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Lee ‘Scratch’ Perry & The Upsetters’ classic Return of Django. Lee Perry had already been making name in the Jamaican music scene for about a decade before Return of Django hit the UK charts in 1969. It was released after Trojan released
a hugely popular collection of Perry’s biggest instrumentals. This album is a must for everyone that enjoys that good old vintage reggae sounds.

Lee ‘Scratch’ Perry was a pioneer of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys.

Return of Django is available as a limited edition of 1000 individually numbered copies on white coloured vinyl.

New Surrender is the fourth studio album by American alternative rock band Anberlin, released in 2008. It marked their first album under a major label, Universal Republic Records, after signing with them in 2007. The album blends alternative rock and emo influences, featuring a mix of energetic and introspective tracks. Songs from the album are “Breaking”, “Miserable Visu (Ex
Malo Bonum)” and “Feel Good Drag” which was originally released on their earlier album Never Take Friendship Personal, but in this re-recorded version became the most successful single.The album peaked at number 13 on the Billboard 200 and number 5 on the Billboard Modern Rock/ Alternative Albums chart. It was produced by Neal Avron, known for his work with bands like Yellowcard and Fall Out Boy.

New Surrender is available on black vinyl and includes an insert with lyrics.

Let There Be Cello finds 2CELLOS exploring a diverse catalogue with their signature boundary- breaking playing style. Co-produced by Šulić and Hauser themselves as well as Filip Vidovic, Let There Be Cello is a showcase of their exceptional talent for reinventing the music of any genre. The collection includes their take on Ed Sheeran’s “Perfect” and “Despacito” by Luis Fonsi, a fan-favorite rendition that has garnered over 39 million views on 2CELLOS’ YouTube alone. Known for bringing their explosive playing style to some of rock’s biggest anthems, they make
no exception on this album, which features favorites “Eye of the Tiger” by Survivor and The White Stripes’ iconic “Seven Nation Army,”. Taking their classical instrumentation to new heights, 2CELLOS rounded the album with everything from celebrated classics (“Imagine” by John Lennon, “Hallelujah” by Leonard Cohen) to never- before-heard original compositions (“Concept2,” “Cadenza”) for a listening experience unlike any other.

Asphalt DJ returns to Oddysee with another intoxicating 4- track formula, titled “Double O”. Operating on a solo tip this time around, the Berlin-based producer further expands his sonic palette and offers a versatile collection of steamy club workouts geared towards various stages of dancefloor
functionality. The record seamlessly touches on seductive after-hours bounce, slices of late nite propulsion and flawless rhythmic explorations, while keeping firm footing in the 90 and 00’s sound spectrum. With an eye on the ongoing terror inflicted upon the Palestinian people, we (artist &
label) decided to donate all proceeds from this release to Save The Children - Gaza and West Bank Emergency.

Free Palestine

Released in 1993, The Love of Hopeless Causes is the sixth studio album by British post-punk and alternative rock band New Model Army. The album delivers powerful, politically charged lyrics and intense instrumentation. Key tracks like "Here Comes the War," "Living in the Rose," and "Fate" showcase the band's signature blend of raw energy, thought-provoking storytelling, and anthemic melodies. The album’s themes explore social unrest, personal struggles, and resistance, reflecting New Model Army’s unwavering commitment to their message. Produced by Niko Bolas, The Love of Hopeless Causes was the band's only release under Epic Records. With its mix of fiery rock anthems and atmospheric ballads, the album remains a standout in New Model Army’s discography, appealing to both longtime fans and newcomers to their music. The Love of Hopeless Causes is available on black vinyl.

Hatebreed vocalist Jamey Jasta described Supremacy as an “all-out onslaught of completely adrenaline-charged, in-your-face brutality,” and who are we to argue (in fact, we’d be afraid to)?! Hatebreed came up through the Connecticut hardcore scene (they actually kind of invented it), and recorded acclaimed albums for the Victory and Universal labels before moving to Roadrunner for this 2006 record, which featured the debut of guitarist Frank “3 Gun” Novinec. Supremacy’s sonic assault took it to #31 on the charts, but there’s more to it than just piledriving riffs; Jasta’s personal statement (reproduced on the insert) is remarkable for its honesty and its quasi-Nietzschean philosophy, and the lyrics (e.g. “Mind over All;” “Supremacy of Self”) follow suit. Remastered for its U.S. vinyl debut by Mike Milchner at Sonic Vision, pressed in ruby red wax!

The line between art and entertainment has always been fuzzy. Certainly, there’s plenty of overlap between the two, but lately it feels like there’s a growing divide, an ever-widening chasm separating our fundamental need for creative expression and our insatiable appetite for disposable content. That’s where T. Hardy Morris comes in.

“I’ve spent a lot of time parsing the difference between the two,” he explains, “not just for myself, but for society at large. What does it mean to be an artist? How do we measure creative success? Where are the boundaries between audience and performer when everyone’s broadcasting their lives 24/7?”

Morris dives into those questions headfirst on his riveting new album, Artificial Tears, and while the answers don’t come easily, the search yields plenty of reward. Recorded in Nashville with My Morning Jacket’s Carl Broemel at the helm, the collection is an electrifying work of existential exploration, a raw, rock and roll reflection on meaning and identity in a modern world that’s simultaneously more connected and isolated than ever before. Despite the weighty ruminations at its core, the result is a remarkably grounded, down to earth album that’s at once honest and abstract, a poignant, clear-eyed look in the mirror from a master craftsman committed to his work for nothing more—and nothing less—than its own intrinsic value.

Wild and untamed Swedish teenage heavy metal from 1981-1985. Includes their ultra rare single plus previously unreleased studio recordings. The album includes a booklet with interviews and photos documenting TRP’s wild stage shows and the local Swedish hard rock youth gangs of the 1980s. Blood splattered vinyl - limited edition of 600 copies worldwide.

The teenage boys that formed TRP came together in the small town of Fjälkinge outside of Kristianstad in southern Sweden back in 1981. In 1982 they recorded and released their legendary after single. They immediately became very popular with the local hard rock you gang’s attracting wild and rowdy crowds.

TRP performed wild and loud shows gilded by the bands furious use of pyrotechnics, smoke bombs, leather, studs and gallons of fake blood.

Their stage show combined with their music got the band banned in Sweden and it was said that they were obscene and promoted satanism.

The band didn’t let that stop them and instead they went into a studio and recorded several tracks with their new lead guitarist. However, these amazing recordings were never released...until now that is. Then in 1985 TRP performed their last show. Their final stand was heavy metal mayhem supreme and the whole stage went up in flames.

“I had welded a guitar slide with one end closed and filled it with chimney test smoke, then I screwed it to the top of the neck of the bass. It burned constantly for two songs, but the effect was cool. We spat blood, as usual, and Peter just kept firing off bombs like crazy. He managed to shoot one right up into Fredrik’s ass during a guitar solo…”

Wombo’s third album, ‘Danger in Fives,’ isn’t a reintroduction; it’s a reminder. Throughout ‘Danger in Fives,’ Wombo — the Louisville-bred three-piece of Sydney Chadwick (bass/vocals), Cameron Lowe (guitar), and Joel Taylor (drums) — not only enhance their formula, but routinely perfect it. The 11 tracks on ‘Danger in Fives’ fine tune Wombo’s enchanting alchemy while firmly pushing the band into new territory.

Wombo first connected in Louisville in 2016 and have crafted a unique lane over the near-decade since forming, contorting post-punk structures into uncanny shapes. On ‘Danger in Fives’ they twist another knot into their belt, and come out creatively renewed. Throughout ‘Danger in Fives,’ it’s clear what has made Wombo one of the most respected bands in their class, and it’s thrilling to hear them command new terrain.

Wombo’s third album, ‘Danger in Fives,’ isn’t a reintroduction; it’s a reminder. Throughout ‘Danger in Fives,’ Wombo — the Louisville-bred three-piece of Sydney Chadwick (bass/vocals), Cameron Lowe (guitar), and Joel Taylor (drums) — not only enhance their formula, but routinely perfect it. The 11 tracks on ‘Danger in Fives’ fine tune Wombo’s enchanting alchemy while firmly pushing the band into new territory.

Wombo first connected in Louisville in 2016 and have crafted a unique lane over the near-decade since forming, contorting post-punk structures into uncanny shapes. On ‘Danger in Fives’ they twist another knot into their belt, and come out creatively renewed. Throughout ‘Danger in Fives,’ it’s clear what has made Wombo one of the most respected bands in their class, and it’s thrilling to hear them command new terrain.

Lou Bond only made one album but what an album it was. Politically charged, deeply introspective, and wonderfully lyrical, 1974’s Lou Bond is reminiscent of the Eugene McDaniels releases Headless Heroes of the Apocalypse and Outlaw (both out previously on Real Gone) in its outspoken, idiosyncratic social commentary. But there is a sensitivity here that’s devastating; Bond’s falsetto soaring over his strummed acoustic guitar brings to mind Bill Withers (whose “Let Me into Your Life” he covers) at his most affecting, while the orchestrated arrangements summon What’s Going On vibes. With comparisons like those, you know this record is special, but Lou Bond is a one-of-a-kind album that really defies comparison (despite our best efforts). For this ALLANALOG reissue, we had our friends at Well Made Music cut lacquers directly from the original tapes, and pressed the record at Gotta Groove Records. Available either in black vinyl or clear yellow. Both Outkast and Mary K. Blige sampled Lou Bond…that’s because it’s one of the lynchpin albums of Memphis soul.

Lou Bond only made one album but what an album it was. Politically charged, deeply introspective, and wonderfully lyrical, 1974’s Lou Bond is reminiscent of the Eugene McDaniels releases Headless Heroes of the Apocalypse and Outlaw (both out previously on Real Gone) in its outspoken, idiosyncratic social commentary. But there is a sensitivity here that’s devastating; Bond’s falsetto soaring over his strummed acoustic guitar brings to mind Bill Withers (whose “Let Me into Your Life” he covers) at his most affecting, while the orchestrated arrangements summon What’s Going On vibes. With comparisons like those, you know this record is special, but Lou Bond is a one-of-a-kind album that really defies comparison (despite our best efforts). For this ALLANALOG reissue, we had our friends at Well Made Music cut lacquers directly from the original tapes, and pressed the record at Gotta Groove Records. Available either in black vinyl or clear yellow. Both Outkast and Mary K. Blige sampled Lou Bond…that’s because it’s one of the lynchpin albums of Memphis soul.

Motown’s L.A.-based Mowest label lasted less than two years, but managed in that short time to release some of the most adventurous music the company ever put out. And probably the most intrepid—and nowadays, adored—Mowest release of them all was the 1992 self-titled release from Odyssey. This one-off brought elite West Coast sessionmen like Wrecking Crew mainstay Don Peake, one-time Chicago member Donnie Dacus, and arranger/orchestrator extraordinaire Gene Page together with a bunch of West Coast hippie rockers (as Peake says, “We were invited to lunch, introduced to some nice people and told we were going to form a band”).

The happy result was a record that has appeared on more deejay turntables than you can count, a one-of-a-kind blend of funky Motown bottom with a spacy sensibility and sound that fits right in next to, say, the latest Khruangbin album on your psychedelic chill playlist even as it activates your 5th Dimension sunshine pop endorphins. The single “Our Lives Are Shaped by What We Love” is probably the pick to click, but the whole album is a total vibe. We’re reissuing Odyssey for the first time ever in the U.S. (the Japanese have long been all over this album) in blue-green “ocean spray” vinyl, complete with original album art including the lyric insert. Remastered for the format by Mike Milchner at Sonic Vision, and pressed at Gotta Groove Records for superior sound. A must!

20th anniversary reissue of the 2005 classic! Limited edition zoetrope picture disc!

The Suicide Machines’ classic 6th studio album! The Detroit four piece cranks it up a few notches with “War Profiteering is Killing Us All.” These are some of the heaviest, loudest and politically charged songs the band has ever done. Produced by Mr. Bill Stevenson (Black Flag, ALL, Descendents), the 2025 remaster is by Nicholas Townsend. Brace yourself!!!

20th Anniversary edition back in print on black vinyl! Full album remaster from the original analog tapes by Nick Townsend. Includes previously unreleased track "Smile" originally by Japanese ska-punk legends Potshot and housed in a silver foil-stamped jacket.

'exclusive tour tapes' limited quantity available for distribution

Limited split tape collaboration between like-minded pranksters Lagoss & Babau. Co-released by Sucata tapes & Artetetra in July 2025.

‘’The chars were emerging as some chunk of makeshift swamp coolers blasted the soil surrounding our motorbikes. Sunburn vapours floating grey all around, licking our necks with heavy hazy tongues. Just oppressive and gross. Blah.

Someone says heat waves are among the most dangerous natural hazards. I guess that the magnetic tides did not help at all. For sure, recreational sleep deprivation aside, it was days of relentlessly documented tipsy headaches, thermometric cicada noises and weird-ass hallucinations. It is what it is. The age of earthquakes. We drink from our black plastic bags with a straw pushing a bit of oxygen thru our reptile brains. Just half a pack of synthetic tobacco for the ride. No internet. Whatever.

She looks at me behind the war metal glasses and the silicone frog mask high on desert dust. Sweaty pools on her shoulders. Eyes purple with adrenaline. Map on the scratched screen. “It says that at this point we should be hearing that fucking flute”. We stop amidst the geysers. We can see the monoliths and stone gods ready to eat up all the solar storms and the thunder. Towards the horizon, second moon is up. Damn. Water rises to our knees, green with bloating sounds. Just what we needed. We’re stuck. "Turn up the radio. Let’s hope it lasts five minutes." After trashing a bunch of fake subtropical signals, the radio plays a flute. She takes off the mask and explodes in a grin: “This is it man, we made it! No man’s land. The real fucking thing.” I light one up and let the sight get blurred: “You betcha.”’’

Welcome to another deep dive into Thighpaulsandra’s salacious sound-world. A double album opus, Acid and Ecstasy synaptically sabres a host of immersive soundscaping, raucous rock moments and lyrically sharpened balladry we’ve all come to expect from this troubled troubadour plus plenty of fleshy surprise. Seven weighty tracks that potently tangle you up in the best of ways and chauffeur you around an eclectic circus of unadulterated genius. Displace dis-belief and crucify your curiosity - you will not be disappointed…

Available on double vinyl or CD from Retractor.

Fünf Jahre nach der ursprünglichen Veröffentlichung greift Gracie Abrams ihr Debütprojekt „Minor“ mit
einer speziellen Jubiläumsausgabe wieder auf. Das Album mit sieben Songs hebt ihre charakteristische
Lyrik und ihre faszinierende Stimme hervor und enthält die gefeierten Singles „21“, „I Miss You, I’m
Sorry“, „Minor“ und „Long Sleeves“. „Minor“ erscheint als limitierte rote LP, als CD und exklusiv auf
Kassette. Das Album ist ab dem 8. August 2025 überall erhältlich.

With creative verses rooted in technical brilliance, Detroit emcee Elzhi has attained the highest level of lyrical mastery. Now 15 years into an inspired solo career, the former Slum Village member has ramped up his output lately, joining forces with producers Georgia Anne Muldrow, Oh No, and JR Swiftz for three acclaimed albums in the 2020s. Now, Elzhi is reuniting with famed North Carolina producer Khrysis as the duo Jericho Jackson, revisiting the chemistry that resulted in a celebrated 2018 joint album. After emerging in the Justus League collective during the rise iconic group Little Brother, Khrysis has gone on to work with hip-hop royalty like Sean Price, Black Thought, Mac Miller, JID, Conway, Rapsody, Talib Kweli, Redman, and many more. With a highly anticipated album on the way, Elzhi and Khrysis are launching the new era of Jericho Jackson with the flawless EP I Am Him, channelling the spirit of vintage maxi-singles. “For me, the maxi-single represents a time when

hip-hop was unapologetically raw and underground,” Elzhi explains. “Some of my favourite artists used the format to showcase remixes, freestyles, and loose tracks that might not have fit the sound of an album. This is our way of restoring that feeling.” An exciting burst of new music from two undeniable talents, the project features appearances by Domo Genesis and Oh No.