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Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.

Dance Mania from 1958 is Tito Puente's bestselling and most essential album. Delivering incredibly tight mambo rhythms, Puente knew how to get his traditional southern American music across. Helped by an impeccable, vivid stereo production (as part of RCA's aptly named original "Living Stereo" series), this infectious mix of Latin dance tracks will get anyone up on their feet. Featuring the inimitable Ray Baretto on percussion,

The album does exactly what the title says: shake your derriere like you just don't care! This record should belong in everyone's jazz, soul or Latin music record collection.

Dance Mania is available as a limited edition on green vinyl.

When it comes to vocal jazz, the ladies win. "Body and Soul" features great jazz standards sung by some of the best- known and most influential female jazz vocalists in history. Ella Fitzgerald, Billie Holiday, Nina Simone, Dinah Washington & Sarah Vaughan. This album presents signature recordings by these legendary ladies during concerts between 1956 and 1960, from Berlin, Paris to New York.

Hardcore thrash punks VITAMIN X return with a new album in 2026 via Svart Records Amsterdam’s hardcore legends Vitamin X are back with their seventh album Ride The Apocalypse, the band’s most intense and ambitious album to date — released by Svart Records in March 2026. Mastered by Joel Grind (Toxic Holocaust, Municipal Waste) and featuring apocalyptic artwork by Andrei Bouzikov (Municipal Waste), the record delivers 16 tracks of pure mayhem: faster, harder, and heavier than anything the band has done before. Everyone who’s heard the early mixes agree — this is the strongest Vitamin X album yet. For over two decades, Vitamin X has been one of the most explosive and influential forces in crossover hardcore punk. Emerging alongside the early wave of modern crossover and thrash-revival bands like Municipal Waste and Wolfbrigade, Vitamin X carved out a sound that is unmistakably their own: ultra-fast, razor-tight, socio-political, fun, and always completely unhinged. They’ve released albums on iconic labels such as Southern Lord, Havoc, and Tankcrimes, and worked with legends like Steve Albini, John Baizley (Baroness) and J Mascis (Dinosaur Jr.). Their video About to Crack reached millions of views. The band has played over a thousand shows worldwide and appeared at festivals such as Hellfest, Maryland Deathfest, EXIT, and Obscene Extreme. With Ride The Apocalypse arriving in March 2026, Vitamin X enters a new chapter — sharper, faster, and more devastating than ever.

Hardcore thrash punks VITAMIN X return with a new album in 2026 via Svart Records Amsterdam’s hardcore legends Vitamin X are back with their seventh album Ride The Apocalypse, the band’s most intense and ambitious album to date — released by Svart Records in March 2026. Mastered by Joel Grind (Toxic Holocaust, Municipal Waste) and featuring apocalyptic artwork by Andrei Bouzikov (Municipal Waste), the record delivers 16 tracks of pure mayhem: faster, harder, and heavier than anything the band has done before. Everyone who’s heard the early mixes agree — this is the strongest Vitamin X album yet. For over two decades, Vitamin X has been one of the most explosive and influential forces in crossover hardcore punk. Emerging alongside the early wave of modern crossover and thrash-revival bands like Municipal Waste and Wolfbrigade, Vitamin X carved out a sound that is unmistakably their own: ultra-fast, razor-tight, socio-political, fun, and always completely unhinged. They’ve released albums on iconic labels such as Southern Lord, Havoc, and Tankcrimes, and worked with legends like Steve Albini, John Baizley (Baroness) and J Mascis (Dinosaur Jr.). Their video About to Crack reached millions of views. The band has played over a thousand shows worldwide and appeared at festivals such as Hellfest, Maryland Deathfest, EXIT, and Obscene Extreme. With Ride The Apocalypse arriving in March 2026, Vitamin X enters a new chapter — sharper, faster, and more devastating than ever.

Tetragon ist das zweite Album des Tenorsaxophon-Virtuosen Joe Henderson beim Label Milestone, auf
dem er seinen Sound im Post-Bop-Bereich weiterentwickelte, bevor er sich später in seiner Karriere weiter
in den Bereich des Spiritual Jazz vorwagte, begleitet von einem Weltklasse-Ensemble mit Ron Carter, Jack
DeJohnette, Kenny Barron, Louis Hayes und Don Friedman.
Diese Jazz Dispensary Top Shelf-Neuauflage von Tetragon wurde von Kevin Gray aus den originalen Analogbändern (AAA) geschnitten, bei Fidelity Record Pressing auf 180-Gramm-Vinyl gepresst und kommt in einer
Gatefold-Tip-On-Hülle.

Given her extensive and varied recording catalog, if you're looking for a place to explore the talents of the late Nina Simone, then 1965's I Put a Spell On You is a great place to dip your toes - particular if you want to start with her more pop oriented sides.
The set features a truly eclectic mixture including stabs at jazz (the instrumental "Blues On Purpose"), R&B (the title track), French chanson ("Ne Me Quitte Pas") and a number of show tunes.

"Electroacoustic Work" is a collection of experimental sound pieces recorded in 2024-2025 at Goldsmiths University by Kleptofirm. It spans from performance and composition to interactive installation material.

In this collection, Kleptofirm bends and breaks a variety of traditional instruments - pushing computer-controlled pianos beyond the range of human playability, live-processing mandolins with modular synthesis, and cutting a dervish of organ loops from tangles of ferric tape.

Listening to "Electroacoustic Work" feels like wandering through an immersive installation: every step and motion tracked, calibrated then transposed into ominous folds and figures of feedback, sculpted in thick air.

Recommended if you like The Caretaker, Aphex Twin, Actress.

Demetrio Castellucci and Massimo Pupillo present the music of Sleep Technique, a performance by Dewey Dell inspired by the Chauvet cave and its ancient cave paintings.
The music comes to life anew on record, an immersion into the depths of sonic particles, moist electroacoustic rhythms, the repeated forms of speleothems, and the electric bass that scrapes the walls, shaping them into concave or convex surfaces. A voice that moves incredibly slowly, yet is in constant motion, like the millennia-old, unceasing erosion of water.
The album’s journey follows the geography of the cave in reverse, moving from its deepest chamber back to the entrance.

Demetrio Castellucci is a composer and sound designer who has been involved in theater productions, choreography, and film since 2004. Around the same time, he began performing as a DJ, favoring an omnitemporal approach geared toward dance that transcends musical genres. Since 2006, he has been a member of the dance company Dewey Dell, and since 2007, he has been active as Black Fanfare, a maximalist electroacoustic project. He has collaborated on performances by Andreco and Enrico Ticconi/Ginevra Panzetti, as well as on films by Ahmed Ben Nessib, Beatrice Pucci, and Ilaria di Carlo. After living in London and Berlin, he settled in Vilnius, where in 2018 he founded Unarcheology, a digital platform that publishes music and radio programs. He is also active as Airport Gad, an ambient project which, together with Unarcheology, launched its own “Airline Company”: concerts in a flight simulator built from cardboard, where the pilots are also the musicians.

Massimo Pupillo is best known as a founding member of the band Zu, with whom he has released 18 albums and performed over 2,000 live shows worldwide. He has maintained a highly open and multidisciplinary approach that has led him to work with some of the most acclaimed figures in the contemporary art world: South African photographer Roger Ballen, actors Malcolm McDowell and Marton Csokas, Romeo Castellucci and Chiara Guidi of Societas Raffaello Sanzio, American choreographer Meg Stuart, poet Anne Waldman, and Italian poet Gabriele Tinti, among others. He has collaborated live and in the studio with avant-garde musicians and composers such as Alvin Curran, piano duo Katia & Marielle Labèque, and classical virtuosos like Viktoria Mullova and Giovanni Sollima. He has also worked with some of the most influential names in the international rock scene, including Mike Patton, Thurston Moore, Jim O’Rourke (Sonic Youth), Guy Picciotto & Joe Lally (Fugazi), Buzz Osborne (Melvins), and Damo Suzuki (CAN).

In the field of improvised music, he has collaborated with Peter Brötzmann, Toshinori Kondo, Mats Gustafsson, Ken Vandermark, and Tony Buck, among others. Within the experimental music scene, his collaborations include Oren Ambarchi, David Tibet (Current 93), Thighpaulsandra (Coil), Stephen O’Malley (Sunn O))), Abul Mogard, Mick Harris (Scorn), Gordon Sharp (This Mortal Coil), FM Einheit (Einstürzende Neubauten), and many more. In cinema, he composed the score for Kirill Serebrennikov’s film LIMONOV, presented at Festival de Cannes in 2024.

Johnny Cash (1932–2003) was a legendary singer-songwriter whose deep voice and storytelling made him one of the most influential figures in American music. Blending country, rock, folk, and gospel, he created timeless songs like “I Walk the Line,” “Ring of Fire,” “Folsom Prison Blues.”, “I Got Stripes,” and “Oh Lonesome Me.” Known as The Man in Black, Cash’s music spoke to themes of love, faith, and redemption, leaving an enduring mark on generations of artists.

2026 Repress

Turbotito and Ragz's electrifying Naya Beat label has curated a cultured list of remixers to add their spin to the work of legendary Indian vocalist Asha Puthli. This essential remix album features Yuksek, Maurice Fulton, Psychemagik, Kraak & Smaak, Jitwam, and Turbotito & Ragz.

Naya Beat, which translates from Hindi as 'new beat', is focused on uncovering foundational electronic sounds from the subcontinent and South Asian diaspora through reissues, remixes and compilations. It found quick success with its first release, 'Naya Beat Volume 1: South Asian Dance and Electronic Music 1983 - 1992', followed by a rare 1985 Hindi New Wave album by Pinky Ann Rihal and more recently a ground-breaking compilation ‘Awaaz’ uncovering Bollywood electro and leftfield 80s original soundtrack recordings.

Hot off their highly sought after EP of Dimitri From Paris’ seminal remixes of Asha Puthli’s iconic track ‘Space Talk’, the label now offers up the first of two full-length releases based around her music. Cosmic disco pioneer, Studio 54 icon and jazz improviser Asha Puthli has recorded, sung or shared the stage with the likes of Roy Ayers, Alice Coltrane, Grace Jones, Barry White, Andy Warhol and many more. From David Mancuso's The Loft, to Giorgio Moroder's early work with Donna Summer, to hip-hop where she has been sampled extensively, Asha's musical influence and impact is profound. She was the first artist of South Asian descent to successfully crossover and make a mark on dance, jazz and pop culture in the West.

For this LP, Naya Beat tracked down the long mythologised original stems and recordings of Puthli's most seminal albums, including ‘The Devil is Loose’, and working closely with Asha, they have tasked a series of producers inspired by her work to remix her music.
Yuksek opens up with a pumping disco remix of 'I Am Song (Sing Me)' awash with uplifting synths and big claps next to the original vocals, which soar to the heavens. The seminal 'Space Talk' is remixed by Maurice Fulton into super steamy and late-night territory. The live drums and jumbled percussion are lit up with soulful chords as Puthli's carefully delivered vocals seduce up top. 'Lies' (Kraak & Smaak Remix) rides on fat-bottomed drums and bass that unfold with a dub swagger beneath a nebulous eco-system of cosmic synths and dramatic vocals. Label heads Turbotito & Ragz flip 'One Night Affair' into a leggy disco celebration with sweeping synths and bright effects, and Psychemagik's 'Right Down Here' is a pulsating mix of dark, snaking bass and drums with deep space ambience and raw hits making for a turbulent and tense atmosphere. Lastly, Jitwam closes out with a smooth disco sound laced with dynamic drums and cruising chords next to another sensuous top line from Asha Puthli.

A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.

REVNOIR is one of the most exciting new forces to emerge in the rock and metal world. Officially unveiled in September 2023, the project has been quietly evolving behind the scenes for nearly two years, led by the talented trio Maxime Rodriguez-Medallo, Julien Ho-Tong, and Kaz Nakazawa. Blending elements of modern rock, crushing metal, and dark electro, REVNOIR crafts a powerful, melodic sound that resonates with both emotional depth and cinematic intensity. Since their formation, the band has made impressive waves—already surpassing 1 million Spotify streams across their four latest singles and building a loyal listenership with over 70,000 unique monthly listeners on the platform.

Their explosive live energy was on full display when they joined Future Palace on a European tour and later proved their rising star status with a sold-out headline show at La Maroquinerie in Paris (550 capacity) in April 2025. Now signed to Arising Empire, REVNOIR are gearing up for their next big chapter: supporting Coldrain on their massive UK/EU headline tour this winter. Spanning 17 dates across 10 countries, including major stops in the UK, Germany, France, Netherlands, and more, the tour marks Coldrain’s first European run in over four years and is set to draw thousands of fans each night. As main support on every date, REVNOIR will be performing in some of the biggest venues of their career so far—introducing their sound to a whole new wave of international listeners and firmly cementing their place among the most promising heavy acts of this new generation.

Originally released in 1977 on the obscure North Carolinian WITCH's BREW label. "NO COMMUNICATION" by TRUE TRANSFUSION A.K.A HUMAN BLOOD had long gone unknown until recently. Now with the help of Chicago's very own RAHAAN, we have two smooth edits where the old-meets-new

Limited Green LP is for Indies only. all LPs include a DL card. Island Family is the fifth album from Isle-of-Eigg dwelling electro-acoustic psych-pop wonder Pictish Trail, AKA Johnny Lynch. A strange, unpredictable, sardonic and yet deeply personal record inspired by all from Fever Ray to The Flaming Lips, Liars, Mercury Rev and Beck, Island Family is Pictish Trail's contrarian view of arcadia; a search for the euphoric in the bucolic, bound up in sometimes conflicting ideas and feelings around nature and environment, sincerity and artifice, escapism and belonging. It's an album about how no man can remain an island, however hard he might try. Released by Fire Records, with support from Johnny's own label Lost Map, and produced by long-term collaborator Rob Jones (The Voluntary Butler Scheme, The Gene Dudley Group), 'Island Family' opens with its title track, a song of death, ghosts and the ties that bind, fusing abrasive electronic beats with a tongue-in-cheek fireside folk refrain and the haunted ice cream van melody of a digitally reincarnated traditional Scottish jig. A purgative surrender to nature's whim driven by a clattering machine drumbeat rolled in a puddle of filthy dirty fuzz, 'Natural Successor' is five-and-a-half-minutes of cathartic churning bass. 'In The Land of The Dead' is an eight-bit glitch-core reflection on island party excesses spasming into existential dread and regret, suitably accompanied by a funereal mariachi band. It's followed by the epic 'It Came Back', the understated verses and arms-aloft falsetto chorus of which are accompanied by a tense, foreboding bass-driven electro hip hop instrumental with (spoiler) a brain-shattering industrial-metal meltdown. 'Melody Something' is the album's purest moment, a cautiously uplifting solar-powered-ballad about losing track of time in the cycle of the seasons, and the gap between memory and reality. Shapeshifting closer 'Remote Control' is a channel hopping cabin-fever-dream flipping from warped boyband ballad to deep-fried fuzz pop. "One of my favourite artists" Lauren Laverne, BBC 6 Music

With Hyperbola, Laima Adelaide frames speed as a condition of softness rather than impact. The fan- tasy of flying through the air with effortless move- ment forms its emotional core, as tracks move fast, yet nothing collides: rhythms skim the surface, tex- tures hover, and motion unfolds through glide inste- ad of strike. Energy is continuous and diffused, pro- ducing propulsion without aggression, momentum without weight.

The hyperbola operates as both image and method. Sounds trace curved trajectories, drawing close only to diverge again, suspended in a state of gentle tension. Elements never resolve into force, they re- main airborne, elastic, and permeable, as if shaped by an invisible geometry. Across the EP, velocity becomes a tool for lightness, revealing an ethereal space where motion is elegant, friction dissolves, and intensity is carried through grace rather than pressure.

Credits:
Mastering by HWA
Artwork and Graphic Design by Enrico Caldini
Distributed by One Eye Witness

Turma da Bênção – A Semba Gathering Across Generations

Conjunto Angola 70 & Paulo Flores

The Turma da Bênção project brings together Conjunto Angola 70, a collective dedicated to recreating and preserving the golden-era sound of Angolan music from the 1970s, and Paulo Flores, one of the most important ambassadors of semba worldwide and one of the creators of kizomba. Throughout his career, Flores has built bridges between tradition and modernity, helping shape the global understanding of contemporary Angolan music.

Recorded in Lisbon in 2018 in an intimate “roda de semba” setting, informal jam sessions rooted in collective rhythm and storytelling, Turma da Bênção gathers legendary musicians such as Botto Trindade (guitar), Joãozinho Morgado (congas) and Teddy N’Singui (guitar); mid-generation artists including Galiano Neto (percussion), Paulo Flores (vocals and artistic direction) and Pirika Duia (viola); and younger creators such as Mayo Bass (bass), Jéssica Pina (trumpet) and Armando Gobliss (keys).

The result is a powerful dialogue between eras. Classic Angolan repertoire meets new compositions, all deeply rooted in semba — the rhythmic and poetic foundation from which kizomba later emerged.

The album revisits emblematic songs such as Runfo da Liberdade, Memórias de Gui and Lamento de Duia, while introducing new works including Morgadinho, Catuta 45, Boas Festas Conterrâ and Réveillon, the latter awarded Semba of the Year at the Angola Music Awards in 2020.

Before this LP, Keep On Pushin Records released the singles Turma da Bênção presents: Joãozinho Morgado and Turma da Bênção presents: Botto Trindade, building anticipation for what now becomes the label’s first full-length vinyl release.

Issued on vinyl in the year Angola celebrates 50 years of Independence, Turma da Bênção stands as a symbolic statement, honoring the elders, empowering the present generation, and ensuring that the pulse of semba continues to resonate across borders.

Turma da Bênção is more than an album. It is a rare intergenerational encounter and a living celebration of Angola’s musical heritage.

Eight years have passed since 8 regards obliques, the album in which Jaumet reinvented his spiritual jazz classics, letting them drift into other dimensions. Since then, an intense tour alongside Thomas de Pourquery and a new recording adventure with Zombie Zombie have taken him on the road. Yet it is in the inspiring calm of his brand-new studio in Bagnolet that he found the material for Du cortex à l’iris, his new album recorded for his label Versatile Records. Du cortex à l’iris continues this delicate balance that defines Jaumet’s signature: a constant tension between hypnotic abstraction and an almost animal groove. "To reduce the distance between my cortex and my senses, in order to compose mental images with sounds," he says. This intention runs through the entire album: a desire to make people dance, yes, but with echoes of EBM, bursts of cinematic landscapes, and that singular way of slowly inducing trance rather than declaring it. Saxophone, synths, analog drum machines: the arsenal remains familiar, but the approach is even more direct. Playing fast, composing in the moment, letting the hand run before the mind corrects. Capturing something primal, spontaneous, almost raw – as if the sound were really passing, this time, directly from the cortex to the iris.

WRWTFWW Records is delighted to announce the first-ever vinyl release of Art Form I, the overlooked 1997 compilation from Tokyo’s cult imprint FORM@ RECORDS, now available as a limited edition double LP housed in a heavyweight sleeve as part of the ongoing collaborative series between the Swiss and Japanese labels.
Originally issued only on CD, Art Form I is a fascinating deep dive into the rich and singular world of late ’90s Tokyo electronic music—an inspired collection of timeless IDM, techno, ambient, and electronica experiments. Showcasing a roster of visionary underground artists including fan-favorite Virgo (Landform Code, Remnants), the compilation maps the innovative spirit of the era: emotional machine music, intricate rhythmic architecture, mind-expanding textures, and the soulful heart that serves as the solid foundation of everything FORM@ RECORDS.
Art Form I reminds of the pioneering explorations from Warp’s Artificial Intelligence series, B12, The Black Dog, Ken Ishii, and early Carl Craig, all while maintaining its own distinctive local identity. This long-awaited vinyl edition offers listeners a fully immersive rediscovery of a pivotal moment in underground music.
Following the acclaimed reissues of Virgo’s Landform Code (1998) and Remnants (1999), the simultaneous releases of Art Form I and Art Form 2 (1998) continue the archival collaboration between WRWTFWW Records and FORM@ RECORDS, with a forthcoming vinyl edition of remix collection Re-Form Ver-1.0 (1999) to follow.

WRWTFWW Records is very pleased to announce the first-ever vinyl release of Art Form 2, the seminal 1998 Various Artists compilation from Tokyo’s cult label FORM@ RECORDS, now available as a limited edition double LP housed in a heavyweight sleeve, as part of the ongoing collaborative series between the Swiss and Japanese labels.
Initially available only in CD form, Art Form 2 emerges as a quiet artifact from an exploratory phase in FORM@ RECORDS’ late-1990s trajectory. The compilation drifts through the deeper layers of Tokyo’s electronic underground, where IDM, techno, ambient, and downtempo dissolve into one another within an atmosphere of deliberate experimentation. Both intimate and forward-looking, it preserves a moment in which a local scene, largely unseen, was patiently reshaping the future beyond the reach of prevailing global narratives.
Flowing with carefully sculpted rhythms, immersive sound design, and a subtle sense of machine soul, Art Form 2 reflects the maturity of the FORM@ aesthetic in 1998. The compilation resonates with the spirit of Warp’s Artificial Intelligence era, Carl Craig’s melodic futurism, Ken Ishii’s cerebral techno, B12’s deep electronics, and Ian O’Brien’s emotive touch, while remaining unmistakably rooted in its own local context. Timeless and singular, it stands as a beautifully preserved time capsule of underground electronic music.
Following the vinyl excavations of Virgo’s Landform Code (1998) and Remnants (1999), Art Form 2 continues WRWTFWW Records’ collaboration with FORM@ RECORDS. It is released simultaneously with Art Form I (1997), further expanding this archival series, which will continue with the forthcoming vinyl edition of Re-Form Ver-1.0 (1999).

"The Outfit release career defining new album, Preservers of the Pearl, asserting themselves as messengers of the new wave of underground rock and roll, pushing the movement forward alongside fellow trailblazers Mystery Lights, Sheer Mag, Shadow Show, Uni Boys + more.

Everything has been leading here. Daniel Romano shifts from his position as sole writer, opening the floor to Outfit stalwarts Ian Romano and Carson McHone, and welcoming into the fold longtime friend and legendary Canadian rock-n-roller, Tommy Major. The band is functioning as a true collective — multiple voices and perspectives — all serving one creative pulse. The result is both a new beginning and a homecoming, a complete and fearless statement.

Tracked to tape at their own Camera Varda studio, the album captures the band live in the room — breathing, musing, and believing. It’s the sound of human hands and hearts at work, in a shared moment of co-creation, preserved in real time in stunning hi-fi.

Here is music as communion — rock n roll as experience. Preservers of the Pearl rejects the flattening forces in modern times — what the band calls “the mono-agriculture of the mind.” In a “target culture”, condemned to homogeny and banality, The Outfit refuse polish and uniformity, embracing imperfection as truth, and promoting curiosity through creativity. At the center of it all is a deep spiritual current — what The Outfit calls Rock & Roll Magick: the belief that music is a sacred act, a force that can reconnect the individual to what is larger.

The Outfit are making music that is purposeful and profoundly urgent. Preservers of the Pearl is an invocation - it’s fearless in a time of great compromise, and resolute in an age of peripheral bullshit. Here is a band serving something greater than themselves."

"The Outfit release career defining new album, Preservers of the Pearl, asserting themselves as messengers of the new wave of underground rock and roll, pushing the movement forward alongside fellow trailblazers Mystery Lights, Sheer Mag, Shadow Show, Uni Boys + more.

Everything has been leading here. Daniel Romano shifts from his position as sole writer, opening the floor to Outfit stalwarts Ian Romano and Carson McHone, and welcoming into the fold longtime friend and legendary Canadian rock-n-roller, Tommy Major. The band is functioning as a true collective — multiple voices and perspectives — all serving one creative pulse. The result is both a new beginning and a homecoming, a complete and fearless statement.

Tracked to tape at their own Camera Varda studio, the album captures the band live in the room — breathing, musing, and believing. It’s the sound of human hands and hearts at work, in a shared moment of co-creation, preserved in real time in stunning hi-fi.

Here is music as communion — rock n roll as experience. Preservers of the Pearl rejects the flattening forces in modern times — what the band calls “the mono-agriculture of the mind.” In a “target culture”, condemned to homogeny and banality, The Outfit refuse polish and uniformity, embracing imperfection as truth, and promoting curiosity through creativity. At the center of it all is a deep spiritual current — what The Outfit calls Rock & Roll Magick: the belief that music is a sacred act, a force that can reconnect the individual to what is larger.

The Outfit are making music that is purposeful and profoundly urgent. Preservers of the Pearl is an invocation - it’s fearless in a time of great compromise, and resolute in an age of peripheral bullshit. Here is a band serving something greater than themselves."

Y2K25: The Music That Made The Millennium (Various Artists) - VinylOops!we did it, again! Get ready to relive the magic of the millennium with Y2K25: The Music That Made the Millennium. Say Bye Bye Bye to your playlistthis is the way you want your music. Featuring pure nostalgic bliss from NSYNC, Backstreet Boys, Britney Spears, Christina Aguilera, Mariah Carey, TLC, P!nk, Ricky Martin, and so many more. Let that genie out of the bottle, grab your Tamagotchi, flip phone, and CD player to enjoy the biggest anthems from the biggest stars. Order now and escape the everyday existential dread for 78 minutes and 48 seconds of pure nostalgic bliss. 20 chart-topping hits on 1 unforgettable CD (or 12 hits on 1 totally awesome vinyl!) Dont Wait for Tonight. Dont be a Teenage Dirtbag. Celebrate Y2K, 25 years later.

Swiss DJ and producer Audrey Danza returns with Next Stop, her first self-released vinyl EP on her own imprint, Proxima. The four-track release sharpens her sound into a direct, club-focused statement rooted in acid techno.

Each track is carefully engineered for the dancefloor. Driving acidic basslines and distinctive percussion interlock with warped, spacey textures to form forward-moving, high-pressure grooves. Processed vocal fragments punctuate the tracks, heightening tension and momentum. The EP moves through trippy, mental territory, balancing functional DJ tools with off-kilter details and strange sonic flourishes.

Built for movement and momentum, Next Stop works equally well in late-night warehouse settings and peak-time club moments.

New from Modern Love; diamond-cut club fancies x tripped-out energies from a longtime pal of the label, oiling the wheels before a full album drops later this year.

»Nothing But Fixes« spans the A like some lost Gerald white label; 12 minutes of expressive, golden era romance spiked with absolute delirium on the drums. On the flip, Carinho loosens the hips with the kinky swivel of his Lisbon locale, Dojo lifts a half-step fidget, and Echochrome cuts thru liquid Eski, spiked with expressive trills. For dancers and DJs; myriad geometries for movement inside.

Joyce Manor are California pop-punk legends and I Used To Go To This Bar is this epochal band operating at the top of their game. They continue to deliver relentlessly satisfying rock music in a manner that makes it look simply effortless. The Torrance, California-hailing trio of Barry Johnson, Chase Knobbe, and Matt Ebert are at a point in their career where their position as one of the most beloved rock bands is a foregone conclusion. Their seventh album finds the group continuing to find rich new veins to tap in their short-and sweet songcraft without losing an ounce of bite that gained them such repute in the first place. I Used To Go To This Bar further situates Joyce Manor in the rich lineage of their influences and inspirations. Think AFI"s rapid-fire burn, Weezer"s indelible power-pop acumen, and the dusky emotionalism of The Smiths while further establishing them as leading lights in the current rock landscape. The fresh burst of inspiration that fuels I Used To Go To This Bar proves that Joyce Manor are far from content to rest on such laurels, moving forward with their sound and style in a way that reminds you of how they got to this point in the first place. Catch them live at Coachella 2026.

"¡Qué ardiente!" combines the best of Los Roger's limited discography, one of the most influential Amazonian cumbia bands from Iquitos, Peru.Their discography dives deep into Cuban-influenced sounds, where the guitar shares the spotlight with powerful percussion and-with tracks like 'Descarga Roger's'-with the vocals as well. A thorough look into one of the most essential Psychedelic cumbia bands in Peru. Iquitos, one of Peru's most remote cities and the capital of its Amazon region, was the epicenter of the psychedelic cumbia movement. Countless bands emerged from this place, each with a different fate in their musical journeys. Some rose to become international stars and flag bearers of cumbia, while others remained local legends, their fame never traveling far beyond the Amazon jungle. Los Roger's achieved great success in Iquitos and served as the foundation and inspiration for many local bands that emerged in the late 1960s and early 1970s. "¡Qué ardiente!" combines the best of the band's limited discography. The recordings come from their first 45 RPM single and their two mini Long Plays for the FTA label, as well as their only elusive LP from 1971, "¡Qué ardiente!", ("How Burning!") recorded for the prestigious IEMPSA label. Los Roger's came to an abrupt end just one year after the release of their LP, at the peak of their career, due to their disappointments with the music industry.

Belgian artist, label boss and DJ, End-jy, glances back at one of his most revered releases to date, the 2003 ‘Red Alert’ EP, originally released on Lupp Records it marked a defining moment, earning widespread support from scene-shaping artists including Carl Cox, Tiësto, Marco Bailey, Dave Clarke and Mark Broom. Long regarded as a personal milestone, the track now returns in renewed form on the artist’s own label as MV08. This forthcoming EP revisits the original with fresh perspective, featuring a powerful remix from Pig&Dan alongside a newly reworked version by Dimitri Andreas and the artist himself, bridging the track’s enduring legacy with a contemporary evolution.

Pig&Dan take the reins first, extracting fragments of the original version of ‘Red Alert’ and reshaping them into a dub tinged, deep techno cut fuelled by circling synth stabs, robust percussion, tension building atmospherics and a driving bottom end. Following on is ‘Red Alert’ (Dimitri Andreas & End-jy 2026 Remix), the pair lay down a deeper, more hypnotic and minimalist interpretation courtesy of crisp, stripped-down drums and oscillating resonant synth flutters underpinned by the original’s dark, dubby aesthetic.

The original version of ‘Red Alert’ opens the flip side, capturing the essence of the underground at the turn of the millennium, the track fuses, gritty stabs with organic percussive elements, hypnotic siren like synths and a subtly evolving feel throughout.

‘Flexibeat’ then concludes the release, a composition that veers into the realms of early Detroit techno and electro via an amalgamation of twitchy synth pops, cinematic strings, saturated 808 drums and murky bass tones.

Already Supported by Jamie Jones, Calao, Amé, Marco Faraone, Timo Maas, Nick Varon, Steve Parry, Just Her, Dax J, Perc, Massimiliano Pagliara, Alex Neri.

I fell into a deep sleep of reason Everything broken and hence when I woke up from that deep sleep of reason it all made sense

A Unique Artistic Partnership This project represents a distinct and carefully considered artistic endeavor. Developed by Mark Springer (Rip, Rig and Panic) and Neil Tennant (The Pet Shop Boys), it combines a suite for piano, quartet, and quintet with vocals, accompanied by lyrics offering thoughtful introspection. The collaboration explores the intersection of divergent creative approaches-one characterized by radical expression, the other by meticulous craftsmanship. The result is a work that invites reflection and demonstrates the potential of disciplined artistic dialogue.

The Sources of the Project Neil Tennant: I bought a book of Goya's print series Los Caprichos which had inspired Mark's music and saw that the artworks were a satirical, cruel, nightmarish portrayal of the politics, corruption and culture of his era, exploring his dreams - or nightmares - while exposing the double standards of the ruling establishment. The lyrics I wrote for "Sleep of Reason", in response to Los Caprichos, are intended to be sardonic and dreamlike, looking back to Goya's nightmares but then reflecting on my experiences in 21st Century popular culture and media in which I have located the "monsters" Goya saw in his dreams. It often feels like we're living in an era dominated by monsters with their grotesque egos hollering through social media, unfiltered and untruthful, leaving a trail of wreckage behind them. Maybe it's always felt like that.

Yamila presents her second album on Umor Rex, Noor. Following Visions, Yamila returns with a work that merges nature-experience listening with expansive musicality. Noor was born from her time in an ecologist community, where she sought refuge in stillness, learned from animals, and tried to forget the human. In this communion with nature, she discovered a new compositional approach: reducing acoustic noise to allow unheard voices to emerge, transforming music into a possibility for interspecies dialogue.

Since ancient times, sound has been used to care for herds, to call across distances, to communicate with the non-human. Noor reimagines that ancestral role in a contemporary language, where epic harmonies collide with delicate micro-tonalities, and where rhythm unfolds not only as pulse but as movement for the body, a natural extension of Yamila’s work with dance companies and choreographers.

Her voice is interwoven with electronics and the resonant strings of Echo Collective, creating sonic landscapes that radiate intensity and fragility. At times monumental, at others almost whispered, Noor oscillates between composition and spontaneity, structure and suspension.

The album unfurls as a dialogue between the organic and the artificial, where sound grows like a sprout breaking through hard soil. Yamila’s music here is not only to be heard, but to be inhabited: a choreography of air, vibration, and resonance. Noor is both shelter and revelation, a reminder that music can still be epic, luminous, and deeply human, while listening beyond the human.

All music and voices by Yamila Ríos. Recorded at Destelheide by Christophe Albertijn. Strings by Trio Echo Collective (Violin: Margaret Hermant, Viola: Neil Leiter), (Cello: Stijn Kuppens), (Arrangements: Pierre Slinckx). Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Assiah Alcázar. Design & layout by Daniel Castrejón.

Repress.

Just one week after the outbreak of the First Intifada in 1987, Riad Awwad brought his sisters Hanan, Alia and Nariman together in their living room and began recording The Intifada album on equipment he had made himself. One of these was co-written with their friend, the acclaimed Palestinian writer Mahmoud Darwish. Riad printed 3000 copies of the cassettes which he began distributing in the Old City of Jerusalem and across the West Bank. The Israeli Army immediately confiscated all the copies they could find, the vast majority of which remain in the military archives to this day. Riad was arrested, interrogated and detained for several months. Straight after his release, he formed a band, Palestinian Union, and put out a new album. He then founded a school, offering kids in the West Bank an alternative musical education, teaching them how to create their own electronic equipment. In 2005, Riad was tragically killed in a car accident. His legacy lives on through his family, his timeless music and his powerful story, which continues to inspire to this day.

Over several years, Mo’min Swaitat has amassed an archive of rare tapes and vinyl from Palestine and beyond. Many of these were acquired from a former record label in his hometown of Jenin, in the north of the West Bank. The Majazz Project is a research project and record label borne out of the archive, focused around sampling, remixing and reissuing vintage Palestinian and Arabic cassettes and LPs, shedding new light on the richness and diversity of Arabic musical heritage.

We invite you to take a journey through the music of the Pacific and Caribbean coasts of Colombia, where traditional rhythms blend with contemporary sounds.

Mangle Rojo is a compilation album of 8 songs, released on vinyl of 12 inches, with some of the most popular rhythms of Colombian folklore, like Cumbia, Currulao, Bullerengue and, Puya, played by renowned artists like Nelda Piña, Inés Granja, Sixto Silgado Paíto, Emilsen Pacheco and Francisco Torres.

Side A consists of four songs from the Pacific Coast, and side B has four songs from the Caribbean region. In this record take part bands and also collaborations between independent musicians. Six of the songs were composed for the album.

Independent record label Bánfora Records produced Mangle Rojo, with support from the Ministry of Culture of Colombia

‘Shaking Hips and Crashing Cars’ is the debut album from Wrexham band The Royston Club. The album was recently recorded at the famous Chapel Studios in Lincolnshire, where the band spent two weeks with fast-rising producer Alex Quinn. The album was mixed by Tom Longworth and mastered by Robin Schmidt and released on June 2nd, 2023, due to high demand from our fans we have decided to do a limited edition clear vinyl.

This new volume in the “City Music Tokyo” series, curated by Kunimond Takiguchi (Ryusenkei), focuses on Jazz Funk. From among crossover, Japanese jazz,
and soundtrack works released by Nippon Columbia, Takiguchi has carefully selected urban and sophisticated tracks that resonate with his musical sensibility.

Each piece carries a faint scent of the Showa era, evoking words like “night,” “drive,” “dandyism,” “car chase,” “city,” “hard-boiled,” and “man and woman.”

Selected, supervised, and annotated by Kunimond Takiguchi (Ryusenkei).

After traveling through Mexico, Miami, the Bahamas, and New Orleans, Nishioka recorded his fourth album South American Journey in Los Angeles,
released in 1979. From this album, two of his most celebrated tracks—“GYPSY SONG”, a fan favorite with numerous cover versions, and “NEVER LAND”,
featuring the distinctive sound of steel pans and a Japanese reggae vibe are now being pressed on 7-inch vinyl for the first time in a limited edition!

The recording features members of the So What Review band, including Junshi Yamagishi (guitar) and Osamu Ishida (guitar), along with renowned steel pan
player Robert Greenidge, known for collaborations with Van Dyke Parks and Taj Mahal.
(FLATT THE LAIDBACK)

Kyozo Nishioka Profile
(Born May 7, 1948 – Died April 3, 1999)
Singer songwriter from the Shima Peninsula in Mie Prefecture, affectionately nicknamed “Zo-san”.
After enrolling at Kinki University and moving to Osaka, Nishioka became a regular at the folk cafe Dylan in Namba, opened in August 1969 by Masaji Otsuka
and Yoko Ishimura. Dylan was a gathering spot for folk music enthusiasts from all over Japan.
Nishioka formed the folk group The Dylan with Masaji Otsuka and You Nagai, performing at folk camps and the Nakatsugawa Folk Jamboree. In 1971, Nishioka
left the group, and Otsuka and Nagai continued as The Dylan II. Nishioka wrote and composed the song “Puka Puka” under the pen name Zokyozo, which became
one of his signature works. The song was first released in July 1971 as the B-side of The Dylan II’s single “Otoko rashii tte Wakarukai” on URC Records.
Nishioka began his solo career, releasing his debut album “Dylan nite” in July 1972, produced by Kinji Yoshino on Bellwood Records, which included his own
version of “Puka Puka”. In September 1973, he appeared at the farewell concert of Happy End titled CITY – LAST TIME AROUND at Bunkyo Public Hall in Tokyo.
His 1974 album “Machiyuki Murayuki” was produced by Haruomi Hosono, and his 1975 album “Rokka My Baby” featured support from Shigeru Suzuki’s band
HUCKLE BACK. Nishioka recorded three albums under Hosono’s production, deepening their friendship.
Together with his wife and lyricist KURO, Nishioka wrote songs for artists such as Eikichi Yazawa. The couple traveled the world, recording overseas albums such
as “Nanbei Ryoko” (1977), “Yoh-Sollo” (1979), and “New York to Jamaica” (1981), incorporating reggae, calypso, and other global sounds. In the 1980s, he released
works under the duo name KYOZO & BUN with Yoshifumi Okajima, and in the 1990s returned to solo projects with albums like “START” (1993) and “Farewell
Song” (1997).
After KURO’s passing in 1997, Nishioka continued his musical activities until his own death in 1999 at the age of 50. His music transcended the boundaries of folk,
blending jazz and tropical elements to create a unique world view, leaving an indelible mark on Japanese music history.

NYZ (David Burraston) presents this collection of generative music pieces carefully extracted from a PreenFM2 gifted to him by Aphex Twin. PRN2_M15t is being released at the same time as an LP titled Stria from Dr. John Chowning who invented the original FM synthesis algorithms which were sold to Yamaha and used in the creation of the DX series of keyboards. An interview with Chowning, conducted by David Burraston, will be published at the same time.

David Burraston is an award winning artist/scientist working in the areas of technology and electronic music, operating Noyzelab as an independent art/science music studio since 1981. Numerous research publications include a 2006 PhD thesis Generative Music & Cellular Automata, which developed and applied fundamental new concepts from generative music practice to a key problem in complex systems theory.

His experimental arts practice encompasses field recording, landscape-scale sound art, chaos/complexity, practice-based research, sound synthesis and electronic music. He performs, lectures, conducts workshops and creates art installations in Regional NSW and around the world. David also designs and builds sound synthesizers based on his theories of chaos/complexity science. He was recently interviewed by Bandcamp Daily and The Wire Magazine.

David has worked with many diverse collaborators such as Aphex Twin, Chris Watson, Doug Quin, Russell Haswell, Robin Fox, Oren Ambarchi, Sarah Last, Cat Hope, Garry Bradbury, William Barton, Alan Lamb, MIT Media Lab and the Australian Broadcasting Corporation. In 2014 he independently published the legendary "SYROBONKERS!", the most technical and in-depth interview ever given by Aphex Twin.

Here we have two luminaries of contemporary music, vocalist Audrey Chen and iconoclast guitar player Tashi Dorji, who both have proven themselves as key representatives of idiosyncratic music for the past 20 plus years.

Audrey, born into a family of material scientists, doctors and engineers, channeled those family genes through un-processed hyperextended voice, consequently transmutating her family's DNA into her very own sonic language of equal precision, discipline and creative power as her kins' professions.

Tashi, on the other hand, carries the mountains in his spirit: born in Bhutan, Southeast Asia, now residing in Ashville, North Carolina, close to the Appalachians. That earthly power is unmistakably present in his energetic guitar playing, which also incorporates folkloric elements of both his native country, and his homeland since 2000.

Those two strong musical personalities met on stage in the late summer of 2023 at Morphine Raum, Berlin. The fact that it took place in one of the birthplaces of techno music, seems to have pushed their performance towards an industrial, repetitive aesthetic of, at times, almost dancelike quality. However, as the track titles suggest, that classic forward pulsating rhythm, associated with electronic dance music, is bent at their heart's content, as are its appertaining clean melodies gnashed to smithereens.

Following Léve Léve Vol. 1, this second volume continues a long-term exploration of the popular music of Sao Tomé and Príncipe, with a clear focus on rhythm, movement and dancefloor energy. Curated by Tom B., Léve Léve Vol. 2 brings together emblematic recordings from the 1970s and 1980s, carefully restored and remastered, designed as much for close listening as for DJ use.

Mai Mai Mai’s artistic path has never rested on laurels, it’s been a constant evolution, a profound and poetic research, a dark and dusty journey through awareness and collaborations where the heart of the process has always been about building connections and understanding people and their rituals. Mai Mai Mai’s new album ‘Karakoz’ was mostly recorded in Palestine (Ramallah and Bethlehem) in 2024 during an ongoing genocide and follows his acclaimed Southern Gothic double-album ‘Rimorso’. The album opens a new chapter for the Roma based artist, a deeply personal record where his traditional industrial miasma flows into a weeping vortex of spiritual hymns, Mediterranean hauntology and Middle Eastern chants of sorrow, carrying the despair of a battered population and matching the fighting hope with echoes of ambient bliss. Recorded during his artistic residency in collaboration with Radio Alhara and Wonder Cabinet, the album is the result of an immersive six-week residency between January and May 2024, in Bethlehem and Ramallah, where Mai Mai Mai delved deep into the traditional music of Palestine, meeting and collaborating with local musicians, exploring archives, and recording the resonances of the land. This deep engagement allowed him to unearth the intricate layers of Palestinian sonic heritage, weaving them into his own sonic language.

The new record follows Priddy"s sophomore LP "The Pendulum Swing" which firmly established her as one of the most exciting artists on the contemporary British music scene. Produced by Rob Ellis (PJ Harvey, Anna Calvi, Bat for Lashes), "These Frightening Machines" was written over the course of a year as Priddy made the transition from her 20s to her 30s. The most sonically varied of her career, the songs span a full spectrum of emotions from anger and despair to hope, longing and lust, from reclaiming the voices of women silenced by history, to expressing solidarity and love, to confronting illness, disconnection, the vulnerability and importance of relationships, and the general ache of growing older and not always wiser. They explore what it means to keep going when things fall apart, to hold onto connections in a world that sometimes divides, and to figure out where we fit into the machines and systems we find ourselves a part of.

The new record follows Priddy"s sophomore LP "The Pendulum Swing" which firmly established her as one of the most exciting artists on the contemporary British music scene. Produced by Rob Ellis (PJ Harvey, Anna Calvi, Bat for Lashes), "These Frightening Machines" was written over the course of a year as Priddy made the transition from her 20s to her 30s. The most sonically varied of her career, the songs span a full spectrum of emotions from anger and despair to hope, longing and lust, from reclaiming the voices of women silenced by history, to expressing solidarity and love, to confronting illness, disconnection, the vulnerability and importance of relationships, and the general ache of growing older and not always wiser. They explore what it means to keep going when things fall apart, to hold onto connections in a world that sometimes divides, and to figure out where we fit into the machines and systems we find ourselves a part of.

S urrounded by the DIY-scene around their own self-founded recording label new basement, plainhead tries to introduce an ethos uncommon to the local music landscape in their hometown Munich (DE) and interacts between the boundaries of experimental rock and pop.

You Are More Than A Thousand Words‘ is a romantic gesture dedicated to the stars and the people we hold close to our hearts, a subtle mix of chamber pop, experimental acoustic indie and 00s indietronics.
(FFO: Phil Elverum, The Notwist, The American Analog Set)

The Delines were finishing the "Mr. Luck & Ms. Doom" sessions when Willy brought in a tune called "Walking With His Sleeves Down". Vocalist Amy Boone learned it on piano and the Band recorded it live. The take was stunning but the song didn"t quite fit the record so they set it aside along with "The Reckless Life", "Dilaudid Diane" (featured in their recent encores) and "Jumping off in Madras". The song worked sonically but again didn"t feel quite right lyrically and when they finished the record Willy couldn"t stop writing songs for it. The US opioid epidemic with thousands of young people rattled with addiction and living in tents and on the streets and in old cars and RVs, influenced "Luck and Doom" but even more so with The Set Up. Their stalwart producer, John Morgan Askew, was at the helm again and he"s the king of building atmospheric worlds. You can really feel it on this one. By the time we finished they realized "The Set Up" was the wayward, misguided, and lonely sister to "Mr. Luck & Ms. Doom". More ragged and undone but all CinemaScope Delines.

Luciano Cilio was born in Naples, Italy, in 1950. He studied music and architecture and, in the late '60s, collaborated with local artist Alan Sorrenti, American expat Shawn Phillips and various avant-garde theater groups. A virtuoso guitarist and self-taught composer, Cilio released only one LP before his untimely death at the age of 33.

Dialoghi Del Presente (1977) is a work like no other, one that sounds both ancient and ahead of its time. Produced by Renato Marengo, it features a series of muted tableaux for strings, woodwinds, guitar, chorus, piano and percussion. Cilio carves out a space where subtle, repetitive phrases yield – almost imperceptibly – to breathtaking silence.

As Jim O'Rourke writes, "These recordings sound as if they were to please no one but himself; they feel self-contained, introspective, and determined ... You can feel in the music a sort of necessity that can be rarely found, like in This Heat's debut or Nick Drake's Pink Moon."

While each subsequent "quadro" grows slightly more abstract, Cilio draws the listener into an expansive, pastoral soundscape. The closing piece, "Interludio," begins with a plaintive guitar, which is joined by haunting strings and woodwinds before concluding, poignantly, as the album began, with Cilio and his guitar, alone once more.

Superior Viaduct's edition reproduces the original sleeve design. Recommended for fans of Johann Johannsson, Talk Talk's Spirit of Eden, Arvo Part and Popol Vuh.

Released in February 2002 on PlayStation 2, Xenosaga Episode I marked the beginning of an unforgettable video game saga created by Tetsuya Takahashi, accompanied by a majestic soundtrack composed by Yasunori Mitsuda.

The latter is still considered an essential milestone in video game music. We wanted to pay tribute to these cult classics with Across the Kosmos ~ Xenosaga Piano Collection and Jazz in Kosmos, two albums of officially licensed arrangements featuring the best tracks from the game.



This album was created in collaboration with some of the most talented figures in Japanese video game music. It includes 17 piano tracks arranged by Mariam Abounnasr, Akio Noguchi, Hiroyuki Nakayama, and Benyamin Nuss, carefully recorded on a Steinway D Grand Piano.

Bryce Dessners Original-Soundtrack auf einem dunklen, dämmerungsblauen Vinyl gepresst.

One of the UK’s most singular voices, Murkage Dave has spent the last decade crafting a body of work that refuses to fit neatly into any genre box. His music, loosely pop but informed by indie, outsider art, and an instinct for storytelling, is built on honesty, empathy, and fearless social commentary. Across his career, he has earned a cult following and praise from Pharrel Williams, Iggy Pop, BBC Radio 6 Music, The Guardian, Rolling Stone, Pitchfork, Clash, Complex, Highsnobiety, and Vogue. His debut album Murkage Dave Changed My Life (2018) amassed over 12 million Spotify streams, while follow-up The City Needs A Hero (2022) reached #10 on the UK iTunes Chart and #15 on the UK Independent Chart.

With their latest body of work, Desert Storm carve out a sound that is as primal as it is progressive-melding sludge, doom, and heavy metal weight with moments of softness, space, and surprising vulnerability. Across these tracks, the band summon the wilderness, ceremony, and chaos of the human condition, pushing their sound into new territories while staying true to their instinct for heaviness.

Gold Nugget vinyl, limited to 400 copies. With their latest body of work, Desert Storm carve out a sound that is as primal as it is progressive-melding sludge, doom, and heavy metal weight with moments of softness, space, and surprising vulnerability. Across these tracks, the band summon the wilderness, ceremony, and chaos of the human condition, pushing their sound into new territories while staying true to their instinct for heaviness.

Julius Hemphill's debut record, 1972's Dogon A.D., was self-produced for his Mbari imprint, and it was issued with a beautiful black-and-white cover. Very DIY. The label's name writ large along the bottom edge, like it was the band's name. It's a quartet record featuring Hemphill on alto and flute, with Baikida Carroll on trumpet, Abdul Wadud on cello, and Phillip Wilson on drums – a classic jazz front line/rhythm section format, but nothing conventional about the way the music sounds.

The long track – from where the LP takes its title – is one of the key epic statements of new jazz in the era. Among its remarkable distinctions, it manages to draw on Wilson's schizoid experience having been a member of the Paul Butterfield Blues Band and the first drummer for the Art Ensemble of Chicago, in making an 11/8 rhythm into a staggeringly funky thing of joy. Over the course of fourteen and a half minutes, Hemphill builds a nearly continuous solo, his spiritual blood brother Wadud sawing the cello with a deep blues soulfulness that is raw and mantra-like in its repetitive incantation. It feels right and wrong in equal measure, the theme carrying its own piquancy with honked barnyard dissonances and some contrary motion between the horns and string. Most of all, it takes its own sweet time, in no hurry to get anywhere in particular, but out for a righteous stroll. – John Corbett (excerpt from the liner notes)

„Twio“ hieß das fünfte Studioalbum des US-amerikanischen Tenorsaxofonisten Walter Smith III, das im
Februar 2018 bei Whirlwind Recordings veröffentlicht wurde. Der Titel war eine spielerische Wortschöpfung
aus „Trio“ und „Two“. Downbeat schrieb damals: „‘Twio‘ präsentiert den großartigen Tenorsaxophonisten in einem kompakten Trio-Setting. Sein Ton und seine Melodik sind umwerfend, gepaart mit reichem,
packendem Ideenreichtum“.
Für sein drittes Blue-Note-Album greift der Musiker jetzt das Konzept wieder auf und präsentiert mit
„Twio Vol. 2“ ein äußerst gelungenes Album mit klassischen Jazzstücken voll swingender Spielfreude. Das
Album besticht durch eine neue, wechselnde Besetzung mit Bassist Joe Sanders und Schlagzeuger Kendrick
Scott sowie Gastauftritten der Jazzlegenden Ron Carter am Bass und Branford Marsalis am Tenorsaxofon.

Mit Queen of Cuba präsentiert Wagram eine sorgfältig kuratierte Vinyl-Ausgabe, die dem unvergleichlichen Werk von Celia Cruz gewidmet ist. Die "Königin des Salsa" prägte über Jahrzehnte die kubanische Musik und machte sie weltweit bekannt. Dieses Album vereint einige ihrer bedeutendsten Aufnahmen, die den unverwechselbaren Klang und die Energie des Son, Rumba und Salsa widerspiegeln. Titel wie Burundanga, Yerbero Moderno, Cao Cao Maní Picao und Mata Siguaraya zeigen die Vielfalt ihres Repertoires und ihre charismatische Stimme, die Generationen begeistert hat.

XDCVR_ unveils 'I HATE THAT SHIT, I HATE ALL THAT SHIT' a blistering sonic manifesto on the 'performativity of decay'.

In a world saturated with digital perfection, the album emerges as a vital, hand-made act of electronic rebellion.

Framed as a "soundtrack for the end stretch" the record explores the notion that societal decay is not a passive process, but an active performance—a machine chugging along long after its wheels have fallen off.

This is cyborg music for a bifurcated reality: carbon-fiber toughness shielding a core of systemic rot. The sound palette is intentionally raw and imperfect, a direct challenge to the sterile, automated order of what the artist calls the "techno-fascist oligarchy."

Tracks eschew conventional temporality, mirroring the feeling of existing in two concurrent timelines—one hyper-aware of the collapse, the other numbly consuming it.

Drawing a line from the Cold War anxieties of the past to the data-farming dystopia of the present, 'I HATE THAT SHIT…' posits art as the last authentic incubator for societal change. It is, in the artist's words, "a deliberate 'fuck you' to the oppressive order of the status quo. This is not easy listening; it is a contested space, a lit fuse, and a necessary noise for our complicated times."

Nachdem sie sich schon fast 20 Jahre kannten, schien die Zusammenarbeit zwischen Nick Sanborn und Chris Rosenau irgendwie vorprogrammiert, kam aber eher zufällig zustande - bei einem Musikfestival in Eaux Claires, wo die Chemie sofort stimmte. Während sie probten, merkten sie, dass sie schon dabei waren, ein Album aufzunehmen. Sie behielten die Arbeitsmixe und Titel bei, auch die Vogelstimmen und Verkehrsgeräusche, die ins Mikrofon kamen. Das Ergebnis war ,Bluebird" aus dem Jahr 2019, ein kleines Wunderwerk mit fünf Titeln, bei dem man das Gefühl hatte, mit ihnen im Raum zu sitzen und zu lächeln, während sie ihre wortlose Harmonie fanden.Zwei Jahre später trafen sich Rosenau (Volcano Choir, Collections of Colonies of Bees) und Sanborn (Sylvan Esso, Made of Oak) wieder. Sie hatten Spaß bei Runde zwei, aber die Sessions waren weder so unbeschwert wie beim ersten Versuch noch so fokussiert, dass sie sich spannend und neu anfühlten. Die beiden legten diese Stücke beiseite, um es zu einem späteren Zeitpunkt erneut zu versuchen. Dann kam die Pandemie. Es gab Tourneen. Es gab andere Platten. Es gab das Leben im Allgemeinen. Als Rosenau sich wieder zu Betty's (Sylvan Esso's Studio in den Wäldern von North Carolina) wagte, um es erneut zu versuchen, waren vier Jahre vergangen. Und Sanborn baute sein Live-Equipment von Sylvan Esso auseinander, ordnete es neu und fügte neue Teile hinzu, in der Hoffnung, jegliche Muskelgedächtnis für einen Echtzeitaustausch zu vermeiden. Sie wussten sofort, dass es funktionierte, ohne die Zweifel der Vergangenheit im Schlepptau. An diesem ersten Tag, einem Donnerstag, entstanden ,Ghost Sub" und ,Harm". Am zweiten Tag hatten sie einen Fehlstart mit einem Stück namens ,Kay", bei dem Sanborns Synthesizer nicht ganz zu Rosenaus Riff passten, bevor sie mit ,Deltas" weitermachten. Es gab einen Fehlstart, der hier erhalten geblieben ist, aber was folgte, war eine erhabene Morgenmelodie, als würde man müde aufwachen und von dem plötzlichen Licht draußen überwältigt werden. Es ist der Klang des Erwachens zum Leben und der Liebe zu diesem Leben, und es ist das kleine Juwel in der Mitte der sechs Songs, die sie an diesem Wochenende aufgenommen haben, die sechs Songs, die hier in der Reihenfolge präsentiert werden, in der sie entstanden sind. Sie beendeten ,Two" kurz bevor Rosenau zum Flughafen aufbrach; es ist ein langer Abschied, süß und sentimental und traurig, ein letztes Gespräch zwischen zwei Freunden, die ihre gemeinsame Zeit genossen haben. Das Band bricht ab, aber man muss nicht hören, was er sagt, um zu wissen, was er sagt. Das war gut, perfekt, genau das, was wir gesucht haben, genau richtig, Kumpel. So fühlt sich ,Two" von Anfang bis Ende an - zwei Freunde, die fest miteinander verbunden sind und sich in ihren schönen Austausch vertiefen.

Any follower of Andrew Weatherall (a particularly fervent and erudite tribe) will be familiar with 'The Sons of Slough.' Comprising Andrew's brother Ian and Duncan Gray, they have produced music together for twenty years and throughout Andrew has been an avid supporter playing their records at his shows, helping Duncan set up his Tici Taci label and generally being a good friend.

Their mutual admiration for Factory Records made it an obvious place to seek inspiration for a tribute record. The influence of Factory on Andrew and Ian's lives is difficult to overstate. They spent a fair chunk of the 80s travelling all over the country to catch the label's artists perform.

New Order were pretty much top of the list and the Factory ethos of creativity over commercialism was to become Andrew's main drive throughout his career.

Ian and Duncan have reworked New Order's "In a Lonely Place" as a homage to Factory and the inspiration they were to a whole generation. David Holmes, Keith Tenniswood and Sean Johnston (all long time Weatherall collaborators) used the track as a jumping off point bringing Factory, New Order, their own musical perspective and most of all Andrew together in a unique tribute to shared times and fond memories.

John Lee Hooker is widely recognised as one of the true giants of the blues, along with Muddy Waters, B.B. King, and Howlin' Wolf. Hooker is often called the "King of the Boogie" and his driving, rhythmic approach to guitar playing has become an integral part of the blues' sound and style that perpetuated the UK's rhythm and blues scene of the '60s. Presented here is one of John Lee Hooker' s finest album, The Big Soul of John Lee Hooker, recorded in Chicago in 1962.

In a career that spanned some forty odd years, a pivotal point of success came with his 1989 album The Healer, which featured collaborations with Carlos Sanatana, Bonnie Raitt, Charlie Musselwhite, and Los Lobas. The album expanded his audience beyond the blues idiom, earning him his highest Billboard album chart success (#62) his first Grammy Award; all of this at the grand-old-age of 73. For those not familiar with Hooker's earlier work, the Big Soul of John Lee Hooker is an excellent starting point.

Die lang erwartete Rückkehr der schwedischen Dream-Pop-Romantiker. Ein verschwommener Schleier aus düsterem und fesselndem Shoegaze-Pop. Die skandinavische Indie-Pop-Band Hater beendet nach ihrem beeindruckenden dritten Album ,Sincere" ihre dreijährige Pause mit der Veröffentlichung von "Mosquito", einem faszinierenden Dream-Pop-Drama, das sich über elf packende Episoden der Selbstreflexion erstreckt. Auf "Mosquito" klingt die in Malmö ansässige Band Hater wie neu belebt - sie greift den rohen Indie-Pop-Ansatz auf, für den sie bekannt geworden ist, jedoch mit einem direkteren, ausgefeilteren Songwriting. Die Band hat ihre Shoegaze-Wurzeln zu etwas Schärferem, Melodischerem und Tiefgründigerem verfeinert. Das Album strotzt nur so vor Geschichten, in denen mythische Wendungen (Vampire, Amor, Mücken) von der traurigen Sehnsucht nach wahrer Liebe untermauert werden. Aber dies ist kein typisches Album über die Liebe, wie die Band betont, es ist eine emotionale Achterbahnfahrt, die von halb vergessenen gebrochenen Herzen und gebrochenen Versprechen, voller Qualen und Kribbeln, aber auch von Hoffnungen und Träumen für zukünftige Lösungen geprägt ist. "Mosquito" wurde in der herrlichen Abgeschiedenheit der AGM Studios in Vollsjö, Schweden, aufgenommen, mit dem langjährigen Mitarbeiter Joakim Lindberg an den Reglern und dem Bassisten Adam Agace, der wieder zum Team zurückgekehrt ist. Sie vollendeten das Projekt in Lindbergs berühmtem Studio Sickan, wobei Caroline Landahl, Måns Leonartsson, Rasmus Andersson und Adam Agace gleichermaßen zu einem Sound beitrugen, der zwischen kraftvoller Introspektion und melancholischer Erkenntnis wechselt. Immernoch "Your next Scandinavian indie pop obsession." Flood. Klares Vinyl mit bedruckter Innenhülle und DLC sowie Digisleve-CD

We are repressing Neil Young's 2004 Greatest Hits. The new pressing on 180g black 2LP vinyl will be available for a "release date" of 6th March for all retail accounts ex. Amazon.
Greatest Hits is the third hits compilation, and presents 16 of Neil Young's best-known songs, spanning his solo career from 1969-1992, including "Down By The River", "After The Gold Rush", "Old Man", "Heart Of Gold", and "Rockin In The Free World".
The original version of the LP came with an additional 7" which is excluded on this pressing.

Twenty five years after its debut, the legendary Post Office compilation returns with its sixth volume – this time as a tribute to House music. Staying true to its pioneering spirit, the series once again brings together iconic figures and fresh talents from today’s international electronic scene. More than just a compilation, Post Office vol.6 is a true celebration of House music – honoring its roots while opening new sonic perspectives.

Another secret chapter of Flexi’s sister label “Incognito Trax”, dedicated to mysterious vibes, unexpected remixes and strictly party tracks.

Have Isaac Carter & Callum Asa made the most tasteful tech house EP of recent memory? The short answer is
yes....

Isaac and Callum, known for their respective club nights: OCHI and Planet People have been quietly chipping away at the coalface of underground dance music for quite some time now.

Isaac - perhaps known more widely as a regular at Circoloco & Phonox has shared bills with the likes of Moodyman, DJ Bone, Kai Alce, Laurent Garnier and Marcellus Pittmann whilst being championed by Joy Orbison, Ben UFO, Moxie, Seth Troxler, Raresh and Floating Points to name but a few. With such an impressive CV and wide ranging support, it’s wild to note that the first EP released on his own label, OCHI only came out in 2023. His star is clearly ascending with rapidity - so when we throw long term collaborator Callum Asa into the mix, things start to get really interesting. Calum has been running Planet People for the last couple of years, welcoming incredible names such as Shed, Surgeon, Willow, Ploy, Cooly G, Rroxymore and so many more. Steel sharpens steel and having been surrounded by such esteemed talent, it’s clearly rubbed off on the pair who present 4 polished, meticulously constructed, club ready masterpieces, each with their own distinct feel and an insatiable groove.

‘Feel Me’ sets the scene with a descending baseline that would eek a wiggle out of the most reluctant spectator. The twisted dub eeks out even more groove, locking in a more sinister bounce for the heads. By The time ‘Understand’ get’s into full swing, we’re already under the spell of Carter & Asa, this is the kind of roller that could go on forever and ever. The synth embellishments and washes of analog synth pull us deeper and deeper in, prepping us for the finale , ’Try You’ which simmers with deep, brooding intensity.

The magic of the dup’s appeal is that this EP will find its way into the bags of the deepest diggers and also appeal to a new generation of house fans. Elements of it are accessible , but in the right hands - the EP will open a portal to new worlds.

Volcov, the Veronese founder of the Neroli record label, returns to the BBE fold with the third compilation in his majestic series 'From the Archives' and once again this new installment is another collection of overlooked gems and unreleased beauties that are set to entice the discerning listener. As with volumes 1 and 2, 'From the Archives volume 3' features cherry picked songs that focus on melodies and weave a thread between eras and genres. From the Archives volume 3 is a genre free journey into authentic grooves which features music from the enchanted tones of Carlo Nino & Friends, an exclusive from Collettivo Immaginario, uptempo moments from remix kings Kaidi Tatham and DJ Spinna as well as two unreleased songs from Fred P and J2 Fusion feat. Javonttee and DJ Genius. From The Archive 3 represents another accomplished work of love from Volcov aka Enrico Crivellaro, who has a long list of albums and compilations under his belt as well as being involved in productions, edits, releases and projects with artists such as Dego, Theo Parrish, Phil Asher, Gerald Mitchell, Domu, Kaidi Tatham, Kirk Degiorgio, Patrick Gibin, Lars Bartkuhn, Ian O’Brien and many more. From the Archive volume 3 is released as a vinyl double LP and a digital download and is a compilation in which the music lover will be guided hand in hand through a collection of unreleased and hard to find songs that shift effortlessly between jazz and house, broken beat, ambient and soul.

Following her acclaimed 2023 release Flood City Trax, a dreamy, lo-fi take on footwork inspired by the crumbling rust-belt city she calls home, Nondi returns to Planet Mu with her second self-titled album, Nondi…While Nondi… retains some of the hazy, nostalgic atmosphere of Flood City Trax, it pushes her sound in bold new directions. “I made this album to capture the sense of freedom I used to get from music when I was first discovering it all,” Nondi says. “It’s meant to be cute, fun, kinda weird and emotional — but most of all, it’s a presentation of some of the prettiest tracks I’ve made.” Though she hasn’t really experienced club culture where she lives, her impressionistic productions evoke the surreal, lingering sounds of a night out — the melodic haze that hums in your ears as you drift off to sleep. Lo-fi and melodic, yet fluid and free, her music carries a sense of flight and intuitive logic. Nondi’s influences range widely — Actress, Aphex Twin, footwork, and the stranger edges of dub techno are all felt, yet she hallucinates them through her own weathered, dreamlike lens. Her tracks often build from clashing loops that evolve and transform organically, or from familiar genre elements reshaped by her instinct for misty, heart-wrenching melody. Some moments stay closer to genre, like Broken Future 175, a drum-and-bass tear-out that dissolves into lush, blurred chords, or Just Hanging Out, a bruised and beautiful take on 2-step. Lead single Tree Festival feels like a blown-out fusion of rave energy and sped-up new-age bliss, while Death Juke drifts through off-beat vocal samples, pulsing drums and 8-bit FX, reminiscent of early Steve Reich reimagined through a Game Boy. Nondi… is a uniquely moving and exploratory album that expands her sonic world even further. Lo-fi yet luminous, playful yet profound.

Clear vinyl 2LP + insert. Volume 3. Personal Computer Music for the Third Millennium. A compilation of hits from 2018-2021 alongside upcoming, unreleased and unreleasable music.

BBE Music presents J Jazz volume 3, the latest in its definitive compilation series exploring the finest modern jazz from Japan. Since the first volume in February 2018, the J Jazz compilation series has showcased some of the most creative, inspired and sought-after jazz recorded in Japan during a golden period spanning the 1960s to the 1980s. Illustrating the richness and versatility of the composers and musicians on this collection, the music spans a wide yet coherent range of styles: samba, funk fusion, modal, spiritual, post-bop and bossa all combine to present an aural portrait of a jazz scene that was constantly moving and shifting its multiple musical centres of gravity. Mastered at the Grammy-nominated Carvery studio in London, many of the tracks featured are reissued for the first time, including mega-rare private press cuts from the Yasuhiro Kohno Trio, Masaru Imada Trio, and Hideyasu Terakawa Quartet. There’s heavy post modal bop by J Jazz legends Kohsuke Mine and Koichi Matsukaze; samba heat from Tatsuya Nakamura, Hideo Shiraki and Seiichi Nakamura; and funky dance floor energy by Hiroshi Murakami, Ryojiro Furusawa Quartet and Shigeharu Mukai. Selected albums from which the tracks are drawn will be reissued in full as part of the acclaimed BBE Music J Jazz Masterclass Series. Released as a deluxe, heavyweight x3 vinyl set in a gatefold sleeve with obi strip and insert, the collection comes with extensive artist biographies and track information. J Jazz volume 3 is also available in a x2 CD set with three bonus tracks, and selected tracks are available across digital platforms for download and streaming. J Jazz is conceived, compiled and annotated by Tony Higgins and Mike Peden for BBE Music.

 ‘Heart Under’, Just Mustard’s second album and first for Partisan Records
(IDLES, Fontaines D.C., Laura Marling), is an album that asks you to forget
what you know. At every turn, this remarkable record reconfigures and
stretches the ideas and ambition of a rock band and turns a year of lockdown
and personal struggles into a breath-taking artistic statement.
 Across its 10 tracks, the album presents a coherent style and ethos - those
scything guitars, Katie’s magical vocals - but still incorporates a wide and
untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In
Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all
tied together with impeccable instrumentation and a united vision.
 On debut ‘Wednesday’, the band played with dreamier soundscapes and
production techniques, and ‘Heart Under’ serves as the next stage of this
development, with every instrument brilliantly pushed to its limit and every
boundary of the band stretched.
 After the band had finished recording and producing the album, ‘Heart Under’
was pushed even further into singular territory when the band worked with
mixer David Wrench, whose previous collaborators include Frank Ocean,
Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone
who had done pop and electronic records and didn’t just work within rock
music,” Katie says.
 “Ireland’s buzziest new band” - The FADER
 “Their rapturous reception here at SXSW is a testament to their startling
evolution as well as the excitement that can only come from watching a band
just beginning to realise the full extent of their powers.” - NME
 “They have well and truly mastered the art of atmospheric rock” - Loud And
Quiet (9/10)
 Supporting Fontaines D.C. on their European and US tours this year. They
were handpicked by Robert Smith to support The Cure in Dublin in 2019.
 Eire headline tour in June, UK headline tour in September, including Village
Underground, and EU headline tour in October.
 Choice Music Prize nomination for Irish Album Of The Year for their debut
album, ‘Wednesday’.
 CD housed in a cardboard wallet with lyric and photo insert.
 LP pressed on black vinyl and housed in a single sleeve jacket with lyric and
photo insert.

Grad_U returns to his legendary Redscale imprint with a re-press of one of the label’s most sought-after 12-inches. Originally released as part of the series that helped define modern dub techno, Redscale 02 showcases the Lithuanian artist’s unmistakable sound, deep, analog, and endlessly evolving.
Both sides carry Grad_U’s signature weight: hypnotic low-end movement, rolling chords, and perfectly balanced textures that blur the line between club tool and meditative listening piece. Once again, Redscale reminds us why it stands as one of the most respected labels in the global dub techno scene: no hype, no compromise, just deep, timeless sound.

Having transitioned between London, Lisbon and back again as a DJ and producer, as well as across the world as the drummer in beloved pop group, Metronomy, Anna Prior remains an essential and independent force in alternative and electronic music culture. The current epicentre of this creativity is undoubtedly Prior’s own label, Beat Palace. Established in 2021, it has showcased the talent and diversity of FLINTA producers carving an esoteric space within alt-pop and electronic music.

Returning to the imprint for the first time since its inception, Anna Prior utilises this vital platform to refine her own craft across the five-track ‘Firefly’ EP, exploring new moods and styles, balancing playfulness with vulnerability, shadow and light. Prior describes ‘Firefly’ as, “a collection of moments - some fleeting and some stubbornly lingering.... Each track came together almost by accident, but now feels to me like they've always belonged together.”

Lead single ‘True For You’ pulsates with soft euphoria, as Prior weaves softly cascading synths with her own earnest declarations, composing a sensual, sophisticated drama about “letting other people's differing truths sit alongside your own” that nonetheless carries a distinct club energy. In contrast, title track ‘Firefly’, written alongside co-producer Matt Karmil, unfolds as a spoken-word piece, investigating memory, “the tricky mirror that reveals more than it conceals”. Throughout, Prior’s inquisitive, native Yorkshire accent anchors a wide-eyed soundscape that gradually, impressively escalates into the cinematic.

Centerpiece track ‘Silence’ turns this approach inside out, escalating the tempo and revealing a DnB-influenced shade of Prior’s work that is certain to surprise and impress, scattering elegant syllables amongst serious soundsystem pressure as Prior navigates the feeling of being ghosted; by friends, lovers and even her own work. ‘No More Drama’ returns to pop, presenting a bold cover of Mary J. Blige’s classic that inverts the original’s unmatched intensity for a more serene, but no less affecting rendition.

Finally, ‘Beside You’ delivers one last, sublime blend of Prior’s songwriting and sequencing instincts, a simple pop incantation that coaxes dancers into a soft trance while concluding with a reminder from Prior that “amid life’s unanswered calls and fleeting highs, there is always space to feel safe and unjudged.” Concluding this sublime EP, Prior finds new ground to settle into her talents.

With this new remix EP, The Lovers explore different shades of disco and house through a carefully balanced and personal approach.

The opening track sets the tone with a playful and hypnotic groove, built around arpeggiated patterns and a steady modern rhythm. A female spoken vocal, instantly recognizable from Italian television culture of the 1980s, takes center stage, while a smooth saxophone line adds a sensual, cinematic layer.

The second cut moves into deeper emotional territory. Beginning with a restrained atmosphere, the track slowly builds tension through a rebuilt bassline and a solid house pulse, eventually opening into a more expansive and powerful moment on the floor.

A warmer disco-driven piece follows, focused on groove and feeling. The original spirit is preserved, while a heavier low end gives the track new confidence and presence within a contemporary club setting.

The EP closes with an elegant house reinterpretation inspired by French pop sensibility. A melancholic melodic theme and subtle references to tango shape the final moments, blending emotion and rhythm with a refined sense of flow.

A concise collection of remixes for selectors drawn to groove, memory and understated elegance.

Limited obi strip edition, exclusively in our store!

To celebrate the 10th anniversary of Salty Nuts, label head Fabe returns with his first EP of 2026.

The record captures the unmistakable signature of the label: groove-driven drum work, punchy basslines, and razor-sharp sample chops, all coming together to form the infectious sound Salty Nuts is known for.

Across four carefully crafted club tracks, Fabe delivers music designed to work at any moment on the dance floor. Each cut carries peak-time energy while remaining versatile enough to set the tone in early hours or drive the floor deep into the morning.

8-page lyric / drawing booklet, glossy poster, download card (inc. mp3s), white inner paper bags, sticker on cover.

After 7 strange years of relative silence, and 13 years of being a band, Dog Chocolate have returned with ‘So Inspired, So Done In’. Their fourth album is their most focused, cohesive and song-y yet. They still sound like a bin full of wasps, but now the bin has double-cream or a Viennetta or something at the bottom. While many of the 16 songs on here barely make it past the 3-minute mark, each one is bursting with all the textures and colours of an office cupboard: full of old sweets, fluorescent markers, and multiple ways to fix paper together.

Thematically, a lot of ground is covered, with songs tackling subject matter as diverse as overheard conversations, healing fungal toenails, the Rogerian concept of the Actualising Tendency, bronze age living conditions, dreaming songs into being and human-plant relations. Work (and anti-work) is a recurring theme, as is artistic inspiration and burnout. Dog Chocolate revel in the mundane and incidental, to explore bigger, existential questions. Recorded and mixed by POZI’s Toby Burroughs and mastered by Sofia Lopes, ‘So Inspired, So Done In’ charts a long and confusing period in the band’s collective life, marked by major life changes, losses and shifts, colouring the band’s trademark frantic, daft and anxious energy with a contemplative glaze. Dog Chocolate continue to investigate their internal and external landscapes with playful curiosity, frustration, silliness and empathy.

Pre/history of the band: In the early 2000’s Andrew (vocals), Rob (guitar, vocals) and Matthew (guitar, vocals) played together as teenagers in South-East London-based maximalist, costumed surrealist punk band Yeborobo. They met drummer Jonathan playing with his instrument-swapping masked band Limn at art space Utrophia in Deptford. Later, when both bands had split, Dog Chocolate formed with a shared desire to make a band that was simpler than their theatrical past: small amps and light guitars, no more than 2 drums at any one time, a keyboard no longer than a ruler and a shared ethos… “it’s about giving a shit, but at the same time not giving a shit, but not ‘whatever’, not giving up never!”. The band floated the term “pencilcase punk” to describe their jumbled, colourful, dense and instant music.

Dog Chocolate built on this early scrappiness, bedding into their sound over several albums. Their first “Or” (2014) was a split with Ravioli Me Away, soon followed by “Snack Fans” (2016) and “Moody Balloon Baby” (2018). Along the way they played gigs with bands as wide ranging as Deerhoof, No Age, Dry Cleaning, Palm, Daniel Wakeford, Shopping and Pozi.

With a tendency to converse with each other both lyrically and musically cultivated over many years, the members of Dog Chocolate bounce off each other, respectfully disagree, try to make each other laugh and share some of their most vulnerable feelings with each other. ‘So Inspired, So Done In’ is their own unique offering during these unsteady times: a language of friendship translated into songs.

Straight from Honolulu, Bombye is a newly found Hawaiian soul trio led by Nick Kurosawa, one of Hawaii’s most captivating voices. Known for his rich,
velvet tone and vintage-inspired phrasing, Nick and his band channel the essence of 1970s soul, funk, and R&B into a deeply organic soundscape that feels both nostalgic and new.
The EP features four tracks that showcase the band’s musicianship and emotional depth.
Mixing by Andrew Garma and mastering by Wax Alchemy deliver exceptional clarity and analog warmth, while Shiro Ishihara (SNEA) provides the minimalist yet evocative artwork
that perfectly complements the record’s soulful aesthetics. This limited-edition vinyl includes a bonus “Bombye” sticker exclusive to CONNECT RECORDS. Each copy is pressed with
care for collectors, DJs, and analog enthusiasts seeking authentic, heartfelt soul music with timeless groove and depth.