viral moment on TikTok and social media in 2022, becoming one of the most widely used 'Sounds' in recent years accruing 2.4 billion views and 162k creations.

" The follow up 'Walk Like A Panther' peaked at #10 in the UK Singles Chart. Featuring vocals from Tony Christie, it became his first hit single in 25 years.

" London Records have remastered & re-issued the cult-classic album :
1. for the very first time on vinyl ! As collector Red & Yellow Double LP.
2. with an expanded and remastered 2CD edition to boot, including rare b-sides from lost CD singles, new mixes from DJ Parrot and more.

To celebrate the 5-year anniversary of 1 AM Study Session, we’re offering a fresh take on the tracks that started it all. This compilation features piano reimaginings of the original songs, preserving their nostalgic late-night essence while transforming them into soothing melodies for daytime reflection. A timeless blend of past and present, perfect for any occasion. ✨

The Dandy Warhols - 'Thirteen Tales from Urban Bohemia' jetzt als Reissue auf Vinyl!

Das Kultalbum der Dandy Warhols vereint Psychedelic-Rock, Alternative-Pop und entspannten Indie-Vibe. Mit Hits wie 'Bohemian Like You', dem hypnotischen 'Godless' und der treibenden Energie von 'Get Off' ist es ein Soundtrack voller Attitüde und lässigem Charme. Jetzt als 2LP auf transparent-blauem Vinyl, bringt diese Neuauflage frischen Glanz in einen modernen Klassiker. Ein Must-have für Fans von 90s-Alternative und darüber hinaus!

- Ltd. Col. 2LP: (Transparent Blue Vinyl)

What happens when you combine SUMAC: a band that uses the volume, distortion, and guitar-centric approach of metal to make music that has the malleability of jazz and textural exploration of noise with Moor Mother: a poet and sound artist that has deconstructed hip hop to a point where it"s less about rhyme and rhythm (though obviously both are present in her work) and more about oratorical cadence and power.

The Film is an album that takes attributes of both artists" work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album. The Film"s moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: "The idea is to create a moment outside of the convention. This is a work of art.

Thinking about the work as a Film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won"t understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process." The Film is just such a work, a nebulitic collaboration between SUMAC and Moor Mother.

Remastered from the original tapes by Kevin Metcalf and then reissued for the first time in 2009 as part of the WORLD IN YOUR EYES 3CD set on Reactor.

Now re-mastered for vinyl and re-cut to lacquers by Shawn Joseph / Optimum Mastering and issued as TWELVES. (ref: the 3 x 7” set SEVENS released 2020)

Each side of this 3LP set has one of the 12”s in full, 16 Dreams / Spinning / Collision / Black Sun / Arc-Lite...as well as the promo only LIVE 12” Prisma Uber Europa. The 12” cover of each LP has the relevant sleeve on each side to recreate the original sleeve image, and each 12” side will have labels as close to the original designs as possible.

Hear Loop expand their sound from the Stooges / Velvets / garage pyschout of 16 Dreams, into the Spinning era and then develop their motorik fuzzed-out nihilistic pummel through the Collision and Black Sun EPs to finish this set with the Arc-Lite side, possibly Loop at their most visceral. Unable to be pigeon holed like most bands of this time, their live shows also wiped the floor with everyone as evidenced on the Prisma Uber Europa 12”.

Not reissued on vinyl when first remastered, now its time. PLAY LOUD

For the first time on vinyl, all of the 12” single releases from loop, remastered by Kevin Metcalf in 2008, and originally part of the WORLD IN YOUR EYES 3CD set (also being reissued ). Remastered for vinyl and lacquers cut by Shawn Joseph / Optimum Mastering in January 2025. Packaged so that each side of the LP is one complete LOOP 12” in chronological order (all 5 released 12”, plus the limited Live Promo 12”), with printed inner bags displaying original single cover art, and indeed, labels replicated to match original 12” label for each side/single. Has tracklisting insert also.

Melancholische Gitarrenakkorde, ein introspektiver Gesang, und immer wieder bedrohliche und energische Ausbrüche mit Percussions und Stakkato. Zwischen intimem Songwriting und Soundtrack-inspiriertem Pathos bewegt sich Jerome Reuter, der nun, 2025, das zweite Jahrzehnt seiner Band ROME feiert.

Zwei Dekaden begleitet das Luxemburgische Bandprojekt ROME nun also die Europäische Tragödie. Und während sich die Alben der ersten zehn Jahre noch vor allem historischen Themen widmeten, treten in der nicht mindert produktiven Ära zwischen 2016 und 2025, die auf dieser neuen "Anthologie" dokumentiert wird, auch aktuelle und grundsätzliche philosophische Fragestellungen ins Zentrum. ROME orientierte sich immer am großen Bild. Im Songwriting deutlich inspiriert vom französischen Chanson, dem späten Johnny Cash und Nick Cave, wurden von Beginn an auch literarische Quellen verarbeitet, und werden sie nicht namentlich genannt (wie bei "The Secret Germany" Paul Celan), so schwingen sie doch zwischen den Zeilen mit, die Denker - nicht nur - des 20. Jahrhunderts. Philosophische und gar okkulte Aspekte werden auf den Alben reflektiert ("The Hyperion Machine", "Hall of Thatch", "The Lone Furrow", "Le Ceneri di Heliodoro"), doch immer wieder wird es konkret, sei es mit Blick auf die russische Invasion in der Ukraine ("Gates of Europe", "World in Flames") und grundlegende Konflikte, die mythisch gelesen werden ("Coriolan", "Hegemonikon"). Wiederkehrend ist das mythische Motiv der Sonne, so auch auf dem jüngsten Werk "Civitas Solis".

Mal als volles Band-Line-Up, mal als Singer-Songwriter, und immer wieder im Austausch mit anderen Musikern (etwa Nergal von Behemoth oder der schwedischen Punklegende Thåström), Jerome Reuter erfindet sich beständig neu, und arbeitet kontinuierlich an einer singulären Stimme in der gegenwärtigen Popkultur. Wie ein Januskopf zurückgewandt in die Zukunft blickend.

Die Violinistin Esther Abrami wirft auf ihrem Album "WOMEN" neue und erhellende Schlaglichter auf Komponistinnen. "Women" legt den Fokus auf die außergewöhnlichen Talente von 14 Komponistinnen aus unterschiedlichen Epochen und Genres und enthält neue Kompositionen der Oscar-Preisträgerinnen Rachel Portman und Anne Dudley sowie neue Arrangements von Werken historischer Komponistinnen wie Pauline Viardot, Chiquinha Gonzaga, Teresa Carreño und Ethel Smyth. Esther Abrami hat selbst einige dieser Stücke neu arrangiert und mit "Transmission" ein eigenes Orchesterstück für das Album komponiert. Im Mittelpunkt von "Women" steht die Weltersteinspielung von Ina Boyles Violinkonzert, eine poetische, spätromantische Komposition. Esther Abrami hat jedes Stück für das Album aufgrund einer besonderen emotionalen Verbindung zu den unterschiedlichen Frauen hinter der Musik ausgewählt: "Solange ich mich erinnern kann, war die einzige klassische Musik, die ich je gehört habe, von männlichen Komponisten geschrieben. Ich habe über 15 Jahre lang klassische Musik an renommierten Musikschulen studiert, aber in all den Jahren kein einziges Stück von einer Frau gespielt. Es war nicht so, dass ich sie diese Stücke aktiv vermieden hätte - sie waren einfach nicht Teil des Kanons. Ich fragte mich 'haben Frauen jemals klassische Musik komponiert?' und es stellte sich heraus, dass sie es taten, und ich entdeckte einen verborgenen Schatz. Ich verbrachte Monate mit Recherchen und tauchte in eine völlig neue Welt der Musik und faszinierenden Geschichten von Frauen ein, die im Schatten der Geschichte geblieben waren. Dieses Album ist meine Hommage an sie und eine Reise durch Jahrhunderte der Musik, erzählt durch die Stimmen von Frauen, die trotz aller Widrigkeiten komponierten, kämpften, lebten und schufen. Die Geschichten dieser Frauen inspirierten mich für meinen Karriereweg und zeigten mir wie wichtig es ist, dass zukünftige Generationen diese entdecken können. Ich hoffe, 'Women' kann eine neue Generation junger Mädchen dazu inspirieren, zu komponieren." Über ihre gesamte noch junge Karriere als professionelle Musikerin hinweg hat sich Esther Abrami dafür eingesetzt, Komponistinnen eine Stimme zu geben. In ihrem Podcast "Women in Classical" spricht sie mit einflussreichen Musikerinnen über ihre Karriere. Auch mit ihrer EP "Spotlight" mit dem Londoner "Her Ensemble", das ausschließlich aus Frauen und non-binären Musiker*Innen besteht, hat sie bereits wortwörtlich ein Schlaglicht auf Komponistinnen geworfen. "Women" führt diesen Weg konsequent fort und versammelt eine Reihe außergewöhnlicher Mitwirkenden, wie das ORF Radio-Symphonieorchester Wien unter der Leitung von Dirigentin Irene Delgado-Jiménez, die Pianistin Kim Barbier, die Harfenistin Lavinia Meijer und das Esther Abrami Quintet."Ich bin unglaublich glücklich mit einem so großartigen Orchester und tollen Musikerinnen an einem so persönlichen Projekt zu arbeiten. Diese Kompositionen mit einem Orchester zum Leben zu erwecken, ist eine Erinnerung, die ich nie vergessen werde."

Reissue des Debütalbums "Kontraband" (2019) des mittlerweile mit einem Grammy ausgezeichneten, jamaikanischen Reggae-Künstlers Kabaka Pyramid, der mit seinem unverwechselbaren Musikstil die Kraft, Energie und Melodie des Reggae mit der Lyrik des Hip-Hop verbindet. "Kontraband" wurde von Damian "Jr Gong" Marley produziert, der selbst - neben Akon, Chronixx, Protoje, u.a. - mit einem Feature vertreten ist.

Compiled by Bob Stanley to document the acid folk scene, “Gather In The Mushrooms” was first issued in 2004 on Sanctuary as a CD-only release; it proved popular enough for a sequel entitled “Early Morning Hush” two years later.

This new edition of “Gather In The Mushrooms” contains the cream of both long-deleted compilations with a few additions – COB, Roy Harper, Fotheringay – that weren’t available to Sanctuary at the time. Though they aren’t traditional, these songs have an authenticity of their own, an autumnal atmosphere and a naivety which proved influential in the 00s neo-folk boom (Devendra Banhart, Joanna Newsom, Alasdair Roberts, Tuung et al) but impossible to replicate. For many of these acts at the end of the 60s, folk music and the hippy world that surrounded them was a way of life, a way of opting out from the Vietnam war, Angry Brigade and three-day-week early 70s. Anne Briggs lived in a caravan in Suffolk, Shelagh McDonald lived in a tent, Vashti Bunyan eschewed electricity; they weren’t part-timers. Listening to “Gather In The Mushrooms”, we are transported to a time when no one used the term post-modernist.

It may not have resonated with dyed-in-the wool political folkies, but over five decades later this music sounds very evocative of an England of yore – not necessarily one of poachers and pedlars, but one of long-haired youths in tie-dye T-shirts, bikers and hippies, acoustic guitars played in white stone cottages. Groups such as Stone Angel, Midwinter and Oberon made primitive, privately recorded folk albums; today they sound as distant and mystical as the field recordings of Alan Lomax. The sincerity and folk knowledge of a group like Forest becomes irrelevant once you hear something as eerie and evocative as ‘Graveyard’. Home-made, homely, warm as soup or chilling as a hoar frost, this is music of innocence and rare beauty.

The wonderfully favourable response to our first CD and double vinyl volume of the original A and B sides of the singles of the late great Isaac Hayes – as originally released on Stax’ Enterprise subsidiary between 1969 and 1972 – has forced us to bring forward, this month, the release of “Hot Buttered Singles 2” to cater for what Ace is sure will be just as great a level of popular demand.

This volume picks up where “Hot Buttered Singles Vol 1” left off with Hayes’ final 45 of 1972, and carries his seven inch story through to 1976 – by which time Stax was defunct, and Hayes’ was on his own Hot Buttered Soul label via ABC Records. It features eight US R&B chart hits including the much sampled ‘Hung Up On My Baby’ and ‘Chocolate Chip’, Hayes’ biggest hit of this period ‘Joy’ and the ever-popular 1976 instrumental ‘Disco Connection’, which finally gave Hayes’ his second UK Top 20 hit after ‘Shaft’.

All tracks match the original single edits, and wherever possible are taken from digital transfers of the original Enterprise singles masters. Where the original 45s came in two parts, they also do so here. And where original singles masters no longer exist, as was the case for two tracks, Ace’s engineers have re-created them beat for beat from the longer album versions. (Have fun guessing which two they were…)

Die Violinistin Esther Abrami wirft auf ihrem Album "WOMEN" neue und erhellende Schlaglichter auf Komponistinnen. "Women" legt den Fokus auf die außergewöhnlichen Talente von 14 Komponistinnen aus unterschiedlichen Epochen und Genres und enthält neue Kompositionen der Oscar-Preisträgerinnen Rachel Portman und Anne Dudley sowie neue Arrangements von Werken historischer Komponistinnen wie Pauline Viardot, Chiquinha Gonzaga, Teresa Carreño und Ethel Smyth. Esther Abrami hat selbst einige dieser Stücke neu arrangiert und mit "Transmission" ein eigenes Orchesterstück für das Album komponiert. Im Mittelpunkt von "Women" steht die Weltersteinspielung von Ina Boyles Violinkonzert, eine poetische, spätromantische Komposition. Esther Abrami hat jedes Stück für das Album aufgrund einer besonderen emotionalen Verbindung zu den unterschiedlichen Frauen hinter der Musik ausgewählt: "Solange ich mich erinnern kann, war die einzige klassische Musik, die ich je gehört habe, von männlichen Komponisten geschrieben. Ich habe über 15 Jahre lang klassische Musik an renommierten Musikschulen studiert, aber in all den Jahren kein einziges Stück von einer Frau gespielt. Es war nicht so, dass ich sie diese Stücke aktiv vermieden hätte - sie waren einfach nicht Teil des Kanons. Ich fragte mich 'haben Frauen jemals klassische Musik komponiert?' und es stellte sich heraus, dass sie es taten, und ich entdeckte einen verborgenen Schatz. Ich verbrachte Monate mit Recherchen und tauchte in eine völlig neue Welt der Musik und faszinierenden Geschichten von Frauen ein, die im Schatten der Geschichte geblieben waren. Dieses Album ist meine Hommage an sie und eine Reise durch Jahrhunderte der Musik, erzählt durch die Stimmen von Frauen, die trotz aller Widrigkeiten komponierten, kämpften, lebten und schufen. Die Geschichten dieser Frauen inspirierten mich für meinen Karriereweg und zeigten mir wie wichtig es ist, dass zukünftige Generationen diese entdecken können. Ich hoffe, 'Women' kann eine neue Generation junger Mädchen dazu inspirieren, zu komponieren." Über ihre gesamte noch junge Karriere als professionelle Musikerin hinweg hat sich Esther Abrami dafür eingesetzt, Komponistinnen eine Stimme zu geben. In ihrem Podcast "Women in Classical" spricht sie mit einflussreichen Musikerinnen über ihre Karriere. Auch mit ihrer EP "Spotlight" mit dem Londoner "Her Ensemble", das ausschließlich aus Frauen und non-binären Musiker*Innen besteht, hat sie bereits wortwörtlich ein Schlaglicht auf Komponistinnen geworfen. "Women" führt diesen Weg konsequent fort und versammelt eine Reihe außergewöhnlicher Mitwirkenden, wie das ORF Radio-Symphonieorchester Wien unter der Leitung von Dirigentin Irene Delgado-Jiménez, die Pianistin Kim Barbier, die Harfenistin Lavinia Meijer und das Esther Abrami Quintet."Ich bin unglaublich glücklich mit einem so großartigen Orchester und tollen Musikerinnen an einem so persönlichen Projekt zu arbeiten. Diese Kompositionen mit einem Orchester zum Leben zu erwecken, ist eine Erinnerung, die ich nie vergessen werde."

20 years after its release, Jarring Effects reissues Opus Incertum! The debut album from High Tone, an instrumental dub band (guitar, bass, drums, keyboards and turntables) that transcends the boundaries of the genre. Able to incorporate all kinds of influences, from 70s Jamaican dub to electronic music, with a touch of ethnic sounds and world music, to produce their own music and sonic atmospheres. Jungle intros, oriental samples, discreet scratches, all contribute to creating a warm sound that is deeply organic and emotionally vibrant.

Kali Malone's The Sacrificial Code is the 2019 breakthrough album of the acclaimed composer's pipe organ pieces. Her temporally informed studies of harmonics and intonation breathed life into a suite of compositions which leaves the heart moved and mind still. This 2025 edition was mastered by Rashad Becker and features a new track Sacrificial Code III. Pitchfork praised the album for its "time-stretching properties" and "clean minimalism." Resident Advisor described the album as an "exercise in concentration, restraint, and focus." Tiny Mix Tapes emphasized the "intensity and intimacy" of the album, pointing out how Malone's close miking technique brings out every textural detail of the organ, creating a highly focused and immersive listening experience.

Destiny of Illusion is a 24-track full length debut from Pretty V (aka. Voldy Moyo, v7backin2007, #Smokesito), a prolific artist from Wakefield, UK who has been frequently performing and releasing music & videos online for the past 9 years, building notoriety for his unique sound and prolific output and gaining support from artists such as MIKE & King Krule, both of which have brought Voldy out for many shows, and for collaborations.

The album will release on the 24th April 2025, along with a release show the same day at Ormside Projects.

The album is produced entirely by aloisius, a prolific artist & producer, as well as the founder of life is beautiful records). ‘Destiny of Illusion’ is a landmark album for both Pretty V & aloisius, being their first full-run vinyl release. The album will be available exclusively on Vinyl, Cassette & CD.

This album also holds additional historical significance being that it is the first official/ full-run vinyl release for life is beatiful records.

The first pressing of ‘Destiny of Illusion’ will be limited to 397 copies.

Following the launch of his solo career in 1988, “Moz” would spend the next 10 years composing and releasing six studio albums and a string of hit singles before going on a brief recording hiatus. On November 6, 2001, THE BEST OF MORRISSEY, a collection that brought together his most memorable work as a solo artist up to that point which was originally released on CD in North America only. In celebration of Morrissey’s career, we will revisit that classic compilation this year by releasing it, for the first time ever, on vinyl. THE BEST OF MORRISSEY will be available on 30th August as a black double-LP.



All the other studio albums the singer released between 1988 and 1997 are represented on THE BEST OF MORRISSEY with “Sing Your Life” from Kill Uncle (1991), “Do Your Best And Don’t Worry” from Southpaw Grammar (1995) and “Alma Matters” from Maladjusted (1997). Other tracks on the collection include the non-album single “Sunny” and the B-sides “Sister I’m A Poet” and “Lost.”

An Introduction To Syd Barrett, is a reissue of the 2010 collection that brought together for the first time the tracks of Pink Floyd and Syd Barrett on one compilation.

David Gilmour, who originally worked on Syd Barrett's two solo albums, as co-producer of The Madcap Laughs and as producer of Barrett, was the executive producer for the album. Damon Iddins and Andy Jackson at Astoria Studios remixed five tracks including ‘Octopus’, ‘She Took A Long Cool Look’, ‘Dominoes’ and ‘Here I Go’, with David Gilmour adding bass guitar to the last track. Pink Floyd's ‘Matilda Mother’ also received a fresh 2010 Mix.

The album features the original 24-page booklet and graphics plus all lyrics, and was designed including the cover art by long time Pink Floyd associate the late Storm Thorgerson and his estimable studio.

Born in Cambridge in 1946, Roger Keith 'Syd' Barrett was the primary songwriter, guitarist and original lead vocalist in the first incarnation of Pink Floyd. He formed the band in the mid-1960s with drummer Nick Mason, bassist Roger Waters and keyboard-player Richard Wright. With their groundbreaking, semi-improvised sets at the legendary UFO Club in London's Tottenham Court Road, they became the prime movers of British psychedelia.

Barrett wrote the warped pop vignettes ‘Arnold Layne’ and ‘See Emily Play’, the group's two hit singles from 1967, as well as 'Apples And Oranges', and the lion's share of the material – the dreamy ‘Matilda Mother’, ‘Chapter 24’ and the whimsical ‘Bike’ – on their debut album The Piper At The Gates Of Dawn. Recorded at EMI's famed Abbey Road Studios while the Beatles were making Sgt Pepper's Lonely Hearts Club Band, Pink Floyd's first album has proved an enduring classic, referenced by everyone from David Bowie to Spiritualized via The Damned.

Barrett contributed ‘Jugband Blues’ to A Saucerful Of Secrets, the band's follow-up, but his behaviour became increasingly erratic and he left in April 1968, a few months after the addition to the group of his Cambridge friend David Gilmour on guitar and vocals.

Syd Barrett's first solo album, The Madcap Laughs, was a long time coming but made the Top 40 on its release in January 1970. Barrett followed in November that year, and contains tracks such as ‘Baby Lemonade’ and ‘Gigolo Aunt’ that provided the names for two cult US groups in the 80s and 90s.

Over the last four decades, Syd Barrett has become the ultimate rock enigma. In 1975, he paid an eerie visit to his former band mates at Abbey Road while they were recording ‘Shine On You Crazy Diamond’, the centrepiece of the Wish You Were Here album he had inspired. He never entered a studio again. In 2001, he was the subject of a BBC Omnibus documentary.

He died in July 2006 but his legacy lives on in the music of R.E.M., Robyn Hitchcock, Julian Cope, Spiritualized, Blur and countless other groups. Earlier this year, Faber and Faber published Syd Barrett: A Very Irregular Head, an exhaustive biography by long-time fan Rob Chapman.

An Introduction To Syd Barrett provides a handy overview of this visionary talent, this madcap genius whose star shone brightly yet burnt out all too quickly.

Madteo is one of the great eccentric visionaries of Electronic Music and his new album Misto Atmosferico E Ad Azione Diretta on Unsure once more happens to be a mind-bending piece of art. Misto Atmosferico E Ad Azione Diretta shifts between focused gritty grooves and the long freeform associative adventures that you haven't heard before, never static, sometimes overwhelming, always on edge.
The opener Cans People is an archaic rave monster, To Know Those Who is non-linear dub techno, Nocturnal Palates expands the Filter House universe and Rave Nite Itz All Right hits you hard and strange (yet subtle, in a way). The last two tracks then let loose; Madteo manipulates time, space and sounds to create the psychedelic secrets of Luglio Ottantotto. And Emo G (Sticky Wicket) explores the outskirts not only of House or Techno or whatever but music in general, a 15-min-trip through the low frequencies, the rumble, the dark hearts and the enchantment. Breathtaking. Bring The Voodoo Down.

Pressed on 180 gram virgin pearl-coloured vinyl

Includes 16-page 12” booklet signed by the artist

Black poly-lined inners

Individually numbered

Limited to 1,000 copies worldwide


A Paradise In The Hold is an album of yearning. It’s about Ivor Novello Award winning Yazz Ahmed’s dual heritage, drawing on traditional music and folklore as well as her own personal experience as a British-Bahraini woman. A sweeping epic where tradition meets innovation, she melds ancient rhythms with contemporary musicianship. The record is a tribute to the sorrowful songs of Bahrain’s pearl divers, the strength of Arab women, and the celebratory rhythms of women's traditional drumming circles, while also telling the story of Yazz’s own decade-long voyage of selfdiscovery. The album also marks Yazz’s first foray into writing lyrics, in both English and Arabic, bringing a new dimension to her expansive sound. The project features an impressive roster of collaborators, including vocalists Natacha Atlas, Brigitte Beraha, and percussionist Corrina Silvester. With A Paradise In The Hold, Ahmed delivers a groundbreaking fusion of tradition and innovation, creating a contemporary jazz project that is set to make a lasting impact on the genre

Crazy streched breakcore hardcore and speedcore ! 2 LP one 7 inch... The absolute collector !! TIP !!!

Fully remastered Detroit classic incl. 3 extra tracks from the CD version that were never released on vinyl before. This album has a unique blend of raw, warm and futuristic Detroit sounding electro and techno. Originally released on 430 West back in 1999.. We cant recommend it enough, big tip!

4XLP. Hardcover slipcase box. Liner notes from Soichi Terada, Colour: translucent red, clear, blue, and yellow vinyl

It has been 25 years since the release of Saru Get You (サルゲッチュ), known stateside and in the UK as Ape Escape. Ape Escape marked a significant milestone for the PlayStation, as it was the first game to require use of the PlayStation's DualShock (analog) controller. In Ape Escape, the use of the analogue sticks goes beyond camera rotation and acts as an extension of Kakeru's (Spike's) own character, controlling his many gadgets like the stun club, time net, and sky flyer. It's a unique form of control that, really, didn't become popularized until the release of the Nintendo Wii. It feels like a distinctly Japanese design, the sort of off-the-wall design that is either embraced or rejected on a global scale. In Ape Escape's case, the mechanic caught on.

Ape Escape is fast, frantic, and—at times—downright frustrating. Pipo monkeys dash, taunt, and swim away from your advances. They ride water monsters, fly UFOs, and even shoot uzis! Whether it's Kakeru, his friends, or the monkeys themselves, the characters are always running across the levels. This mad dash is enhanced by the game's soundtrack, composed by legendary composer Soichi Terada. As he recalls, the director of the production said, "Spike and his friends always have the image of running." In response, Terada happily produced fast songs with an average speed of over 170bpm. The resulting gameplay and audio is a match made in heaven.

Ape Escape is the first game soundtrack Mr. Terada ever created. The producers of the game heard one of his singles, "Sumo Jungle," and thought his frenetic drum-and-bass (Jungle) would be perfect for the game. The marriage of Ape Escape's charming overworld and Soichi's upbeat compositions is nothing short
of sublime. Especially now, it is difficult to separate the mischievous Pipos and fast-paced action from Soichi Terada's silky smooth synthesizer and heart-pounding bass. Earlier this year (2024), Soichi Terada's Ape Escape work was celebrated by the six-track EP Apes in the Net, which includes music from Ape Escape 1 and 3 (Terada did not compose the series' second installment). The label, Rush Hour Music, has prestigiously championed almost all of Soichi Terada's music, especially his (specifically non-VGM) house, jungle, and drum and bass releases (Sounds from the Far East, Asakusa Light, and more).
Before Apes in the Net, Terada's Ape Escape music was only available on CD, released in Japan around 2010. This release featured reconstructed tracks created by Mr. Terada himself, identical to the music arrangements featured in the game. The biggest difference, of course, was that they were of higher fidelity than was originally available on the PS1 disk format. Completing all of the aforementioned releases is this box set, released by Far East Recording in partnership with Cartridge Thunder and officially licensed by Sony Computer Entertainment. This box set release includes four LPs, housed individually by a hardcover slipcase. This box set includes every song from Ape Escape 1, except those available on Apes in the Net. This box set release also includes one bonus song, previously unreleased anywhere else (including the game itself!).

The music on this box set was meticulously mastered by Justin Perkins of Mystery Room Mastering. Using Mr. Terada's premastered source files, the music was completely and specifically mastered for vinyl. Rounding out the audio is absolutely stunning artwork created by Gobo3D. CT worked with Gobo to recreate some of Ape Escape's most iconic characters, referencing the original Japanese guidebook and other promotional materials. The result is visually delicious 300dpi artwork that takes you straight back to 1999. As uber-fans of the original PlayStation game, Cartridge Thunder and Far East Recording are proud to celebrate Soichi Terada's music and pay our respects to such a legendary PlayStation franchise—on the original hardware's 30th anniversary no less! It's with a happy heart, then, that Far East Recording and CT present to you Soichi Terada's Ape Escape Originape Soundtracks in a Box.

Please note: due to licensing exclusivity, this release does not include tracks previously released on Apes in the Net

Percussion mastermind Ploy arrives on Dekmantel with a double-pack of unbridled dancefloor heat that sees him reconnecting with his house roots.

Before he made a striking breakthrough as Ploy with wayward broken techno for Hessle Audio and Timedance, Samuel Smith's first releases as Samuel were leftfield house excursions. On this release for Dekmantel he wanted to reflect on a decade of releasing music and the many high-impact dancefloors he's shared with the label, from Selectors to De School, over the years.

The common denominator across these eight tracks is no-nonsense house, offering up grooves that will serve a DJ exactly what they want in the mix. At the same time, Ploy doesn't dilute the distinctive edge of his sound, from the abundance of perfectly balanced percussion to the nagging hooks of an off-key synth line dropped at just the right moment. Wry samples inject the mischievous humour he's always creeping into his craft. This is where dancefloor magic is nurtured, hitting the sweet spot between rock solid reliability and the wild card energy that brings a heads-down set to life.

From 'Admirer's big room peaks to 'It's Later Than You Think's cosmic incantations, this is the sound of Ploy showing exactly what it takes to make laser-focused club bombs without losing one iota of his inimitable style.

The Ibex Band, with Giovanni Rico and Selam Woldemariam at the creative helm, provided the musical backbone for legends like Aster Aweke, Girma Beyene, Tilahun Gessesse, Mulatu Astatke, and Mahmoud Ahmed, including the iconic album Ere Mela Mela, shaping modern Ethiopian music as we know it today. This 1976 album (Ge’ez Year 1968) played a pivotal role in that legacy and has now resurfaced to set the record straight.

There’s a tendency to talk about the seventies as a golden age of Ethiopian music. There are good reasons for that, and just as good reasons against it. However, the notion of a golden past privileges the role of Western explorers and suggests that the pinnacle of Ethiopia’s musical culture is something only a foreigner can appreciate and unearth. It downplays the complexities of Ethiopia’s culture and history, creating an artificial divide between then and now. And it underestimates the constantly evolving sound that has followed.

The legendary musical outfit The Ibex Band, later metamorphosed into The Roha Band, has played a central role in defining the sound of many of the greatest stars on the music scene of Ethiopia from the mid-seventies onwards–but their golden output has never really waned. The story of the origins of the band that provided the musical backbone for greats such as Aster Aweke, Girma Beyene, Tilahun Gessesse, backing the solo career of group member Mahmoud Ahmed as well as backing Mulatu Astatke and many others has yet to be properly told.

Two misconceptions plague the image of Ethiopian music, one is that the music is pure because it is, by some notion, unexploited, the other is that it is all traditional. To begin with, a combination of political changes between the late sixties and the mid-nineties created an environment where only the most dedicated and skilled musicians struggled on and pursued a musical career against fierce odds. The whole Ibex Band, with Giovanni Rico and Selam “Selamino” Seyoum Woldermarian at the creative helm, are arguably the origo of the vibrant scene in the mid-seventies, and the said pair are foremost responsible for not only navigating the band through troubled times, but also modernizing the 6/8 chickchicka rhythm to a contemporary form. Giovanni laid the rhythmic foundation with heavy looped basslines that reinvented traditional melodies as dance music, and with Selamino’s innovative guitar work they influenced scores of musicians from Abegaz Kibrework Shiota to Henock Temesgen. Even Giovanni’s Fender bass and Selamino’s Gibson guitar inspired younger musicians in their choice of instruments. Not only in choice of instruments but also in sound–even as the digital revolution hit Ethiopian music, a lot of popular music still took its cue from the masters from Ibex and Roha.

Ibex emerged out of the ashes of the sixties group the Soul Echos band, adding Giovanni and Selamino to their ranks and taking their cues from a slew of influences, such as Motown and The Beatles, fused with traditional music. A tighter-knit unit than most bands at the time – Ibex has remained six to seven members throughout their whole career, compared to many bands that were as large as fifteen or sixteen men strong when Ibex set out. Their playing has been viciously focused, economical yet heavy. Just a year before the recording sessions of the album in your hands, Giovanni and Selamino made a contribution to the popular musical lexicon of Ethiopia that was simply defining the popular sound: their arrangement and recording of bandmate Mahmoud Ahmed’s solo effort and real commercial breakthrough tune and eponymous album, Ere Mela Mela, from 1975.

Selamino has never limited himself to being an adroit lead guitarist, but has always been a scholar of history, and as such he has probably contributed as much to modern Ethiopian music with his guitar playing and compositions as with a deepened understanding of modern or contemporary – Zemenawi – Ethiopian music. Selamino’s contributions serve as a metaphor for those of the whole band, at one and the same time creating and defining a new, danceable and updated sound anchored in Giovanni’s bass, whilst also elevating the broader scene through their support for others on the scene and on top of that, increasing the understanding of the music.

There is an understandable desire to romanticize the musical heyday Ibex and Roha were at the forefront of, because so much of the output is sorrowfully hard to come by. Ibex creativity was nothing short of ridiculously fierce compared to many of their Western contemporaries. Based on their sheer recorded output alone they could have usurped the title “hardest working in show business” from James Brown, recording more than 250 albums or 2500 songs in the seventies and eighties. Some only surface as cassettes today, others were never given full LP release, and some are simply impossible to find today. In the light of that, it’s nothing short of a miracle that the recording Stereo Instrumental Music from 1976 (Ge’ez Year 1968) has resurfaced. Unearthed in perfect condition on a chrome cassette, this is musical history comes alive–to set the future straight. Stereo Instrumental Music was recorded in collaboration with Karl-Gustav Lundgren, a Swedish national working for the Radio Voice of the Gospel. It took two sessions at the Ras Hotel ballroom in Addis Ababa. The Ibex Band was the first band in Ethiopia to employ a four-track recorder for their recording (the first available in the country, lent by Karl-Gustav). Later the same week, Giovanni and Selamino realized that, lengthwise, the recorded material fell short of what they wished for, so they recorded four more tracks in one more session on a single-track recorder. The Ras Hotel and Ghion Hotel, where the Ibex Band held musical residencies were to Ethiopia in general and Addis Ababa in particular what Motown was to the USA and Detroit a few years earlier – a hotbed of musical creativity and showmanship.

The most astonishing thing about Ethiopian music of the last half century is how tradition and modernity are intertwined. Because of this feature, it’s kind of hard to tell when there ever was or when we are in a “golden age”. So much of music from the past has been criminally neglected, but because of the hardships in the past, it would be an oversimplification to say that said past was a golden age. Probably, the golden age is what we are approaching, because for the first time both the past and future are accessible, and the monumental contributions from before can lay a firm foundation for a thriving music scene today. The Ibex Band stands firmly in the past, present and the future. That, if anything, is golden.

The detailed history of Stereo Instrumental Music is in many ways unique. To begin with, it couldn’t have been recorded earlier (there were no four-track recorders available) and it really couldn’t have been recorded afterwards either, at least not in the years directly following, because of the toll the musical scene took from the unfavorable political climate that followed when the nascent Derg regime and rival groups tried to assert themselves, the musical equipment lent from The Voice of Gospel Radio simply disappeared from Ethiopia when the radio station folded in 1977. Karl-Gustav Lundgren,
the Swedish foreign national who assisted during the recording, worked with the Ethiopian Evangelical Church Mekane Yesus at the time, recalls how they only had about fifteen minutes to get the microphones in place for the recording as to not alert neither the management at Ras Hotel nor the authorities and most importantly, to complete the recording before the curfew came into effect at midnight. In leaping to the opportunity to use previously unavailable equipment to push their sound forward and improvising to meet the logistical challenges, the Ibex Band displayed the very avant-gardism and adaptability that explains their longevity as a band through the years. The recording of Stereo Instrumental Music is from a given time in history, but it sounds as beyond time.
Much of the energy that burst out of the scene that Stereo Instrumental Music came out of dissipated or got sidetracked during the societal changes Ethiopia went through in the 1970s and 80s. Whilst leaders might have professed to be revolutionary, the work ethic of the Ibex Band can truly be described as that. They never called it quits, but adapted, toured extensively abroad in Africa, Europe, and the Middle East, and found ways to work even in the face of the curfew that curtailed a lot of musical life. They even played major arenas in the nineteen eighties, despite said curfew and restrictions. The whole extent of their legacy has never been told, but their music speaks louder than words, so therefore… tune in to the Ibex Band’s Stereo Instrumental Music.

2025 Repress


No skips, no pauses-since 1995. Sonic Groove Records of New York celebrates an important milestone: 30 years of crossing the parallels within electronic music. This special compilation features exclusively unreleased tracks by some of the most innovative and respected icons in techno and industrial music, each carefully crafting top-notch works to create an album filled with all killer, no filler selections. The legends of Sonic Groove live on!

Macht euch bereit für eine unvergessliche musikalische Reise, denn Polo & Pan melden sich 2025 mit der Veröffentlichung ihres mit Spannung erwarteten Albums '22:22' am 28. März zurück. '22:22', die magische Spiegelstunde, ist ein Symbol für Träume und erfüllte Wünsche und spiegelt das Universum des Duos wider, in dem alles möglich zu sein scheint.

The double vinyl LP includes the complete nineteen minute plus version of Tower of Meaning/Rabbit’s Ear/Home Away along with the previously unreleased songs That’s The Very Reason, and Too Early to Tell. Side four includes two instrumental tracks from the previously unreleased in the UK “Sketches For World Of Echo” Changing Forest and Sunlit Water

B-Real of Cypress Hill and Psycho Les of The Beatnuts have joined forces for REAL PSYCHO,

a 14-track album that merges their iconic styles into a bold bicoastal fusion. B-Real, known for West Coast classics like "Insane in the Brain,"

blends his Latino-influenced rap with Psycho Les’s hard-hitting production, shaped in Queens on tracks like "Watch Out Now."

The album features guest appearances from Bay Area legend Too Short, Deftones guitarist Stephen Carpenter,

Demrick, and Son Doobie. Singles like "You Might Know Us" and "Lyrical Hammers"—

the latter enhanced by Carpenter’s gritty guitar riffs—offer a preview of the album’s genre-defying sound.

For vinyl collectors, REAL PSYCHO is available in four editions, including black and yellow 1LP versions

and two deluxe 2LP editions in black and limited silver marble vinyl, featuring a gatefold cover and instrumental tracks.

This collaboration celebrates hip-hop’s ability to bridge coasts, eras, and styles, delivering an album that feels both nostalgic and fresh.

B-Real of Cypress Hill and Psycho Les of The Beatnuts have joined forces for REAL PSYCHO,

a 14-track album that merges their iconic styles into a bold bicoastal fusion. B-Real, known for West Coast classics like "Insane in the Brain,"

blends his Latino-influenced rap with Psycho Les’s hard-hitting production, shaped in Queens on tracks like "Watch Out Now."

The album features guest appearances from Bay Area legend Too Short, Deftones guitarist Stephen Carpenter,

Demrick, and Son Doobie. Singles like "You Might Know Us" and "Lyrical Hammers"—

the latter enhanced by Carpenter’s gritty guitar riffs—offer a preview of the album’s genre-defying sound.

For vinyl collectors, REAL PSYCHO is available in four editions, including black and yellow 1LP versions

and two deluxe 2LP editions in black and limited silver marble vinyl, featuring a gatefold cover and instrumental tracks.

This collaboration celebrates hip-hop’s ability to bridge coasts, eras, and styles, delivering an album that feels both nostalgic and fresh.

After two years in the making, the long anticipated Per Hammar album on Sushitech is finally here!

Presented as a beautifully crafted triple vinyl LP, the album is a deep journey into Per Hammar's refined dub techno sound, seamlessly blending classic Sushitech aesthetics with a modern, elegant touch.

This record perfectly embodies the label's signature balance between immersive club music and deep, textured home listening, delivering a rich sonic experience full of depth. The production is warm, expansive and hypnotic, merging intricate sound design with flowing organic tech driven grooves.

A stone-cold classic in the making and a fitting way to launch the label's 20th anniversary celebrations

After two years in the making, the long anticipated Per Hammar album on Sushitech is finally here!

Presented as a beautifully crafted triple vinyl LP, the album is a deep journey into Per Hammar's refined dub techno sound, seamlessly blending classic Sushitech aesthetics with a modern, elegant touch.

This record perfectly embodies the label's signature balance between immersive club music and deep, textured home listening, delivering a rich sonic experience full of depth. The production is warm, expansive and hypnotic, merging intricate sound design with flowing organic tech driven grooves.

A stone-cold classic in the making and a fitting way to launch the label's 20th anniversary celebrations

Renowned DJ and selector MURO is a Jedi-level compiler and this new collection of his delves into Victor's extensive archives to spotlight a world of Japanese jazz, fusion and AOR. It take sin plenty of internationally known names like Yasuko Agawa on the sunset sounds of 'L.A. Night', Sadistics who offers the more psyched out guitar leans of 'On the Seashore', Yuji Ohno's neo-Balaeric bliss-out 'The Dawn of Seychells' and Hiroshi Fukumura's soul soothing Ry Ayres-style melodies on 'White Clouds.' These are luxurious sounds and timeless tracks with MURO's signature funky perspective making this a brillaint choice for brighter, warmer days.

Mutant und WaterTower Music präsentieren den Soundtrack zu "Dune: Part Two" mit dem Score des Oscar-prämierten Komponisten Hans Zimmer, einem majestätischen und mitreissenden Meisterwerk, das zu einem der besten Filme des Jahres passt. Hans Zimmer liefert als Meister der kontemplativen und epischen Themen sowohl wunderschöne und zärtliche Liebesthemen wie auch kühne und bedeutungsvolle Schlachtrufe, die die Hörer in ferne Länder entführen, in denen sie für immer verloren gehen möchten.

2xLP schwarzes Doppelvinyl in bedruckten Innenhüllen im Gatefold, Erstpressung im bedruckten Kunststoffaussenschuber. Beide Formate mit Linernotes von Hans Zimmer & Denis Villeneuve.

Lion, The Lion is Definition's summary of a phase of life. It roars with an unmistakable sense of strength, woven into every resonating beat and drifting melody.
Through shimmering synth textures, driving basslines, and subtle vocal traces, it carries you across a spectrum of emotional states—from feverish, pulsing energy to meditative introspection. Each track feels like a small yet significant battle won, a testament to resilience in the face of challenges. Percussion elements build tension, then dissolve into moments of calm, highlighting the dynamic interplay of fragility and power. Beneath its surface lies a constant wave of determination, anchoring the album’s softer elements in a foundation of raw strength.
Twisting tempos and sudden shifts in atmosphere propel you forward, ensuring that no section remains complacent or still. There is both grit and grace here, fused together in a complete experience that summons courage from the very first note. As the journey unfolds, a quiet resolve emerges, a promise of hope amid challenging times. Ultimately, the record stands as a moving ode to perseverance, asserting that true might resides not in grand gestures, but in the steady, unwavering pulse that keeps us going.

Long awaited, here is the 4th volume of the Mighty Mellow collecon, from the curators of the
seminal series The Mood Mosaic. Mushy funk, abstract jazz, including tacks of Pete Jolly, Annete
Peacock, Dusty Springfield among the others.

DISCO TAPE TO TAPE EDITS (MADE IN CHICAGO BETWEEN 1988-1999)

"Donald Duck, kill Minnie!" These words, ordered with urgency against a circular series of drum strikes and manipulated guitar/electronic textures, come over three fourths of the way through the album known as SYR 5 (aka "Olive's Horn"). While the words and sounds taken on their own may shock, their appearance within this collaborative effort between Kim Gordon (Sonic Youth, Body/Head, solo efforts), Ikue Mori (DNA, solo) and DJ Olive (We, solo) by this point in the album are not surprising. Taken on whole, SYR 5 sees its creators' respective histories forged in the 80s downtown noise scene, No Wave zone and Marclay-inspired club collide head on to create the audio equivalent of a slow-playing J.G. Ballard novel. Starting from the album's initial impressions where shimmering tones are interrupted by the sounds of winding clocks and bird calls before giving way to a cinematic sweeps of percussion, alien samples and blown out wasteland subs, the listener is constantly taken on a guided journey through a waking dream state where anything is possible. It is a world where dub samples, gurling beats and plaintive vocals (as only Gordon can deliver) fit together like the final locking puzzle pieces, the only elements needed to fully grasp a new reality. Re-appearing on vinyl for the first time in 25 years, these sounds have proven to be jaw-droppingly timeless. - Cory Rayborn, 2025

This landmark compilation has introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collection has been expanded with 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band.

The 3LP collection now contains 38 tracks, 30 of which have new mixes for 2023. The set’s 12 newly added tracks are collected on its 3rd LP. An insert contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 collection is a joyous celebration of The Beatles’ timeless musical legacy.

The Beatles 1962 – 1966 & The Beatles 1967 – 1970 (2023 Edition) 6LP BLACK

These landmark compilations have introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collections have been expanded: ‘Red’ has 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band. ‘Blue’ has 9 additional tracks including “Blackbird” and “Glass Onion” including the last new Beatles song, “Now And Then” for a total of 21 new additions which are all compiled onto the 3rd disc, effectively creating a ‘new’ LP for each set.

Together the 6LP’s contain 75 tracks, 36 of which have new mixes for 2023. The inserts contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 & 1967 - 1970 collections are a joyous celebration of The Beatles’ timeless musical legacy.

Mash-up master AMERIGO GAZAWAY has compiled a collection of the most popular and sought after tracks in the SOULMATES catalog. Featuring choice cuts from very hard to find/out of print vinyl, fan favorites, and even a few former digital exclusives pressed to wax for the very first time.

DJ Sotofett presents a double 12inch with 8 strictly underground & classic Techno tracks. The album features regular collaborators LNS, L.A. 2000, Ronny Nyheim and Zarate_Fix while scanning through a set of tracks designed for DJ Sotofett's resident nights at Berlin's Tresor club. Energy driven Dub-Techno, overtonal and percussive Acid, pumping bassline-riding power Dubs and Deep Techno wraps up this DJ friendly but versatile double pack. The programming, mixing, mastering and cutting on "WANIA mk1" has been perfected for an attempt to resurrect real undeground & no-bullshit club music, strictly for real DJ's and clubbers who passionately loves the core of true Techno music. Includes the bombastically percussive "Preparation" and 909-vocoder driven "My Spirit Is In Techno Music" as well as alternative mixes from the previously released "WANIA mk2".

THIS 2x12" SET IS CUT WITH LOUD VOLUME FOR EXCELLENT CLUB USE!

Being one of the most popular albums in the history of the label,

Music Brokers is happy to announce the release of Jazz And Beatles in a limited-edition double LP.
The album features 24 stellar Beatles classics reinvented in jazz form that highlight the catalog of the biggest band of all time.
Gems such as “Yesterday”, “Here Comes The Sun”, “Revolu- tion” and “She Loves You” have new life with reworked versions
by many of the biggest names in the nu-jazz move- ment including Jazzystics,
Les Crossaders, The Cooltrane Quartet, Eve St. Jones and Apollinare Rossi. With stellar artwork and remastered sound,
this is another essential addition to your jazz-lounge music collection in vinyl format.

Smoove ist einer der produktivsten und beständigsten, britischen Produzenten, ob als Komponist/Produzent seiner Geordie-Soul-Band Smoove & Turrell, als Produzent hinter der hochgeschätzten Multitrack-Vinyl-Re-Edits-Serie oder als Remixer für zahlreiche Hip-Hop/Soul/Funk-Acts. Abgesehen von Smoove & Turrell war sein erster Soloauftritt bei Jalapeno Records eine Zusammenstellung einiger seiner besten Remixe, die in einem DJ-freundlichen Paket mit dem Titel "First Class" 2012 zusammengefasst waren. 2019 folgte die zweite Sammlung namens "Recorded Delivery" und nun geht es mit dem Remix-DJ-Paket #3 "Heavy Goods" weiter. Auf diesem finden wir wirklich umwerfende Cuts von Betty Black & The Family Fortune, Emma Noble, Kraak & Smaak, Izo FitzRoy, The High & Mighty und Bahama Soul Club, alle in der charakteristischen Smoove-Produktionsmagie.

a Betty Black & The Family Fortune - Sweet Dreams (Are Made Of This) Smoove Extended Remix

c Max Sedgley - I Want Your Soul (Smoove Remix) feat. Tasita D'Mour


[f] The Bahama Soul Club - Never Roam No More (Smoove Remix) [feat. John Lee Hooker]
[g] Vice Beats - That Love (Smoove Remix) [feat. Greg Blackman & Audessey]
[h] TGH Collective - Higher Level (Smoove Remix) [feat. Lee Scratch Perry]

[j] Nautilus - Georgy Porgy (Smoove Stripped Back Remix) [feat. John Turrell]
[k] The High & Mighty - Funk-O-Mart (Smoove Remix) [feat. Chubb Rock]




[p] Kraak & Smaak - Never Too Late (Smoove Remix) [feat. Janne Schra]

[a] Betty Black & The Family Fortune - Sweet Dreams (Are Made Of This) [Smoove Extended Remix]

[c] Max Sedgley - I Want Your Soul (Smoove Remix) [feat. Tasita D'Mour]


[f] The Bahama Soul Club - Never Roam No More (Smoove Remix) [feat. John Lee Hooker]
[g] Vice Beats - That Love (Smoove Remix) [feat. Greg Blackman & Audessey]
[h] TGH Collective - Higher Level (Smoove Remix) [feat. Lee Scratch Perry]

[j] Nautilus - Georgy Porgy (Smoove Stripped Back Remix) [feat. John Turrell]
[k] The High & Mighty - Funk-O-Mart (Smoove Remix) [feat. Chubb Rock]




[p] Kraak & Smaak - Never Too Late (Smoove Remix) [feat. Janne Schra]

[a] Betty Black & The Family Fortune - Sweet Dreams (Are Made Of This) [Smoove Extended Remix]

[c] Max Sedgley - I Want Your Soul (Smoove Remix) [feat. Tasita D'Mour]


[f] The Bahama Soul Club - Never Roam No More (Smoove Remix) [feat. John Lee Hooker]
[g] Vice Beats - That Love (Smoove Remix) [feat. Greg Blackman & Audessey]
[h] TGH Collective - Higher Level (Smoove Remix) [feat. Lee Scratch Perry]

[j] Nautilus - Georgy Porgy (Smoove Stripped Back Remix) [feat. John Turrell]
[k] The High & Mighty - Funk-O-Mart (Smoove Remix) [feat. Chubb Rock]




[p] Kraak & Smaak - Never Too Late (Smoove Remix) [feat. Janne Schra]

"No Warranty Dubs" is made by a logic powerhouse combination, Jimi Tenor & Kabukabu meets DJ Sotofett, with most of what you can expect from all parts involved. You're served Afro Dub & Jazz in a bold and classic sonic execution. Through all 15 cuts the echoes are real and rhythms upfront, with proper extended Disco Dubs and versions of Afrobeat and Free Jazz contrasting body and soul. The album is tuneful and rugged, some cuts have vocals & synth swimming alone, while others glue the drummers groove to slick piano from beginning till end.

Followers of Jimi Tenor's life in music will be able to dive into his trademark song writing, signature flute breathing and indistinguishable style of saxophone playing, as well as his tender and electrifuingly psychedelic vocals known from early days of Puu/Sähkö and Warp releases. Kabukabu's heavyweight instrumental performance trancends regular studio recordings with joy and precision as a core element. Kabukabu's Ekow Alabi Savage aka Ekowmania (from last years "Dr.Afrodub" album) embeds deep rhythm knowledge throughout the entire musical landscape. Last in the chain is DJ Sotofett, producing and mixing his probably most classically crafted output to date. With silky gloves and clanking wrenches every element has been tweaked, re-mixed & dubbed excessively to justify a fully musical, psychedelic, warm and rhythmically rich experience.

"No Warranty Dubs" is as warm as the chords of "Money Palaver (Extra Warm Mix)", and as bombastic as opening track "Fujitronic (Flute Mix)". The album reaches it's most tender moments with the sweet "Musical Message (Disco Dub)" and dives straight into obscurity when guest drummer Ilmari Heikinheimo contributes to "Otto Part 4", a rare freejazz cut with TR-909 tickering from start til end. The simplicity of "Tronic Rhythms (Flute Dub)" is worthy a tear in an eye, while brittle souls can scatter to the thunderous horns and drenched rhythms of "Kabu Anthem (Cosmic Dub)".

First-ever vinyl release of the instrumentals! RSD25

Groove to the sounds of the Free Nationals like never before! Their self-titled album, Free Nationals, is finally getting an exclusive instrumental vinyl release. Fans can experience the full sonic landscape of their signature funk, soul, and R&B fusion with no distractions—just pure, smooth vibes and great music.

Pressed on 180g heavyweight black vinyl, this limited edition release offers pristine audio quality that showcases the musicianship and craftsmanship behind the album’s beloved soundscapes. Whether you’re a fan of their work with Anderson .Paak or just a lover of rhythm and soul, this release is a collector’s dream—an essential for DJs, audiophiles, and anyone who craves the instrumental heartbeat of this incredible record.

2025 Repress

Berlin-based Frenchman Alexkid lands on Rawax with ‘Wake Up’, a fantastic new album that explores acid from many different angles.
As an early protagonist in the 90s Parisian electronic music culture, Alexkid has been paving his own path for over two decades. Obsessed with drum-machines since his teens, he is a skilled producer and sound engineer who imbues his productions with real soul and warmth, even releasing his own lauded Ableton Live Plugins. He is a Rex club resident, released albums on Laurent Garnier's legendary F Communications and has also appeared on labels like FUSE London, Rekids, Ovum, Freerange, and
Underground Quality. With this new album he proves once again why he is so well respected by presenting eight acid laced beauties on the infamous Rawax, following appearances from iO (Mulen), Shonky, Enzo Siragusa, Julian Perez, and Diego Krause. 'Kick It' is a bristling, in your face and pricking acid banger with restless 303 lines spraying about above
punchy kicks, the mood switches up for the headier and dubbed out, but still acid laced, 'Le Manteau d'Argent', and 'Tribute' then takes you down a deeper, more shadowy and sparse late night path with a warm, bubbly acid bassline leading the way. Sublime atmospherics characterise the spacious, deeply cosmic 'Revolutions' which has contorted drums and bass making you move, followed by the physical force of acid head wrecker 'No Hiss'. The
excellent 'Idle' strips things back to a propulsive drum groove and a molten sub pattern, 'Yussuf Is In Control' is led by the sort of prying, freaky lead synth that is perfect for the afters, 'Your Love Is Fading' is a masterful track of suspensory synths and soulful vocal sounds all fused to a brightly airy house groove making this another fantastically accomplished album from one of the best in the game.



Support by:

Delano Smith, Seth Troxler, Radio Slave, Dan Curtin, Butane, Ian Pooley, Spacetravel, Satoshie Tomiie, Posthuman, Diego Krause, Samuel Deep, Sonja Moonear, Traumer, Akufen, Sakro, Italojohnson, Enzo Siragusa, Laurent Garnier, Dirian Paic, Ryan Crosson, Reiss, Roger Gerresen, Sebo K, Vinyl Speed Adjust, Franck Roger, Mihai Popoviciu, Fabe, Jamie Jones, Raresh

Leng Records’ first album of the year release comes courtesy of two contrasting legends of Italian dance music, Afro-Cosmic pioneer Danielle Baldelli and sometime FPI Project member Marco Fratty (real name Marco Frattini).

Both producers have a wealth of experience. Baldelli first to rose to fame as resident DJ at the near mythical Cosmic Club in the early 1980's, before moving into music production two decades ago. Since then, he’s collaborated with heaps of producers – most notably DJ Rocca, Marco Dionigi and Dario Piana – but “Oil Painting” marks his first collaboration with Frattini, an experienced producer whose bustling discography stretches right back to the Italian house explosion of the late 1980's and early ’90s.

The pair’s debut collaborative release is bold, bubbly, vibrant and funky, with the storied Italian veterans making extensive use of live instrumentation, vintage synthesizers and chugging, floor-friendly grooves. As you’d expect from a Baldelli-related project, the influences are obvious – think funk, dub-disco, cosmic rock, Italo-disco and nu-disco – but the resulting colourful cuts refuse to settle on one specific style.

Firmly focused on the dancefloor, “Oil Painting” is a gleeful, celebratory and excitable as anything either producer has released to date. For proof, check the surging arpeggio style synth-bass, kaleidoscopic synthesizer lines and eyes-closed rock guitar solos of “Automatic Amplitude”, the flute-laden dub disco shuffle of “Jasmine Flavour”, the organ-laden cosmic funk chug of “Oil Painting” and the lolloping disco-funk exuberance of “Steam Engine”, where crunchy guitar licks and Meters style organ stabs wrap themselves around a vintage disco bassline and head-nodding, toe-tapping drums.

The highlights don’t step there, either. Check the percussion and delay-laden Afro-Cosmic funk fusion of “Slinky Funk”, a veritably tropical excursion that repurposes the bassline and incessant cowbells from Cymande classic “Bra”, and the Clavinet-heavy stomp of “Positive Flow”, whose snaking, constantly-changing saxophone solo and flash-fried guitar riffs help create a thrillingly excitable mood.

From start to finish, “Oil Painting” is an album full to bursting with musical joy and umpteen giddy calls towards the dancefloor. From producers of Baledlli and Frattini’s experience, we’d expect nothing less.

Twenty-four years on from its original release, Monolake's seminal Gravity receives its first vinyl pressing courtesy of Field Records. Occupying its own space at the intersection of dub techno, minimal and electronica, it's an ageless album of staggering vision and technological prowess which has matured into an all-time pillar of electronic music. This edition, remastered by the album's key architect Robert Henke, follows on from the recent reissue of Monolake's first album, Hongkong.

Arriving just after the turn of the millennium, Gravity marked a turning point for Monolake. With co-founder Gerhard Behles moving on to other ventures, Henke produced most of the album solo and journeyed deeper into spatial exploration and the dub-informed principles that underpinned their project from the start. Minimalism and negative space run through the whole record, from the keen slithers of percussion pinging through lattices of delay to the hypnotising pulse of subliminal basslines anchoring the tracks. Gravity is a record which hangs on techno's linearity as a form of meditation, but the crystalline clarity of the mix allows every micro-fluctuation in rhythm and sound to cut through.

Compared to a lot of overly sterile digital music released in the early 2000s, Gravity endures thanks to the warmth and texture Henke elicited from his processes — even when leaning into none-more-digital effects like bit reduction. He described the ninth-floor view over Berlin from his studio at night as a key influence on the sound of the record, but the space Gravity shapes out feels thrillingly implacable. Unbound by the standard conventions of time and space, Gravity stands proud as a true original and finally gets the ceremonious vinyl pressing it so richly deserves.

Dekmantel UFO Series continues its resurgent form with a new album of bruising, industrial wave and techno from Broken English Club. UK techno mainstay Oliver Ho debuted his dark and brooding alias more than 10 years ago with a release on Jealous God under the guidance of the late, great Juan Mendez (Silent Servant) — Songs Of Love And Decay is explicitly dedicated to Mendez, whose influence runs deep in this seductively sinister corner of underground, independent electronic music.

Within the overarching aesthetic of the Broken English Club sound, Ho finds the freedom to deliver a full spectrum album as diverse as it is consistent. You can sense the shadow of his roots in 90s tribal techno punching through on 'Crawling' and 'Death Cult', while 'England Heretic' leans on thick swathes of analogue synthesis indebted to Giallo soundtracks and the ever-compelling lure of 80s synthwave. In its grinding layers of distortion and dubbed out vocals 'Vessel Of Skin' speaks more to the post-punk influences which have set Broken English Club apart since the outset. This isn't a purely retro-fetishist expedition, though — 'Pacific Island Kill' and 'Lost Gods' exude stark modernism in their sharply-angled sequences and dramatic sound design, moving beyond the functional demands of 4/4 dance music to reach to more cinematic zones.

These are but some of the approaches Ho burrows into as he shapes out the depth and breadth of his muse on Songs Of Love And Decay. It's marked by the undeniable impact of his production, perfected over a decades-deep career at the bleeding edge of machine music. At times the album celebrates the addictive thrust of the dancefloor, while elsewhere it relishes the tension of suspended animation. Throughout, the gritty veneer binds together this accomplished, uncompromising body of work as both a fierce artistic statement and a loving tribute to Mendez — an artist who equally embodied the darker side of the dance.

SCI+TEC celebrates a pivotal moment in its history with the release of I Feel Speed (2025 Remixes), a special project revisiting one of Dubfire’s earliest solo works and one of the label’s foundational releases. Originally released in 2007, Dubfire’s cover of Love and Rockets’ “I Feel Speed” marked a bold venture into uncharted territory, with the Grammy-winning artist taking on vocal duties himself to reimagine the iconic ballad.

In Dubfire’s own words, “Throughout my career, I’ve made no secret of my love—bordering on worship—for Love and Rockets (and, of course, Bauhaus). Tackling their soft ballad ‘I Feel Speed’ in 2007 was a daunting but transformative experience. Over the years, fans and colleagues have kept their love for that cover alive, which makes this new remix package even more meaningful.”

This release brings together a stellar list of artists, each offering a distinctive interpretation of the classic. Stephan Bodzin adds his signature emotive touch, while Yulia Niko dives deep into hypnotic textures. SNYL, whose admiration for the original track sparked the project, delivers a rework that strikes a balance between reverence and reinvention. Rafael Cerato and Laherte craft a dynamic reinterpretation, and indie dance pioneer Erol Alkan offers a genre-blurring remix full of energy and innovation.

I Feel Speed (2025 Remixes) is a testament to Dubfire’s enduring legacy, the timeless influence of Love and Rockets, and SCI+TEC’s continued role as a beacon of innovation in electronic music.

Gatefold 2LP

Far Out Recordings proudly presents a landmark discovery in Brazilian jazz: the long lost album by drumming pioneer Edison Machado. Recorded in New York City in early 1978 but never released, Edison Machado & Boa Nova captures a pivotal figure in Brazilian music history at the height of his artistic powers.

Combining North and South American jazz traditions with Machado's revolutionary samba innovations, Edison Machado & Boa Nova represents a triumph against the odds. After facing persecution under Brazil's military dictatorship and being forced to sell his drum kit in 1976, Machado found renewed creative purpose in New York with the Boa Nova ensemble. The resulting album captures the essence of his genius - sophisticated yet wild, controlled yet daring, leading an ensemble of some of the best jazz, samba and bossa nova players of the day.

At just fifteen years old, Machado revolutionized Brazilian music through an accident that would change everything - when his snare drum broke during a performance, he began playing samba rhythms on the cymbal. This innovation, known as "samba no prato" (samba on the cymbals), brought new layers of dynamism to samba and proved instrumental in the development of bossa nova alongside contemporaries like Antonio Carlos Jobim and João Gilberto.

A complex and passionate figure, Machado was notorious for his militant perfectionism and "attacking" style of drumming. Having spent some years of his youth in the Brazilian army, musicians often remarked that he played as if he were at war. But his innovative style, while exhibiting complete control and sophistication, somehow so often danced right on the edge of chaos and wild abandon.

After making his name in Rio's legendary Beco das Garrafas (Bottles Alley) in the 1950s and early '60s, Machado went on to form Bossa Três - the world's first instrumental bossa nova group. His influence spread internationally through collaborations with Stan Getz, Sergio Mendes, Antônio Carlos Jobim, Milton Nascimento, and Chet Baker, while his 1964 album Edison Machado É Samba Novo stands as a masterpiece of Brazilian jazz.

At 80 minutes in length, Edison Machado & Boa Nova, the lost 1978 New York sessions, is a singular achievement in Brazilian jazz. The format itself is a rarity in the canon. It’s packed full of exceptional technical precision and creative vitality, with sophisticated arrangements and masterful improvisation from its exceptional sextet of Brazilian and US musicians: Paulinho Trompete (flugelhorn/trumpet), Ion Muniz (tenor saxophone), Steve Sacks (baritone saxophone), Mozar Terra (piano), and Ricardo dos Santos (double bass).

The album features unheard compositions by Brazilian masters Dom Salvador (Salvador Trio, Harry Belafonte, Edu Lobo), Guilherme Vergueiro (Raul De Souza, Leon Ware, Joyce), Aloisio Aguiar (Arthur Verocai, Airto) amidst the plethora of captivating original material by the members of the Boa Nova ensemble.