Search:cha wa

2026 Repress

Future Sounds Of Jazz Vol. 14 - Compiled By Permanent Vacation Benjamin Fröhlich & Tom Bioly!

28 Tracks By Move D, Roman Flügel, Slowdive, Isolée, Cobblestone Jazz, Luke Abbott, Remixes By Avalon Emerson, Russ Gabriel, Kassem Mosse, I:cube A.m.o. Including 3 Exclusive And Previously Unreleased

Wow, A New Chapter Of This Legendary Series. This And The Very First Time It's Not Compiled By Michael Reinboth, Rather By Benjamin Fröhlich And Tom Bioly, The Founders And Masterminds Behind Permanent Vacation.

Why Simply Because They Both Are Very Close Friends Of The Compost Famlee, With An Amazing Musical And Dj-like Tastefulness, With The Knowledge-based Trust Of Music In The Vein Of Vibrant, Jazzy Electronica Hybrids. And They Are From Compost Records' Hometown Munich, Too.

Maybe Volume 14 Differs Slightly To What The Previous 13 Brought Up Music-wise, But That's The Score, Idea And Open Mindedness Of This Series, As It Was By The Compilers, And Last But Not Least A Great Time For A Change, Too. So We Welcome This, We Very Much Appreciate And Like Their Selection. We Are Sure, This Will Convince You.

28 Tracks, 3 Exclusive Tracks. Enjoy!

The Exciting Package Comes As 2-cd / 4-lp Vinyl
Cd 1 Is Bit More Clubby, Cd 2 Is Bit More Sublime Downbeat/electronica Or Relaxed Feel, Well Both Are True Listening Pleasure Anyway.

Several Magazines Voted Fsoj As One Of The Best Compilation Series Of All Time. With This Series, Starting In 1995, The Term Future Jazz Became A Genre Landmark.

The world is ending, and rent is due. The empire is crumbling, and you’re late refilling your meds. War is ceaseless, pandemics go unchecked, billionaires poison the well water and cops abduct neighbors while wildfires burn… but here at the hot dog stand, relief and joy are yours for five buck ninety-nine.

This is PEASANTS REVOLT, the latest album from trans folksinger Creekbed Carter Hogan. Playing the part of court jester in the halls of a dying empire, Hogan croons, hollers, and grins in the face of despair as we feast together on one last humble supper before everything falls apart.

A rollicking medieval-Americana manuscript, Hogan’s new work anchors itself in transitions. PEASANTS REVOLT was written living and moving between the North and the South; sung by a body both pre- and post-trans affirming healthcare; and recorded during a time of genocide, federal occupation, and workers’ uprisings. Decorating its margins are influences spanning time and medium. Here, 14th century king-killer ballads sit next to Appalachian strike songs. Labor and union songs find kinship with Ethiopian jazz records. Hogan’s work echoes with historical struggle, too, from the Haitian Revolution to the struggle for trans rights to the surreal futurism of Rio Grande Valley writer Fernando A. Flores. This album takes the entwinement of the personal and the political seriously, a path often walked by everyone from Hazel Dickens and John Prine to ANOHNI. The 10 tracks of PEASANTS REVOLT are themselves endlessly transitioning, hinging on mid-song shifts and building into wildfires that crackle and sputter with the courage of momentum and catchy hooks. By centering this work so deeply in the tumult of change, Hogan illuminates all of capitalism’s attempts to isolate us — and the power that we regain when we refuse to face our lives and our selves alone.

Inspired by classic post-punk bands like The Cure, Sad Lovers & Giants, The Chameleons, and The Danse Society, but includes other musical influences like new wave, dream pop, deathrock, and even 90’s emo/screamo. DECEITS has shared the stage with acts such as She Past Away, She Wants Revenge, New Order, and Xmal Deutschland. The group is also set to perform at Darker Waves Festival in November alongside Morrissey, The Smashing Pumpkins, and more.

Writing and recording the majority of Nocturnes at their home studio in Los Angeles, Leisha and Camila drew inspiration from '70s vinyl — and each other’s company. After finishing the demos, their friend Wendy Melvoin (of Prince and the Revolution) invited Uh Huh Her to continue the production at her treehouse studio in Henson Recording Studios (now Chaplin Studios). "We would just drink wine and record for hours and hours," Camila says of this time. "It was amazing. It was total freedom."

When it came time to mix Nocturnes, Melvoin suggested her friend and super producer Tchad Blake (The Bangles, Arctic Monkeys, Sheryl Crow, Cibo Matto), who put the finishing touches on the record from his studio in the English countryside. “It meant the world that our fans directly supported the mixing of the album through online eBay auctions of memorabilia, vinyl, art, and even a couple private dinners, because that enabled us to enlist the powers of the incredible Tchad Blake,” Cam says. The entirety of those original mixes have never seen the light of day until now, on this 2026.

As they contemplated rereleasing Nocturnes with Kill Rock Stars, Cam started digging around to find the album’s original mixes. “I chose Tchad’s first and second mix attempts because I wanted to preserve his first instincts before we gave him a million notes,” she says. This is truly how he heard it on one or two tries. The songs are longer, they're more rocked out, they're a little more raucous.”

Cam also surfaced a hypnotic song she’d written in 2020 called “Shook” to include on the rerelease, and they also put their own, electrified spin on Sonic Youth’s timeless and gritty “Kool Thing.”

Phosphor returns with its fifth release and a new chapter for the label’s founders, Blue Vision. As their second EP on the imprint, Machines Will Transform Us (PHP005) confirms the project’s direction: a precise balance between club-driven tech house and more immersive, hypnotic electro textures.

Across the EP, Blue Vision asks a simple question: after spending our days connected to algorithms and modern machines, can repetitive rhythms and mechanical grooves on the dancefloor turn us into machines once again, or instead help us reconnect with ourselves?

Machines Will Transform Us (A1) opens the EP with a driving Italo bassline and tight, tech-driven drums. Melodic 80s synths contrast with sharper electro elements, gradually building tension before a final drop designed for peak-time impact. The track sets the tone for the release: machines transform us as much as we transform them.

Then comes Just a Game (A2), blending spacious 90s progressive and synthwave influences over a rock-solid club bassline and crisp drums. Playing with atmosphere and emotion, the track explores the feeling that we are never too far from a simulation, that maybe everything is just a game. Perfectly suited for introspective yet intense moments, it acts as an ideal bridge between harder tracks in a set.

On the flip side, I Love Acid (B1) is direct, hypnotic, and designed to lock the dancefloor into a steady flow. Stripped back to punchy drums and a raw acid line, it takes a minimal approach that works equally well in early hours or late-night sets. Behind the title lies the idea of acid as both machine energy and mental escape, where repetitive sequences blur the boundary between human emotion and mechanical movement.

As a final touch, Scan Your Brain (B2) shifts into deeper, more immersive territory. Analog pad textures create a drifting atmosphere over a hypnotic bassline and electro drums. With this closing track, Blue Vision answers their initial question by imagining the dancefloor as a space to disconnect from rigid thinking. The vocal serves as a reminder that the brain is constantly overloaded, and that dancing becomes a way to let go, reset, and reconnect.

Skyjack — the borderless five piece band spread across South Africa and Switzerland — announce their fourth studio album, Let The Sky Open Under Your Feet, out 3rd July.

Recorded in December 2025 at a secluded studio outside Stellenbosch, South Africa, the album captures the vibrant live energy of the band at its most expansive — drawing together free improvisation, South African jazz traditions, chamber music, kinetic groove, and ecstatic collective interplay into a singular body of work.

“This record is a very articulate representation of our sound, having grown deep roots into the earth with high branches reaching upward and outward”, says bassist Shane Cooper. “My desire is always to create sonic universes that can envelope the listener.”

The album’s title comes from a line in a poem by the 13th-century Persian poet Rumi, reflecting the music’s balance between groundedness and transcendence. Here, Skyjack move fluidly between meditative improvisation and lush orchestration across twelve tracks of free-spirited, cosmic journeying. Inspired both by the cultural traditions and natural environments of South Africa, Let The Sky Open Under Your Feet is a testament to the band’s intuitive connection and innate musical curiosity.

It arrives just over a year after Light Cycle (2024), a short gap that reflects the momentum built on tour. After exchanging sketches remotely across two continents, the band reunited in Johannesburg in late 2025, workshopped the new material onstage across South Africa, and then headed directly into the studio, where much of the album was recorded live in first takes — preserving the looseness and unpredictability central to Skyjack’s sound.

Comprised of Kyle Shepherd (piano), Shane Cooper (bass), Jonno Sweetman (drums), Andreas Tschopp (trombone), and Marc Stucki (saxophones), Skyjack first formed in Cape Town in 2013 during a fertile moment in South African jazz, as a new generation of musicians pushed against rigid genre definitions and opened the music outward toward broader sonic possibilities. Over the past decade, the band has built a singular sound drawing equally on South African groove traditions and European improvisation.

Individually, the members move between jazz, electronic music, film scoring, rock, hip-hop and experimental composition, with collaborations spanning artists including William Parker, Lionel Loueke, Zim Ngqawana, Ben LaMar Gay, Jorge Rossy, Shabaka Hutchings, William Kentridge, Makaya McCraven and Sylvie Courvoisier.

Since their self-titled debut in 2015, followed by The Hunter (2019) and Light Cycle (2024), the group has developed a reputation for immersive live performances and music that continuously reshapes itself in motion — rooted in what they describe as “warm menacing African grooves,” while refusing fixed stylistic borders.

Der Track erschien ursprünglich am 1. Januar 2020 als reine Digital-Single zum Jahreswechsel und kam zu einem Zeitpunkt heraus, als die Welt gerade erst begann, sich aus dem Griff der Pandemie zu befreien. Im März 2020 folgte eine limitierte, nur in der EU erhältliche 7-Zoll-Pressung, die seitdem auf dem Sekundärmarkt sehr begehrt ist. Angetrieben von einem erneuten Popularitätsschub - ausgelöst durch das offizielle Musikvideo auf YouTube, das über 9 Millionen Aufrufe verzeichnet und weiter wächst - kehrt die Single nun in einer brandneuen Pressung zurück. Diese Ausgabe verfügt über eine bedruckte Hülle mit dem Original-Artwork und ist auf nur 500 Exemplare limitiert. Der Track selbst ist eine Neuinterpretation des Songs mit voller Bandbesetzung, der ursprünglich ihr 2018er Album ,Golden Days" abschloss, wo er in einem reduzierten Arrangement mit Klavier und Gesang erschien. In seiner volleren Form strahlt der Song Hoffnung, Freude und die Euphorie eines Neuanfangs aus - er fängt ein Gefühl von Optimismus, Chancen und der Vorfreude auf bessere Tage ein. Diese Themen sind bezeichnend für den Sound und den Geist von Mamas Gun. Ebenfalls aus dem Album ,Golden Days" stammend, bildet die B-Seite ,Strangers on a Street" eine perfekte Ergänzung - sie rundet die Single mit Wärme, Positivität und einem gemeinsamen Gefühl menschlicher Verbundenheit ab.

Leo Mas is a true icon, who was there at the start of the Ibiza revolution in the 80s, he is the protagonist and witness of the birth of Ibiza as the World Capital of Clubbing alongside Dj Alfredo Fiorito at Amnesia (Ibiza) during the years of 1985, 1986, 1987, 1988 and 1990, thanks to his unique sound and innovative set he is as one of the Pioneers of House and Techno music and one of the Balearic Beat Originators.

Leo Mas - The Dark Side (Irreverent Mix)

Amnesia was the club that changed the European and later the global club scene in 1987, thanks in part to the support of London DJs Paul Oakenfold, Danny Rampling, Nicky Holloway, Johnny Walker, and Nancy Noise, who came to Amnesia for the first time that year. At the time, Amnesia was still an open-air club, and the group was amazed by the unique, eclectic, and irreverent style of Alfredo and Leo, who played the new House Music imported from the United States along with a genre-blending sound that would later become known as Balearic Beat. When he returned to London, Paul Oakenfold bought all the records that were being played at Amnesia, with the help of Nancy Noise, and together with his friend Ian St. Paul opened the one-night event Future, “The Original and Only Balearic Club.” This later became Spectrum on Mondays, and eventually evolved into Land of Oz, where in the VIP chillout room, the White Room, the DJ was Alex Paterson, later known as The Orb. Danny Rampling and his wife Jenny wanted to recreate their Ibiza experience by opening Shoom, while Nicky Holloway would go on to open The Trip. All of these clubs transformed the London club scene and, in turn, had a worldwide influence. During the second half of the 1980s, Amnesia was also the favorite club of Sven Väth, who was a regular customer there.

This one-hour long recording is an essential snapshot of a pivotal point in dance music history. The records’ selection was, deliberately a mix of Indie Rock, Gothic Synth-Pop, Subversive Electro, Industrial, Belgium New Beat, Techno with Poetry, EBM. A magical moment in time that could never truly be repeated, yet lives on through this tape, now finally available to music lovers everywhere, including those who only ever dreamed of experiencing it firsthand.

The release comes with liner notes by Robert Harris (Dr. Rob), DJ, music writer and author of the well-known book, IBIZA DJ 1976 - 1988, released in 2019, during his collaboration with Paul Byrne (Test Pressing)

Ri-tape & ELSI Berlin produced a very limited run of 50 tapes, be quick!

Lonely Man's Dream marks a milestone for Forager Records: our tenth release, and perhaps our most personal. More than a compilation, it is a self-portrait. A reflection of the musical obsessions, late-night discoveries, and restless digging that have defined this label from our first record to this latest one.

Spanning the dreamy psychedelic folk of the 1970s to the cool shimmer of 1980s synth pop, Lonely Man's Dream traces a decade of curatorial wandering. Eleven artists. Eleven songs. Each one rare, obscure, or otherwise lost to the margins of music history. Among them, two tracks surface here for the very first time: “Never Say Goodbye” by Cocktails and Dreams, a synth pop transmission from Norway, luminous and weightless as the skies on the cover. “True Love” by Keith Jones, a drum machine backed demo that pulses with a late night intimacy.

What unites these songs across genre and era is the same quality we have always chased; a transporting ache, the sound of someone searching, or the feeling of a memory you can't quite place. Like every record before it, this one asks nothing of you but your full attention and an open ear.

Ten releases in, we are still looking for the same thing we started with. We hope you feel it too.

* Featuring a selection of songs sourced from rare records of the 70s & 80s reissued for the first time.
* Includes 2 unreleased songs from the 80s
* Original artwork by Eric Thompson
* Very limited initial first pressing

The Manson Family Sings the Songs of Charles Manson was recorded at the Family’s headquarters at the Spahn Ranch in 1970,

while their charismatic leader was in custody, facing trial and preparing to blame everyone else in America except for his crimes.

In a world currently defined by unrest, uncertainty, and cultural fracture, acclaimed saxophonist, composer, and bandleader Isaiah Collier returns with Joy, a 5-track EP that reframes one of humanity’s most nuanced emotions both as a devotional grounding and political act.

Collier’s deeply personal compositions present joy as an act that isn’t rooted in escapism or abstraction, but rather, as something hard-won rooted in lived experience, shaped by transformation, and sustained through connection. Throughout the album’s five compositions, Collier positions joy as a guiding light during challenging times, an expression of challenging yourself to utilize your gifts, an affirmation of love and discovery, and as an affirmative source of reassurance.

“We are in a paradoxical time, where so much is being revealed to us,” Collier shares. “Everything feels political from every scope… our collective hearts feel the heaviness in the air. Yet I say to you all—don’t despair. For right now, the most political thing we can do is share joy.”

That ethos is made clear in the opening title track and lead single “Joy.” A pulsing rhythmic motif anchors the melody with a sense of both searching and certainty. Collier conceived the piece around 3 years ago reflecting on a time where many people in his life were experiencing loss of family and friends and experiencing profound life transitions. “Everything just felt like it was falling apart with no aim in sight,” he reflects. “Yet, there is a light at the end of it all.”

As he played the chords with a sense of urgency, he could feel the vibration of yellow in the piece. That initial triplet motif serves as the guiding light on the piano and the only word Collier could hear was Joy. In addition to Collier at the helm singing and playing piano and tenor sax on the track, it features an expansive 11-piece ensemble with a full horn and string section allowing Collier’s propensity for composition and arrangement to shine with an eclectic sonic palette.

“Landscape of Dreams” finds Collier serendipitously leaning into utilizing his gifts as a multi-instrumentalist. While he had a sketch of the piece going into the studio, a traffic delay caused musicians to be late arriving at the studio. Never one to waste time in the studio environment, Collier stepped into new creative territory and took up the challenge of executing playing all instruments himself as an act of trust and experimentation. “I’ve never done this before, and so it was a leap of faith for me,” he asserts. “I always dream of doing stuff like this, and being part of the small percentage of people who can do it like Prince, Steve Lacy, Frank Zappa, and Stevie Wonder. The end result finds Collier immersed in a hypnotic soundscape playing layered flutes, drums, Metatron, Wurlitzer, and auxiliary percussion.

Another layer of joy is revealed in “Where I’m Loved” that serves as a love letter and leaning into the process of stepping into the willingness to explore life and love with a partner. On the intimate meditation of vulnerability and connection, Collier's vocal prowess is on full display, exerting effortless falsetto reminiscent of D’Angelo over soulful Wurlitzer and guitar as he crosses over into more R&B-inspired realms. “I believe everyone deserves this feeling or to honor the memories of it. Furthermore, I believe you should also go where you’re celebrated and not tolerated.”

“When the Dust Settles” captures the electricity of live collaboration and Collier further steps out of being confined to any specific genre. He had just gotten a microKORG keyboard from co-producer Sonny Daze and was exploring the vast array of sounds on the instrument. Collier plays synth bass on the microKORG joined by the electrifying improvisation of Cole Runge on guitar and the combustible rhythm of his brother Jeremiah Collier on drums with additional post-production work from Sonny Daze.

The album’s final track “God’s By Your Side” reflects on perseverance and artistic legacy, directly inspired from the passing of D’Angelo, whose life’s work was a huge part of Collier’s childhood growing up in the late 90s and early 00s. With gospel flavor and direct influence both from D’Angelo’s vocal and instrumental arrangements, the track speaks to resilience and persistence in the face of obstacles—an affirmation of source and reassurance. “And what’s better than having God by your side, right?” asserts Collier.

Joy is a through-and-through expression of the arc of joy in its truest form. Joy transcends fleeting happiness and is conscious gratitude shaped by taking chances, leaning into your gifts, fostering community, and lived experiences.

“Joy is partially happiness,” Collier explains. “But to me it means happily being grateful for family, friends, lovers, teachers, and good times. These are the things that anchor us.”

The release of Joy comes off the heels of significant momentum for Collier, whose work continues to garner accolades and resonate across cultural spheres. He was featured on the cover of DownBeat’s April 2025 issue, where he was named “The Next Sax Giant,” and profiled on NPR’s Jazz Night in America for his ambitious 13-movement interdisciplinary suite The Story of 400 Years, that traces 400 years of Black American History. He released two full-length albums in 2024 with The World Is on Fire highlighted in The New York Times’ Fall Arts Preview and The Almighty named among the publication’s Best Jazz Albums of the year.

Beyond performance and recoding, Collier’s influence is recognized in broader cultural and intellectual spaces as he was the recipient of the Jazz Journalists Association’s 2025 Up and Coming Artist of the Year Award, the 2024 Chicagoan of the Year in Jazz, and was named a Steve Jobs Archive Fellow joining an elite cohort of the next generation of artistic visionaries through a yearlong program.

In addition to the release of Joy, Collier is touring his “Collier Plays Coltrane” program throughout 2026 in honor of John Coltrane’s centennial. Rather than presenting Coltrane’s expansive catalog as repertory, Collier approaches this music as something living, reshaping it in real-time with a sense of space and improvisational dialog reflecting both reverence to the past and present times.

The second album from Chicago based Brigette Calls Me Baby firmly establishes them as a band to watch. It's fair to say that they are a band that takes a lot of influence from 1980s UK indie in general and The Smiths in particular. Opening track 'There's Always' finds vocalist Wes Leavins channelling Morrissey's finer moments; and in particular those moments when Morrissey was in thrall to the crooners of the 1950s. This is particularly poignant in relation to the themes that run through the album, most notably the idea that certain moments in your history shape your very being for the rest of your life. Clearly hearing certain records has shaped Brigette Calls Me Baby as much as those all important life-change moments. That's not to say this a band that isn't ploughing its own furrow, songs like "Slumber Party" with its relentless bassline and dance influenced drums show a band that can mix its influences are create something unique. "I Can Take The Sun Out Of The Sky' might have those darkened crooning tones from Leavins, but they can't keep a lid on the sheer positivity that his band is generating, it has the feel of a real summer anthem.

Sasha takes charge of the 200th release on his influential label, Last Night On Earth.

The two richly detailed cuts balance cinematic emotion, club functionality and meticulous sound design and arrive on vinyl alongside the digital release.

Electronic music titan Sasha launched Last Night On Earth in 2011, and for 15 years, it has been at the forefront of the melodic underground. Breaks, house, techno, ambient and progressive have all been explored by a mix of original pioneers, new school innovators and Sasha himself, either solo or often in collaboration with friends, peers and exciting emerging talents. The label swiftly became a movement, with regularly sold-out showcases around the world and exclusive merch. Enduring tastemaker Sasha remains as busy and innovative as ever in the studio and on the road, and just weeks after his last outing here with Franky Wah, he returns with another standout single.

Majestic opener 'Hollow Sun 25' is a slow-burning seven-minute odyssey with an acid-infused bassline and Sasha's signature celestial touch in the spectral vocal fragments that infuse the mix. The wavy, fl uid grooves provide a constant, gentle uplift to this widescreen, immersive gem. 'Hollow Sun 24' reworks the same cut into something with a more epic and spine-tingling breakdown that douses dancers in classic Ibizan trance synths while the bassline is darker and the groove more heads down.

First Word Records proudly bring you the sophomore EP from Ruby Wood - ‘No Rain, No Flowers’.

Ruby is a singer / songwriter hailing from Huddersfield, West Yorkshire in the UK. Her soulful yet distinctive voice has enabled her to front numerous projects over the years; perhaps best known as lead vocalist of the critically acclaimed Submotion Orchestra, since 2009.

Her first solo EP ‘Sincerely’ dropped back in 2023, and received love from the likes of Jamie Cullum, Craig Charles, Jyoty, Huey Morgan, Wordplay & saw Ruby named Mi-Soul Radio's 'One to Watch'.

The follow-up EP ‘No Rain, No Flowers’ is a personal tale of growth through adversity. Reflecting on long-term love, fleeting intimacy, grief, and the relationships that shape us. Rather than offering answers, the 8-track EP sits with life as it is. Imperfect, cyclical and shared. The title speaks to the belief that difficult experiences are not separate from growth, but essential to it.

Musically, the project encompasses contemporary flavours within the realms of r&b, soul and hip hop. It features an impressive collective of vocal collaboraters; Illa J, Devin Tracy, Abnormal Sleepz & PRIDO. Each bring their own distinct perspective, whilst complimenting the EP’s introspective tone; favouring warmth, restraint & lyrical authenticity. All are backed by a smooth sonic backdrop of beautifully rich instrumentation, produced primarily by Rob Mitchell of Abstract Orchestra.

Ruby has performed live shows with Nightmares on Wax & Abstract Orchestra as well as with r&b legend Bryson Tiller at his sell-out UK gigs, including Wembley Arena & Manchester Apollo. This is additionally to touring with Bonobo & Nubiyan Twist, and collaborating with the likes of Krept & Konan, Alfa Mist, GLXY and Roska, to name a few.

The diversity of her career, ranging from the intimate to the large-scale performances, gives Ruby a unique balance of vulnerability and musical depth, prioritising authenticity over spectacle. As a solo artist, her work is rooted in honest lived experiences, leading to a focus on songs that resonate long after first listen.

This EP offers a reflection of where Ruby is at now, informed by where she’s been before. It’s a project that embraces imperfection, recognising that those experiences that challenge us the most, shape us the deepest.

includes DL code and insert with English & Japanese lyrics

The terms “nursery rhymes” and “children’s songs” may give rise to visions of idyllic innocence and the charms of childhood, but "Play Nursery Rhymes and Children's Songs" by Tokiyo Ooto & Orhythmo, their first release on EM Records, brings forth quite different aural imagery: this is an eerie and unsettling sonic picture book which hints at the darkness and mystery which form the hidden heart of many traditional songs and rhymes. The length of the songs provides a hint: each piece delves deeply into the latent uncanniness of the music, with superficial innocence gradually displaced as electric guitar, bass, field recordings and concrete sounds draw the listener into a chilly forest, while Tokiyo Ooto’s voice croons dark “lullabies for adults,” blending elements of folk, slowcore and dream pop. The Tokiyo Ooto & Orhythmo duo formed in 2023, releasing their first album in 2024. This release updates two pieces from the first album, and also includes a traditional Japanese children’s song from Shiga Prefecture and a masterpiece for children by composer Yasushi Akutagawa. Both musicians are Osaka-based: Ooto is a guitarist and singer-songwriter who also works in band and solo contexts; Orhythmo is a bassist with hardcore punk roots who focuses on improvisation, drone, noise and ambient sound. This release is available on CD, vinyl and DL; physical versions feature a printed insert with Japanese and English lyrics. The evocative cover is by Yoshitomo Ano.

Classic early ’80s dancehall from one of the genre’s most distinctive voices. Reggae Feelings captures Anthony Johnson at his peak, backed by the legendary Roots Radics Band and produced by Jah Thomas at Channel One and mixed at King Tubby’s.
Originally released in the early 1980s, this album stands at the crossroads of roots reggae and emerging dancehall, pairing heavyweight rhythms with Johnson’s melodic, street wise vocal style. The Roots Radics’ stripped down, driving grooves — overseen by rhythm architects Errol “Flabba” Holt and Lincoln “Style” Scott — provide the perfect foundation for timeless cuts such as “Fussing & Fighting,” “Reggae Feelings,” and “Dread Locks.”
A key sound system album that helped define the mid period dancehall sound, Reggae Feelings remains as powerful today as it was on release — rough, raw and deeply authentic Jamaican music.This edition is pressed on 180 gram heavyweight vinyl and features extensive sleeve notes, making it essential for reggae collectors, sound system devotees and fans of classic Channel One productions.
Essential listening for fans of:
• Roots Radics Band
• Jah Thomas productions
• Early dancehall & Channel One sound
• Classic Burning Sounds releases

Wenn Sie das Glück hatten, in den 50er- und 60erJahren aufzuwachsen, erinnern Sie sich bestimmt an die wunderschönen, romantischen und beschwingten Lieder aus Italien, die im Radio, in den Theatern und in Hollywood-Filmen zu hören waren. Zyx Music lässt diese Erinnerungen wieder aufleben und macht sie der jüngeren Generation zugänglich, die dieses goldene Zeitalter der italienischen Musik verpasst hat. Begeben Sie sich mit uns auf eine Reise an der Seite von Sophia Loren, Domenico Modugno, Rocco Granata, Tony Renis und vielen anderen mit unvergesslichen Melodien wie „Volare“, „Marina“, „Come Prima“ und „Quando Quando“. Träumen Sie sich nach Italien und genießen Sie pure „Nostalgia Italiana“ … che bella!!!!!

Das 1981 erstmals erschienene Album „Give the People What They Want“ setzte den Erfolg der Kinks
aus den frühen 80er-Jahren mit ihrem direkten, gitarrenlastigen Sound und pointierten, zeitgenössischen
Themen fort. Als eines ihrer erfolgreichsten Alben in den USA enthält es herausragende Titel wie „Destroyer“, „Better Things“ und „Around the Dial“. Diese Edition von 2026 wurde von den Originalquellen
neu gemastert und bietet verbesserte Klarheit, Definition und Ausgewogenheit, wobei der Charakter und
die Energie der Originalmixe erhalten blieben.
Das 1979 erstmals veröffentlichte Album „Low Budget“ markierte mit seinem härteren, stadiontauglichen
Sound einen Wendepunkt in der späten Karriere der Kinks. Es avancierte zu einem der stärksten US-Alben
der Band und gilt bis heute als eines der prägendsten Alben ihrer späten 70er-Jahre.
Diese Edition von 2026 wurde von den Originalquellen neu gemastert und bietet verbesserte Klarheit, Ausgewogenheit und Dynamik, ohne den Charakter des Originalmixes zu beeinträchtigen. Titel wie „(Wish I
Could Fly Like) Superman“, „Catch Me Now I’m Falling“ und der Titelsong profitieren von einer detaillierteren und fokussierteren Wiedergabe.

"Motorway City" is a superb, driving-based collection of library music. The tracks on this album were all written between the mid-60s and the early 80s to hymn car travel, back when the petrol-operated motor car was seen as the transport mode of the future, when motorways were new and thrilling. It was car travel’s golden age.
The tracks are highly collectable rarities from the libraries of De Wolfe, Chappell and Hudson. It has been compiled by Bob Stanley of Saint Etienne who has also written the informative sleevenotes. It stretches from mod movers to proto-ambient, something for every car journey.

Library music soundtracked the many short films that extolled the virtues of TopTray restaurant at Watford Gap or the comfortable leather seats in an Alpine Sunbeam. These tunes illuminated the joys of motor travel, and were given titles such as ‘Fast Lane’, ‘Super City’ and ‘Clearway’.
Many of these tracks seem time specific. The sun peeks over the horizon for Basil Kirchin’s ‘Through New Territory’; Reg Tilsley’s ‘Hold The Road’ is so bright at midday that you’ll need to wear shades to stop the sun getting in your eyes; John Fiddy’s ‘City Skyline’ has to be seen (and heard) at dusk.

Ex-Soft Machine Karl Jenkins provides the tense ‘Wheeling’, and Peter Reno’s thunderous ‘Convoy’ shifts the mood up a gear. Maybe you should risk nudging the speed up, 80-plus, to the soundtrack of Alan Hawkshaw’s ‘Fuel Injection’ or Simon Park’s mellow-but-dynamic ‘Big Road’.
Beautifully packaged in a gatefold sleeve, "Motorway City" could be the soundtrack to your summer holiday.

Das 1981 erstmals erschienene Album „Give the People What They Want“ setzte den Erfolg der Kinks
aus den frühen 80er-Jahren mit ihrem direkten, gitarrenlastigen Sound und pointierten, zeitgenössischen
Themen fort. Als eines ihrer erfolgreichsten Alben in den USA enthält es herausragende Titel wie „Destroyer“, „Better Things“ und „Around the Dial“. Diese Edition von 2026 wurde von den Originalquellen
neu gemastert und bietet verbesserte Klarheit, Definition und Ausgewogenheit, wobei der Charakter und
die Energie der Originalmixe erhalten blieben.
Das 1979 erstmals veröffentlichte Album „Low Budget“ markierte mit seinem härteren, stadiontauglichen
Sound einen Wendepunkt in der späten Karriere der Kinks. Es avancierte zu einem der stärksten US-Alben
der Band und gilt bis heute als eines der prägendsten Alben ihrer späten 70er-Jahre.
Diese Edition von 2026 wurde von den Originalquellen neu gemastert und bietet verbesserte Klarheit, Ausgewogenheit und Dynamik, ohne den Charakter des Originalmixes zu beeinträchtigen. Titel wie „(Wish I
Could Fly Like) Superman“, „Catch Me Now I’m Falling“ und der Titelsong profitieren von einer detaillierteren und fokussierteren Wiedergabe.

Mr Bongo presents a reissue of the 1619 Bad Ass Band’s self-titled album, originally released in 1976 on the ultra-rare tax-scam imprint TSG Records. Formed by Khalid Abdul Shalid, the record was the only album released by the group, and has since become a mythical, highly sought-after prize for collectors and DJs, ranking among the most coveted albums on the 1970s rare soul scene.

This New Jersey soul-funk gem captures the raw energy of mid-‘70s underground funk and soul. Its journey began in relative obscurity having been released on TSG, one of several US “tax-scam” labels operating at the time. These labels exploited loopholes in the tax system by inflating production costs to create write-offs against their tax bills, meaning commercial success was never the objective. Records were often pressed in extremely limited quantities, with little to no promotion or distribution and in many cases, artists were unaware their music had even been released. While this led to the 1619 Bad Ass Band’s album slipping into obscurity upon release, it later cemented its status as a holy grail for diggers and DJs. Unfortunately, like many releases of its kind, it also meant the band never received the recognition they deserved at the time.

Musically, the album is a unique listen with a varied palette that will appeal to fans of a broad range of tastes. From the luscious, dreamy ballad ‘Rain’, which will melt even the stoniest of hearts, to the raw, drum-heavy funk of ‘Love To Love’, it showcases the group’s depth and versatility. Highlights include the string-laden, floaty stepper ‘Just From You’, and ‘Nothing Can Stop My Loving You’, with its spacey synth lines, which will be a joy for modern soul fans. Elsewhere, ‘Step Out’ opens with a heavy drum break (later sampled on Latyrx’s ‘Interlude’ from their 1997 debut) before unfolding into a brilliant male-female vocal exchange.

Every track on here is a winner and it’s criminal that the band never received the publicity or credit they deserved when it was first released. Alongside the TSG Records release in 1976, the album was later released again in 1978 with alternate cover art on another tax-scam label, Graham International. Both versions have since become highly collectable and over time, the album has steadily gained the recognition it always deserved. This reissue by Mr Bongo offers a wider audience the chance to experience a truly special record, one that stands as a testament to the overlooked brilliance of the era’s underground soul and funk scene.

Somewhere in the Wind is the third record that Loren Connors and I have made together. Of the three, it’s the first that consists exclusively of electric guitar duos and it’s the first that was recorded live. To me it feels very much like a live record; this music happened in crowded rooms in Brooklyn on two dates in 2025 and there’s an urgency to connect with others and a pleasure in doing so that can be heard on both of these tracks. On the first of our duo records (Arborvitae, 2003) I primarily play piano, and on the second (Evening Air, 2024) we switch off on piano and guitar. Both of those albums bespeak the privacy of the recording studio, where time is suspended and one can explore the quietest of sounds. By contrast, Somewhere in the Wind is the noisiest, most raucous and most free of our duo records. It’s the sound of us taking it to the stage.

I became a fan of Loren’s playing from the moment that I first heard it, after happening upon a beat-up copy of In Pittsburgh circa 1992 in a used bin in the Dr. Wax record store in Chicago where my then-bandmate Bundy K. Brown worked. Everyone has taken a chance on a record because it looked interesting and wouldn’t set you back too much. In that regard In Pittsburgh was the find of a lifetime. I had just switched from playing in a postpunk power trio (Bastro) to making mostly drummerless respect-your-neighbors music (Gastr del Sol), and Loren’s pacing and touch and his lovely, unaffected compositions had me from the first listen. Not long after that, Jim O’Rourke and I reissued In Pittsburgh on our Dexter’s Cigar label, and I fondly remember first meeting Loren in New York’s Grand Central Station—so glamorous for this country mouse—and taking the train upstate with him where he shared a bill with Gastr del Sol. During soundcheck, Jim, Loren, and I played together for a bit and Loren’s approach to the instrument was something that one could instantly sink into, the kind of situation where there are no mistakes. I still feel that when we play together.

David Grubbs

When ELEH's debut "Floating Frequencies/Intuitive Synthesis I" was originally released it was praised as a powerful piece of new electronic minimalism. Twenty years later the artist's legacy has grown while ELEH continues to hypnotize new listeners with time stopping music. Critics, fans and neurologists have praised the music of ELEH as aiding attention and focus while seeming to slow time. Eleh's slow change drones are a state of flow hypnotizing listeners into meditative focus.

From the original packaging, "Pure Sound. Pure Volume. Pure Analog. Dedicated To La Monte Young"

ELEH began in 1999 as an exploration of analog synthesis, emphasizing low frequency difference tones and other resonant acoustic phenomena. ELEH highlights the physical presence of sound as it has been inspired by the physical world. There is also something ‘cathedral-like’ and cosmos-inducing in the sound constructed by ELEH.

This audiophile quality presentation of ELEH's debut album was mastered by Tom Eaton at Sounds And Substance and manufactured at Optimal in Germany for the lowest possible noise floor and the highest analog resolution. Packaged using a 5th color metallic shimmer ink on solid black board stock.

"Nuances of sound turn symphonic." New York Times

“ELEH’s sounds move by stealth and are sculpted from the world rather than from ego. Eleh is not a personality; Eleh is an idea about sound. ELEH forces you to contemplate the cosmos and your place in it. “ Gramophone

"ELEH demonstrates how a single amplified gesture delivered just so can reveal the inner workings of an entire cosmos." Tony Herrington/Wire

“Floating Frequencies/Intuitive Synthesis more than lives up to the mythic status that ELEH has ascended to. “ Brainwashed

"ELEH's music electrifies whatever space it engages. With the flip of a switch, it exposes the ways in which all space is, potentially, electric." ~ Frieze

The Sound Of Slip ’n’ Slide, Vol. 1 launches a brand-new series from the legendary Slip ’n’ Slide catalogue, bringing together a selection of timeless house and deep house cuts from some of the genre’s most respected artists.

Featuring standout productions from Blaze, Cassio Ware, Black Rascals and Alex & Rai, the release captures the soulful, vocal-led sound that helped define underground house music across the 90s and beyond. Including favourites such as Blaze’s Moonwalk and Cassio Ware featuring Sajaeda’s Fantasy (Klubhead Mix), this first volume brings together a selection of proven dancefloor records in one DJ-friendly vinyl package.

With warm grooves, uplifting vocals and timeless club arrangements throughout, these tracks continue to resonate with both long-time house collectors and DJs looking for reliable dancefloor material.

As the first edition in The Sound Of Slip ’n’ Slide series, this release offers a strong opening chapter for the new compilation run, now available on fresh black 12” vinyl. A strong catalogue addition for stores supporting classic house, deep house and soulful underground sounds.

Mit The Drum "n" Bass Session erweitert Wagram die renommierte Electronic Music Anthology um ein weiteres zentrales Kapitel der elektronischen Musikgeschichte. Auch diese Ausgabe wurde von FG Radio, einer der wichtigsten Plattformen für elektronische Musik in Frankreich, kuratiert und widmet sich ganz den energiegeladenen, bassgetriebenen Facetten von Drum "n" Bass. Die Compilation vereint wegweisende Künstler wie Goldie, Roni Size, Calibre, Nookie, DC Breaks, Souljah und DJ Gilb"R - Namen, die das Genre von seinen frühen Jungle-Wurzeln über soulful, deepen Drum "n" Bass bis hin zu modernen, clubtauglichen Produktionen entscheidend geprägt haben. Rasende Breakbeats treffen auf massive Basslines, atmosphärische Flächen und eine unverwechselbare Mischung aus Präzision und Energie. The Drum "n" Bass Session richtet sich gleichermaßen an DJs, Sammler und Liebhaber elektronischer Subkultur. Eine sorgfältig kuratierte Anthologie, die den Stil nicht historisiert, sondern seine zeitlose Dynamik und Relevanz eindrucksvoll hervorhebt - kompromisslos, direkt und absolut dancefloor-erprobt.

Music From Memory presents 'Mood Programs – Extended Play', a two-track release by LA MARR, a new project conceived by Ron Trent. Representing the first in an ongoing series of releases on Music From Memory, ‘Mood Programs - Extended Play’ opens a new chapter within Trent’s deep and continually evolving body of work, rooted in mood-driven composition, spatial depth and the emotional resonance of sound within physical space.

Influenced by ambient and environmental music, New Age, dub traditions, New Wave, Krautrock and HiFi sound system culture, LA MARR reflects many of the formative ideas that informed Trent’s evolving approach to sound and sonic architecture from the early 1980s onward. Rather than revisiting these influences nostalgically, the project recontextualises them through a contemporary production language, balancing analog warmth with precision and spatial depth.

Developed through years of sonic experimentation and research into the physical and psychological qualities of sound, LA MARR extends Ron Trent’s long-standing interest in the relationship between rhythm, acoustics and human connection. Built through a combination of analog processes and contemporary computer-assisted production, the project explores warmth, resonance, depth and sonic clarity through carefully sculpted environments of tone and texture.

Gently unfolding within a spacious, ambient-leaning framework, 'Mood Programs – Extended Play' moves beyond passive background listening toward something more intentional and immersive. Across both tracks, ‘Good Magic’ and ‘Clear’, layers of hypnotic synthesizer arpeggios and gently floating pads gradually unfold alongside organic percussion and subtle low-end movement, creating compositions that feel simultaneously meditative, physical and emotionally responsive. Sound is treated not simply as musical information, but as an environmental force capable of shaping perception, mood and awareness within a room.

'Mood Programs – Extended Play' will be released digitally and on vinyl through Music From Memory on July 15th. Sleeve art and design by Michael Willis.

Soul Music legend Candi Staton returns to her down-home Alabama roots on her 32nd album, Back to My Roots. The twelve-track Americana set features an array of Staton-penned originals and some well-chosen covers.

"These songs represent my roots," Staton adds as she reflects on her many trials and triumphs. "Even the new songs on some level represent something I've experienced and that's what real soul music is about." Back to My Roots was produced by Staton with her second eldest son, Marcus Williams, a professional drummer who has toured with the likes of Peabo Bryson, Isaac Hayes, and Tyler Perry. They brought in Mark Nevers of Lambchop fame, who produced three of Staton’s prior Americana albums for Honest Jon’s and Thirty Tigers, to sweeten certain tracks. “Some of the first songs I ever heard were songs like `Peace in the Valley’ and `It’s Gonna Rain,’” says Staton. “The new songs or cover songs are tracks that remind me of that era when I was growing up as a child and evolving as a young woman. That’s why I named the album Back to My Roots because I’m going back to the roots that made me who I am.”

Staton received the Americana Music Association UK’s highest honour, the International Lifetime Achievement Award, at the UK Americana Music Awards ceremony at Hackney Church in London last year for her southern soul work that stretches from her 1969 Muscle Shoals hits to her more recent collaborations with the likes of Americana kings Jason Isbell and John Paul White.
The album opens with a mid-tempo Bonnie Raitt-styled contemporary blues “I Missed the Target Again” that finds Harry Connick Jr.’s longtime guitarist Jonathan DuBose Jr. (aka the Prophesying Guitarist) showing off his skills that set the tone for the song and the album.

Staton’s older sister, Maggie Staton Peebles (who alongside Staton was a member of the Jewel Gospel Trio in the 1950s), joins her for two duets. The first, “It’s Gonna Rain,” features just a drum, steel guitar and vocals. “My mother used to sing that song to us all the time when I was a child,” Staton recalls. “It’s a really soulful kind of song I wanted to revisit.” They then take turns leading Thomas Dorsey 1939 gem “There Will Be Peace in the Valley” that Elvis Presley popularized in the 1950s.

“Hang on in There” is a new, mid-tempo song that has an old school gospel flavour and features vocals from veteran bluesman, Larry McCray.
While in Europe in 2023 for her farewell concert tour that took her to the Glastonbury Festival and Love Supreme, Staton and her British band, PUSH, went into a London studio to record a new version of The Rolling Stones’ 1972 gem, “Shine A Light.” “I love the way that came out,” Staton says. “We put a big choir on it and put our own twist on it.”
From there, Staton revives another Thomas Dorsey classic, “The Lord Will Make a Way Somehow,” with a bluesy vibe. When Al Green started recording gospel in the early 1980s, he re-introduced this song into the culture.

“God’s Gonna Use Me Anyway” is a new mid-tempo blues with subtle Caribbean influences.

The mood takes a turn on “1963.” It’s a poignant, spoken-word reflection on September 15, 1963, when four black girls were killed in the Birmingham Church bombing. “I was in the city that day and I remember the chaos and horror after the bombing,” Staton recalls. “Just thinking of how racism and hatred caused those men to kill those girls was so emotional for me that I could only do it in one take.”

It's a perfect segue into "Reach Down and Touch Heaven," a haunting, plea for divine intervention into the affairs of mankind. "That's straight Baptist," she says. "I used to be a church pianist back in the 1960s. I've never played piano on one of my records before so that's a unique song for me because I’m finally playing on one of my records. The message of that song is about the homeless. It came to me when a homeless person on the street asked me for $5. When God touches your heart to help somebody else that’s heaven to God’s hears. So, when we reach into our purse or wallet to help someone, we’re touching heaven."

Staton offers love as an antidote to hate on the bouncy, Motown-styled, “Love Breakthrough.”

Her publicist brought Aaron Frazer & the Flying Stars of Brooklyn NY’s 2017 cut “My God Has a Telephone” to Staton’s attention. She shifts the track from a retro 1960s groove to more of a 1980s Malaco Records arrangement, a subtle but distinct variation. Staton brought in her longtime friend and STAX Records legend, William Bell (“I Forgot to Be Your Lover” and “Trying to Love Two”), to add raspy seasoning to the track.

The album closes with the wistful, “In God’s Hands We Rest Untroubled,” that was originally written and recorded by the late country star, Lari White, who died in 2017 at the age of 52. “Lari sent me that song to consider at least ten years ago and I always loved it,” Staton says. “The record label didn’t want it on the album or something, so I just held it.”
Staton says, “I grew up hearing a lot of these old songs when they were new songs. I toured with the Jewel Gospel Trio in the 1950s and we got to know people like Mahalia Jackson, Sam Cooke and others who sang these types of songs. So, I’m sort of paying tribute to them and the influence they had on me by refreshing these songs and making new songs in the old style.”’

John Edwards’ early releases, mainly at Aware Records under the tutelage of Floyd Smith, thrilled soul lovers with his consummate vocals and impressed the multi-million selling Spinners enough to hire him to replace their revered vocalist Philippe Wynne.
Edwards’ first Aware hits, such as ‘Stop This Merry-Go-Round’ and ‘Careful Man’, led to his eponymous debut LP. As the label’s major male artist, the company followed up by recording a second album and were probably anticipating a further hit. But Aware collapsed thanks to the label owner’s criminal activities, putting paid to that proposed disc.
When the master tapes were uncovered in the ’90s, the tracks were issued on the 1996 Kent CD ‘Careful Man’ and handful of singles were issued to great acclaim.
At last, we have collected the tracks on vinyl and the beauty of ‘Tin Man’, ‘How Can I Go On Without You’ and ‘Cold Hearted Woman’ can be enjoyed as they were originally intended. Modern soul fans will be able to sleep easily again.

Umfangreiches neues Livealbum der kalifornischen Pop-Punk-Helden The Story So Far, aufgenommen in Boston und Los Angeles während ihrer jüngsten Headliner-Tour 2024 durch die USA. Auf ihrem eigenen Indielabel, Oak Grove Records.

Limited Edition 20th anniversary re-issue of _And the Battle Begun, 2xLP featuring a newly remastered version of album plus unreleased live recordings in a gatefold jacket with gold foil. Four new live songs include fan favorites "Apparition", "In Her Drawer" and "Only for the Night" Rx Bandits' landmark album ...And the Battle Begun marked a defining creative leap for the band, channeling intricate musicianship, dynamic arrangements, and socially charged lyricism into one of the most influential independent rock records of its era. Originally released in 2006, the album captured the band at a creative crossroads - expanding far beyond the ska-punk roots they emerged from and embracing a broader spectrum of progressive rock, jazz fusion, reggae, dub, psych, and melodic experimentation. The result was a deeply ambitious and emotionally resonant album whose impact continues to be felt twenty years later. In celebration of the album's 20th anniversary, Sargent House will release a limited-edition deluxe double LP featuring a newly remastered version of the full album alongside four previously unreleased live recordings, housed in a special gold foil gatefold jacket. The re-issue also commemorates the first album ever released by the label, honoring the lasting legacy of a record that continues to inspire listeners and stands as a defining chapter in Rx Bandits' history.

Limited Edition 20th anniversary re-issue of _And the Battle Begun, 2xLP featuring a newly remastered version of album plus unreleased live recordings in a gatefold jacket with gold foil. Four new live songs include fan favorites "Apparition", "In Her Drawer" and "Only for the Night" Rx Bandits' landmark album ...And the Battle Begun marked a defining creative leap for the band, channeling intricate musicianship, dynamic arrangements, and socially charged lyricism into one of the most influential independent rock records of its era. Originally released in 2006, the album captured the band at a creative crossroads - expanding far beyond the ska-punk roots they emerged from and embracing a broader spectrum of progressive rock, jazz fusion, reggae, dub, psych, and melodic experimentation. The result was a deeply ambitious and emotionally resonant album whose impact continues to be felt twenty years later. In celebration of the album's 20th anniversary, Sargent House will release a limited-edition deluxe double LP featuring a newly remastered version of the full album alongside four previously unreleased live recordings, housed in a special gold foil gatefold jacket. The re-issue also commemorates the first album ever released by the label, honoring the lasting legacy of a record that continues to inspire listeners and stands as a defining chapter in Rx Bandits' history. 2LP Vinyl colour is Eco Citrus!

Sir Richard Bishop returns for a new sponítaneous six-string meshing of people"s music, recollections and psychic intentions. Are y"all ready for some Hillbilly Erotica? Migration from last album"s Ragas to this new Erotica is another chapter in Bishop"s progress, drifting via songs into the further frontiers of his pappy"s hometown sounds, trancing over and out in their hand-me-down clothes. As with the ragas, the "rotica"s hung round the neck of John Fahey"s infamous dubbing of certain tradiítional American folk sounds as "American Primitive." A perfectly good thought, but Sir Richard picks his own axe and chose a separate path. Rushing through gutters & picking pickled brains in the saucy head waters of the down-low & literal American primitive, his hillbilly music is a mash of brined cultural inheritance, mini-ragas and moonshine-drunk savagery breaking out on the frets. As a conception for Sir Rick"s acoustic guitar music, it"s a dynamite means and frame, centering his improvisations in a place overflown with pagan desire and unbound in deliverance. Here he flies up and down the neck, his manner less pristine, yet more exquisite, a flailing, flowing-on-the-river medley through stubborn whitewater turbulence, post-grass and folk"s classical gas. Anybody who takes a snort of this here Hillbilly Erotica will find a frankly spellbinding richness of intent and execution in their ear-mouths. And may thereafter find brain and blightness. It"s fine!

Sir Richard Bishop returns for a new sponítaneous six-string meshing of people"s music, recollections and psychic intentions. Are y"all ready for some Hillbilly Erotica? Migration from last album"s Ragas to this new Erotica is another chapter in Bishop"s progress, drifting via songs into the further frontiers of his pappy"s hometown sounds, trancing over and out in their hand-me-down clothes. As with the ragas, the "rotica"s hung round the neck of John Fahey"s infamous dubbing of certain tradiítional American folk sounds as "American Primitive." A perfectly good thought, but Sir Richard picks his own axe and chose a separate path. Rushing through gutters & picking pickled brains in the saucy head waters of the down-low & literal American primitive, his hillbilly music is a mash of brined cultural inheritance, mini-ragas and moonshine-drunk savagery breaking out on the frets. As a conception for Sir Rick"s acoustic guitar music, it"s a dynamite means and frame, centering his improvisations in a place overflown with pagan desire and unbound in deliverance. Here he flies up and down the neck, his manner less pristine, yet more exquisite, a flailing, flowing-on-the-river medley through stubborn whitewater turbulence, post-grass and folk"s classical gas. Anybody who takes a snort of this here Hillbilly Erotica will find a frankly spellbinding richness of intent and execution in their ear-mouths. And may thereafter find brain and blightness. It"s fine!

"Nach der Veröffentlichung ihres von der Kritik gefeierten Debütalbums ""From The New World"" im Jahr 2024, das gesellschaftlichen Zusammenbruch, Überleben und Menschlichkeit durch eine fiktive postapokalyptische Linse beleuchtet, haben Allt ihr zweites Album ""Ataraxia"" angekündigt.

""Ataraxia"" markiert eine neue Phase in der Entwicklung der Band: Das Album ist in der Realität verankert und schöpft direkt aus dem Leben der Bandmitglieder, wie persönlichen Tragödien, Beziehungen, Erschöpfung, Sehnsucht, Rückfällen, Klarheit und den Momenten dazwischen. Die Songs fungieren als Fragmente von Erinnerungen und Gemütszuständen und bilden eine Anthologie der Reise hin zur Stille. Das Album stellt ""Ataraxia"" als einen Ort der Sehnsucht dar: Es ist kein Endpunkt, sondern ein Zustand, dem man sich nähert, den man für einen Moment bewohnt und oft wieder verliert.

Musikalisch entwickeln Allt ihren charakteristischen Sound des modernen Progressive Metalcore weiter und legen dabei größeren Wert auf emotionalen Raum und Zurückhaltung. Die Aggression bleibt bestehen, steht nun aber in direktem Dialog mit Verletzlichkeit. Das Ergebnis ist Allts bisher intimstes, menschlichstes und ehrlichstes Werk. ""Mit 'Ataraxia' wollten wir aus dem Ort heraus schreiben, an dem wir tatsächlich leben. Diese Songs sind Fragmente und Nacherzählungen unserer eigenen Erfahrungen, der Last, die wir getragen haben, der Dinge, die wir gesehen und getan haben, und dessen, womit wir auf unserem eigenen Weg zur Reife als Menschen und zur Suche nach Frieden und Stille in unserem Leben konfrontiert waren. Bei 'Ataraxia' geht es darum, zu lernen, in allem, was sich in deinem Leben entfaltet, präsent zu bleiben.""

Allt ist eine 2020 gegründete Progressive-Metalcore-Band aus Karlskoga, Schweden. Bekannt für ihr audiovisuelles Storytelling und ihren innovativen Ansatz im Metalcore, spiegelt der Name Allt - was auf Schwedisch ""alles"" bedeutet - die Philosophie der Band wider: sich niemals auf Genregrenzen beschränke"

In the wake of the release of Swedish post-rock luminaries OH HIROSHIMA's 6th studio album And The Dead Tree Gives no Shelter, Pelagic is reissueing OH's Oscillation (2019) and Myriad (2022) on vinyl. Myriad captures OH HIROSHIMA at their most focused and ambitious. The album moves between crushing despair and fleeting moments of catharsis weaving heart-wrenching melodies into towering walls of noise and explosive crescendos. The incorporation of trumpet, cello and trombone adds new dimensions to the band's sound, resulting in a record that resonates far beyond the post-rock scene and highlights the band's continued artistic evolution. Following the departure of bassist Simon Forsberg in early 2021, OH HIROSHIMA were reduced to a duo _ a shift that challenged the band to rethink and expand their creative approach. While Myriad remains firmly rooted in post-rock, brothers Jakob Hemström and Oskar Nilsson use the album as an opportunity to push beyond the genre's familiar boundaries, drawing from a far broader musical palette than ever before. To get a sense of what the album has to offer, watch the music video for "Humane". Guitarist & vocalist Jakob Hemström comments: "Humane might be the most direct and intense song we've created as a band. For us it marks a somewhat new direction that we wanted to explore and we're very proud of how it turned out. We felt right away that this was the first song of the new album we wanted our listeners to hear. The lyrics revolve around themes of human hubris and the video was filmed, directed and edited by our drummer, Oskar." Recorded by Kristian Karlsson (pg.lost, Cult of Luna) and once again mixed and mastered by Magnus Lindberg of Cult of Luna, Myriad blends soaring melodies with immense emotional weight and dynamic intensity and stands as a compelling testament to the band's continued evolution. Classic black or rosé (Dead Flamingo) vinyl available. FOR FANS OF Alcest Mogwai God Is an Astronaut Karnivool pg.lost

In the wake of the release of Swedish post-rock luminaries OH HIROSHIMA's 6th studio album And The Dead Tree Gives no Shelter, Pelagic is reissueing OH's Oscillation (2019) and Myriad (2022) on vinyl. Myriad captures OH HIROSHIMA at their most focused and ambitious. The album moves between crushing despair and fleeting moments of catharsis weaving heart-wrenching melodies into towering walls of noise and explosive crescendos. The incorporation of trumpet, cello and trombone adds new dimensions to the band's sound, resulting in a record that resonates far beyond the post-rock scene and highlights the band's continued artistic evolution. Following the departure of bassist Simon Forsberg in early 2021, OH HIROSHIMA were reduced to a duo _ a shift that challenged the band to rethink and expand their creative approach. While Myriad remains firmly rooted in post-rock, brothers Jakob Hemström and Oskar Nilsson use the album as an opportunity to push beyond the genre's familiar boundaries, drawing from a far broader musical palette than ever before. To get a sense of what the album has to offer, watch the music video for "Humane". Guitarist & vocalist Jakob Hemström comments: "Humane might be the most direct and intense song we've created as a band. For us it marks a somewhat new direction that we wanted to explore and we're very proud of how it turned out. We felt right away that this was the first song of the new album we wanted our listeners to hear. The lyrics revolve around themes of human hubris and the video was filmed, directed and edited by our drummer, Oskar." Recorded by Kristian Karlsson (pg.lost, Cult of Luna) and once again mixed and mastered by Magnus Lindberg of Cult of Luna, Myriad blends soaring melodies with immense emotional weight and dynamic intensity and stands as a compelling testament to the band's continued evolution. Classic black or rosé (Dead Flamingo) vinyl available. FOR FANS OF Alcest Mogwai God Is an Astronaut Karnivool pg.lost

or the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

“an absolutely astounding album” 4.5/5 - DIY

“Romance Is Boring is a triumph.” - 8.3/10 - Pitchfork

“The fact that the seven-piece manage to make music that is as orchestrated and coherent as it is invigorating is only one of the few astonishing things about them.” - 9/10 Popmatters

“What primarily sets ‘Romance Is Boring’ up as a significant step forward is that it’s incredibly structurally cohesive, and yet blows anything they’ve previously released out of the water in terms of textural intricacy, technical prowess and general experimentation.” - 4/5 NME

'Heavy Metal' ist das Debüt-Soloalbum von Geese-Frontmann Cameron Winter. Es ist eine unerwartete klangliche Kehrtwende von Geeses unverkennbar Jam-ähnlichem Indie-Twang undverzichtet größtenteils auf Stadiongitarren zugunsten eines sanfteren Anschlags, der seinen mystischen, fantasievollen lyrischen Stil voll zur Geltung bringt. Gelegentlich verwirrend, doch unendlich bereichernd, enthüllt 'Heavy Metal' Winter als Chamäleon-artigen Meister seines Fachs, einen wandlungsfähigen Singer-Songwriter im Stil von Größen wie Dylan, Cohen und Nilsson.

Red Dwarf Star emerges as a striking new chapter for Coley Taylor of famous US/CH based MASERATI, a new project that captures a deeply personal arc that spans continents, relationships, and creative reinvention. Working largely alone, Taylor embraced a deliberately stripped-down approach, navigating unfamiliar technology with joyously unpolished determination. Much of the material was recorded in a modest, direct manner that prioritizes feeling over finesse. This DIY ethos is balanced by key collaborations that elevate the record's sonic depth. Drums were recorded in Los Angeles by Kellii Scott, whose distinctive style adds weight and clarity, while contributions from Allen Epley and Jenna Fournier introduce subtle vocal textures that expand the emotional range of the songs. Despite its introspective origins, Red Dwarf Star is not intended to remain a solitary endeavor. What began as a personal outlet is evolving into a fully realised band, with a lineup assembled to bring these songs into a more expansive, dynamic setting. This shift signals not only a new phase for the project, but also a broader artistic trajectory. Taylor is known best for his work with Maserati, a legendary outfit that leans into collaborative, rhythm-driven expanses rooted in krautrock and electronic psych. Through Red Dwarf Star Taylor's lineage of influence is felt, echoing the raw emotional immediacy of `90s alternative, post-hardcore, and the textured atmospheres of jagged dream-pop that bleeds. These are sounds that have lingered in Taylor's creative subconscious for decades, now resurfacing with renewed urgency. For fans of MASERATI, FAILURE, SLOWDIVE, QUICKSAND, SHINER, HUM Black or coloured vinyl LP or CD available

“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine