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"At the end of the day, a new one begins. Sometimes dust covers the wounded human spirits, nebulizing their ambitious world with melancholy from some far place. Today we met and melded our emotions. Improvisation is the art of becoming sound. Loose lyrics on Hollywood dreams, galaxy economy, and algorithm poetry, banned and warped in drama industrial, synth-journey-music, ghost pop, anger electronics, and analogue deserts. Improvised recording sessions for epochs where head liquefies the concrete. It’s all about fashion, now, that we have recession. Dressed to kill with murder fabrics. The anger of the machines. The happiness in their language. Inkasso & ML asked themselves"

The 299 Game is the debut lp from 299, a collection of ten songs with an overarching sense of Lynchian weirdness is offset by songs that ring with crisp melodies and compositional nous. 299 is the solo recording project of Welsh multi-instrumentalist and producer Gavin Fitzjohn (who has worked with the likes of Manic Street Preachers, Gruff Rhys, James Dean Bradfield, Paolo Nutini and more), with 299 coming to life a few years ago while Fitzjohn was making his way across the US. Intoxicating, dangerous in its allure, there are flecks of '60s vocal groups and Tom Waits-style melancholia tied up in Fitzjohn's deliberate American drawl.

Punk Slime Recordings are proud to present a new double A-sided split 7" which features the return of two of Sweden's most exciting acts Stockholm slacker pop project Magic Potion and Nora Karlsson's acclaimed lo-fi pop project Boys. The 7" features first tastes of both bands' upcoming records with Magic Potion contributing "Rest Yr Skull", their first piece of new music since last year's acclaimed debut lp Pink Gum, and Boys showcases their first ever studio recording from the long-awaited debut lp which is set to be released early next year.The split 7" is due on October 20, but expect to hear music sooner than that with "Rest Yr Skull" arriving in early September ahead of Magic Potion's EU tour supporting Chastity Belt.

Punk Slime Recordings are proud to present the new full-length album from Birmingham, UK's Swampmeat Family Band. Their new album Muck! is a massive step forward both songwriting and production-wise, offering up a blend of uptempo garage rock and gentle americana. Featuring members of PNKSLM's own The Castillians and Terror Watts as well as Low Cut Connie, PWEI and Bentley Rhythm Ace.

Find all the titles that influenced one of the greatest rock band of all times, on a double vinyl. With: B.B. King, John Lee Hooker, Elvis Presley, Little Richard, Bob Dylan, Joan Baez, Muddy Waters, Sonny By Williamson I... The tracklist was made up by the journalist Lionel Eskenazi, who is a true specialist of the what many consider as the best rock band ever

Baby Rose makes healing music for the aimless and heartbroken. The Grammy-nominated singer/songwriter and producer's uniquely rich voice naturally lends itself to her powerful, smoke-filled ballads lamenting lost loves and broken futures. "I make music to help myself get through things," she says. The piercing honesty and vulnerability she brings to her lyrics in turn helps others process their feelings and find a place of healing. For Rose, it's a journey that's still ongoing. "If I'm going to leave anything behind, it's going to be getting people back to themselves," she says. "As I get back to myself, it's a constant reset: Remember who you are, remember who you want to be." You can hear the impact of this approach in Baby Rose's upcoming second album, Through and Through. Take the hypnotic "Fight Club." Over the track's simmering baseline and crashing cymbals, she declares, "I don't need no one else to show me the way." She describes the song as a "breaking of the shell. It encourages me to just go for it and not care about what anyone else thinks." Therein lies Baby Rose's strength: a determination to live, love, and create on her own terms. "I'm not just a singer with a unique voice," she says. "I'm somebody that has something to say." In the years since releasing her last album, To Myself, Rose has been painstakingly piecing together its sequel. Started almost immediately after its release, her new body of work finds her in a state of musical and personal transition. It's a subtle merging of new sounds_stirring rock, upbeat r&b, psychedelic funk, pop, and soulful ballads_, all mastered through analog tape to make the music feel warmer and all-encompassing. It's also a journey inward as she battles past fear and self-doubt to finally discover_and love_who she is, where she is. Finishing an album with such peace and firm resolution is a first for Rose, but she makes it clear: She's nowhere near done writing her story. "I think as long as I'm being raw and trying to push past my comfort zone, it will feel rewarding," she says. "I don't want to be the type that doesn't take risks because I'm afraid. I have to trust that as long as the music is honest and innovative, it'll be timeless."

"I imagine that one of the first things I heard in the world was the
explosion of a Russian ammunitions factory on the outskirts of my
hometown. It blew up the night I was born a new GDR-citizen. I´m not
sure I heard a noise when the Wall came down, but it still echoes in my
body. The echo contains many frequencies. Some of them sound like Gabber
playing in my childhood room over the speakers my grandfather once stole
from a Leipzig radio station. Some of them sound like me and my friends
running through the streets. They sound like my mother laughing and
consoling women in the women´s shelter where she worked in 1992. They
sound like birds: my father swears after the Reunification the great
crested grebes on the town lakes lost all fear of humans. Some of them
sound like these recordings."

In late 2023, Tokyo-based musician, Daigo Sakuragi, temporarily relocated to London, where he revisited material recorded with fellow Japanese musicians in Tokyo, drawing inspiration from the city’s energy, music, and atmosphere. This new perspective culminated in Togenkyo, a 28-minute work blending early 2000s folktronica and contemporary ambient styles. Sakuragi crafts immersive sonic textures with synthesisers and spatial production, while the organic groove of drums and bass anchors the piece, subtly inviting physical movement. Floating above this foundation, the saxophone weaves through the soundscape, leading the music with an elegant yet exploratory presence.

The session took place at aLive recording studio in Tokyo, with the following personnel:

Daigo Sakuragi: synthesiser, guitar, post-production
Jinya Ichikawa: bass
Shoei Ikeda: saxophone
Kazuya Ooi: drums

The lineup reflects a network of notable Japanese artists: Ichikawa, Sakuragi’s longtime collaborator in D.A.N.; Ikeda, known for his work with Maya Ongaku; and Ooi, a drummer for yahyel.

Sakuragi is best known for his band project D.A.N., where he contributes vocals, guitar, and production alongside bassist Jinya Ichikawa and drummer Teru Kawakami. Since its formation in 2014, D.A.N. has gained recognition for their unique fusion of indie rock/pop, dub, and electronic music. Under his solo moniker Daigos, Sakuragi explores electronic dance music through DJing and production, experimenting with Eurorack modules and samples in a refined, microscopic aesthetic. Recently, his creative output has expanded into diverse fields, including advertisements, artist collaborations, and films.

The term Togenkyo resonates with the concept of utopia, yet it diverges—it does not symbolise a flawless paradise but rather an attainable state of peace within oneself. Sakuragi reflects on finding his own Togenkyo in London, far from his hometown of Tokyo. The EP brings a sense of comfort and calm, reminding listeners that such a space exists not far from reach.

Archeo Recordings serve a special delight with two extended and alternate reworks from the all star cast behind the recent AR025 Aqua Cheta remix 12”. Dipping into the cool waters of Infradisco’s original LP once again, Hear & Now and Manu Archeo look to the horizon and channel the horizontal with a couple of ambient suites, new age dreamscapes and day trippers, each awash with positive vibrations and healing frequencies.
Perugia's peerless Hear & Now open the 12", cultivating pulsing chords, hazy reverb and elegiac fretwork for a White Isle romance steeped in the sunset lineage of the Café Del Mar. Heart-swelling piano and restrained bass throbs conspire to see the rest of the world melt away, with occasional percussion the only reminder that time is still passing. Though radically different from their dance-floor driven revision on the 12", this is no less impactful, swapping the club sonics for the sensation of sheer beauty.
Not content with making a spectacular production debut via his dubbed out diversion of "Dulcis" last time out, Manu Archeo makes further waves with a meditative masterpiece - spaced out and sprawling through a sultry thirteen minutes. An echo drenched meditation script gradually sinks into the immersive ripple of balmy horn, delicate hand percussion and watery pads, making room for a succession of stunning lead-lines and glistening sequences. If you thought the new age of New Age was over, it's time to open your mind.

Conrad Pack’s debut album Commandments. Mournful, murked-out dub-tekno and water-logged 〜150bpm steppers scraped from the floor of the Thames. A very UK response to the year-zero schrantz death-trips of DJ Valentime$, DJ Salazar et al. Simultaneously ultra-alienated and dialled into the dance, full of caustic/entropic industrial textures, drawing deep too on concussive reggae/soundystem dynamics and drill’s emotional-badboy yearning.

180G vinyl pressing

After releasing their well-received 7” and 12” singles ‘Night Time’ and ‘Feel It / So Hot’, Isle of Jura is pleased to present Exotic Illusions, the debut album from D.D. Mirage, the Sydney-based duo of Josh Dives and Disky Dee.

Having first played music together during the mid-2010s in the indie-psyche and punky-shoegaze bands King Colour and SCK CHX, the two Australian musicians/DJs came up in the warehouse party scene that fermented in the wake of the Sydney lockout laws. While organising mixed media events under the Yeah Nah Yeah brand, they discovered the joys of disco, dance-punk and the Balearic beat through Pender St Steppers’ DJ mixes and reissue releases and found themselves changing direction in response.

Written and recorded with a range of vintage keyboards and preamps, instruments and digital studio software, Exotic Illusions is a cosmopolitan love letter to the immaculate blend of Italo disco, Neopolitan funk, Nigerian boogie, cosmic house, synth-pop, UK street soul and lovers rock sounds that have inspired D.D. Mirage since they began this iteration of their ever-evolving musical relationship.

“The name Exotic Illusions refers to our fascination with all of this music made in other parts of the world,” they explain. “During lockdown and thereafter, we indulged in these exotic sounds as an antidote to our lack of travel. This fascination continued as the world opened up again, and we started working on tunes together. It’s also a way of acknowledging that we feel like tourists partaking in these styles and established sounds. They aren’t ours and weren’t born out of the place we’re from, but we hope we’ve been able to add something unique to them.”

In recognition of this, rather than just reinterpreting genre motifs through an antipodean lens, D.D. Mirage opened up lines of communication with some of their favourite musicians from the Neapolitan scene, bassist Daniel Monaco (Rush Hour, Periodica Records) and drummer Andrea De Fazio (Parbleu/ Nu Genea), who recorded the rhythm section for ‘So Hot’. They also wrote to the Manchester-based singer/producer Private Joy, who graced ‘Night Time’ with a smoother-than-silk street soul vocal that helped the single secure crucial plays on NTS and BBC Radio 6.

Opening with the tropical melodies, post-disco machine beats and jilted art-punk singalong chants of the title track, Exotic Illusions unfolds as a series of sturdy, internationally-minded dancefloor excursions. ‘Piranesi’ is boogie with a South American shuffle. ‘So Hot’ is Neapolitan funk with a Leichhardt strut, and ‘Antenna’ (featuring Jofi) is D.D. Mirage’s love letter to ‘80s drum machine bossa nova from Brussels.

On ‘Feel It’, the duo hit a sparking groove that reaches into an eternal sunset of the mind before throwing out a bubbly disco-not disco spoken word bounce on ‘Cat’s Cradle’, featuring psychedelic-pop singer Jermango Dreaming. From there, D.D. Mirage bring it home with a cheeky Aussie drawl on ‘Living Upside Down’ and the nocturnal excellence of ‘Night Time’, making a case for themselves as a significant new force from Australian music to the world.
full sleeve artwork from Bradley Pinkerton.

Torai continues to lead the Lunar Orbiter Program with a new launch: Artemis.

Rognvald, aka Richard Wilson, returns at full throttle with part 2 of 'The New Selecta'. Rognvald's unique future-old skool sound continues to evolve in this release, the third 12" in his WIFE series. You will travel into unknown subterranean territory with 'The New Selecta', exploring the limits of break choppage and granular sound design on a loved and familiar soundscape, as well as 2 dread filled cuts of swampy ambient reductions.

Using a minimal sound palette to maximal effect, Rognvald deconstructs and abstracts the tropes of old skool jungle. Blending blunted breaks with burrowing subatomic sinewaves, euphoric rave vocals lead to a nuclear ruffneck ecstacy.

Output/Input release their debut album 'Forward Motion' on double vinyl LP, December 1st. The album is an eclectic mix of 70's-inspired soul and funk delivered in a truly 2023-style of recording, with all tracks being recorded remotely across multiple continents. The band is a truly diverse and international group featuring members from countries including the USA, UK, Germany, Hungary and South Korea. Their previous releases have been praised by DJ's and tastemakers, regularly featuring on Jazz FM, BBC Radio 2, BBC Radio 6 and a host of specialist Soul radio stations across the globe. The CD and digital album have been No.1 on multiple UK Soul Charts.

Lead vocalist Antonio McLendon (pictured) has worked and performed with James Ingram, Tata Vega, Gladys Knight and Donna Summer, and features as vocalist on seven of the ten tracks on the album. He has definitely made an impact as a world-class singer this year, with the singles 'Smilin' Faces' and 'Someone I Used To Love'. both being radio hits. Co-incidentally, Antonio's daughter, Samara Joy won two Grammy awards this year for her album 'Linger Awhile'. Here We Go Again' features the vocals of Audrey Wheeler-Downing, who worked with Unlimited Touch and Chaka Khan, and Brent Carter, the current lead singer of AWB and previous to that, Tower Of Power. 'Doin' Alright' features vocals from O'Bryan, who Davis worked with extensively on his albums for Capitol. This re-recorded version, co-written by Melvin, originally appeared on the album of the same name in 1982, and is widely tipped as a stand-out rare groove revival cut on the album and is already hotly anticipated. 'Really No Chance' features the lead vocals of Katie Holmes-Smith, a globally sought-after singer, who backed Adele on her world tour as well as currently performing with her for the duration of Adele's residency at Caesar's Palace in Las Vegas. The CD release featured a bonus track, 'Every Time You Touch Me', recorded very recently, written by Noval Smith and Mark Love and sung by Antonio McLendon, while the 2LP features another bonus cut, a fantastic cover of the Earth, Wind & Fire classic 'Can't Hide Love', penned by Skip Scarborough, with vocals by Brent Carter

Music to Watch Seeds Grow By continues its series of plant-inspired soundscapes with new work from Pittsburgh-based sound artist Davis Galvin. This composition focuses on the Delphinium Elatum, capturing the quiet drama of this striking perennial through carefully constructed ambient textures.

Where their previous work explored the complex electronic territories of the outer technoid reaches, here Galvin turns their attention to the subtle processes of plant growth. The piece unfolds gradually, much like the Delphinium's own journey from seed to flowering plant. Gentle drones and atmospheric elements mirror the plant's various growth stages, from its initial emergence to its ascent to heights of up to two metres. You heard it here first.

The music creates an environment for contemplation, designed specifically for the moments of sowing and tending to these magnificent plants. Galvin's approach, as with all things they turn their ear to, emphasises patience and attention to detail, qualities essential to both gardening and deep listening.

Black vinyl / 505mcn paper / 30 x 60 cm Insert with full interview to Khan Jamal II + extended liner notes printed on 300 gram Büttenpapierfabrik Gmund "No Color No Bleach" paper with exclusive pictures & much more!

Personnel:
Khan Jamal - Vibraphone, Marimba
Clint Jackson III - Trumpet
Hassan Rashid - Drums

Notes:
It's quite simple, if you have a good connection with music, to find things that should be reissued due to their exceptional quality, but, like a diviner, being able to unravel the problems related to the licensing of a record, well, that's much more difficult. Finding someone is Sherlock's job! After 4 years, Khan Jamal II (son of Khan Jamal) delighted us with a "Let's go my guy".
Khan Jamal doesn't need much introduction: Born Warren Robert Cheeseboro, he was a jazz vibraphone and marimba player from Philly. He founded the band Sounds of Liberation in 1970 with Byard Lancaster. In 1974, during one of his many trips to the old continent, he recorded this album in France at Jeff Gilson's Palm studio. It is a delicate game of lucid and intense contrasts between Christian Vander's drums provides a rock oriented touch, the marimba and the vibes with influences from the lands of the rising sun of Jamal and the composed trumpet of Clint Jackson III which anchor "Give the vibes Some" in a sort of Space Age Jazz era.
In the end, you know what? This album is a transcendent journey into yourself, like an intense session of meditation...even if "35.007 Feet Up" could easily be played by Jeff MiIls in his DJ Set!

“Ticket to Ride” marks the solo debut of Dandolo, member of the duo Maurizio & Dandolo. This time, Dandolo wins a lottery ticket and flies solo, away from his Adriatic coast, to Thailand where lust, love and broken hearts await him.

The single’s exotic flavour is highlighted in the B-side, the dub version by Cosmo Dance. The track is a total floorfiller, a DJ essential and dancers’ delight that nods in its production to the Eastern influences of the golden age of Italo Disco.

With “Ticket to Ride” ends the Italo Disco trilogy of Maurizio & Dandolo, started with “Natale in tangenziale” and continued with “Demin”. The track confirms Mirella Records’ commitment to craft exquisite Italo Disco instant classics, with a distinctive and authentic 1980s flavour, which echoes in the cheekiness of the lyrics and themes narrated.

In 2016, Cliche Morph offered the aquatic textures of "Liquid Materia". "Hidden Madness" is the return and a new beginning. Four tracks of intense introspection mark a collaboration and a founding, Deep Sound Channel and Postdynamic. Atmospheric and immersive, from the needle drop the listener is immediately drawn into the subterranean chambers of this cerebral piece. A stark beat is the guide rope, a snare that echoes and ricochets into the cavernous expanse of cold currents and all too real phantoms. Feeding off that palpable paranoia, Psyk pours a thick resonating syrup over the original before pulling the switch. Darkness descends, distortion and reverb dominate with a steady kick delivering some form of solid ground. Respite? No hope. Pound and thud tell the arrival of "Exorcist". Industrial groans and a clanking larynx are cut through by haunting strings, a meagre echo of humanity in this absorbing and unsettling track. Blazej Malinowski closes. Drum patterns are amplified and concentrated in the producer's purge of "Exorcist", hi-hats hissing as the spectral refrains of the original shift in shape and form. A 12" that plumbs the physical and the psychological depths of sound.

Julek ploski’s ‘Give up Channel’ is on mappa. It’s the follow-up to the Poland-based FL Studio demon’s ‘Hotel *’, released via Orange Milk in 2023.

It’s an album that wrestles against a shadow self. It’s about shelter from the hailstorm of unwanted memories and guilt pangs and serrated blades of thought. It’s about clinging on to some semblance of hope, knuckles taut and teeth gritted.

The fragmented drift of opener ‘Naysayer’ flows forward like an anxious daydream, pad eddies and piano plinks anchored by Trapaholics drops and bursts of guaracha drums. It’s a mess of mind: the bleakness of ‘Truth’ is punctuated by gun cocking and bullet spray and sudden jester-like blasts of unhinged, schizo-whimsical melody. An internal war without a clear winner.

Shame snakes through this music like venom through an emaciated body. Blue screenlight in a dark bedroom, pulsating temples, lockjaw. ‘Titanic’ hits like the thrashing resistance of a being built for love grappling against the scalding vengefulness it’s forced to contend with, the song’s abstracted rave synths giving way to warped voices and spiralling derangement. ‘Hollywood’ is a scarred battleground, the martial bludgeoning of a tightly wound hardstyle stomp blistering and shredding a delicate piano-and-string arrangement.

This music is about deep solitude, a meditation on simmering, slow-marinating hatred. But it’s ultimately about prevailing. It doesn’t revel in negativity, it roils and twists and writhes against it. Dots of light in oppressive darkness. Clarity and purpose against chaos and filth. It’s a struggle worth waging.










h I Was #AllAlone Movements V - VIII
[i] Economy [Movements I - IV]

The official re-release of this 1968 Garage grail in direct collaboration with lead signer & songwriter for The Outcasts, Al Collinsworth. As featured on DJ Shadow & Cut Chemist's 'Product Placement', this 45 has remained an iconic anthem across various scenes. We're honoured to contribute to The Outcasts legacy, showcasing their single close to 50 years since it was originally released.

In the words of Al:

'In the spring of 1968, I wrote the song 'Loving You Sometimes' and recorded it with a young group from Ashland, KY called The Outcasts. The group included Dick Hall, Nick Wickware, Ronnie Gibson, Ralph Morman and I. A local record company, Plato Records from Huntington, WV heard us at a local bar and signed us to a record deal. Queen City Recording Studio located in Cincinnati, Ohio, was our first experience with a multitrack studio in a big city. On the morning of the session, we piled into Nick's van and drove from Ashland to Cincinnati, with most of us sitting on the floor with our gear. When we stepped out of the van, we knew we had started an adventure, one that has lasted nearly half a century.'

DeepMatter Records is thrilled to reintroduce ‘Daughter of the Sun’, the groundbreaking album from Canadian bassist and producer vbnd. Originally released in July 2018, this neo-soul masterpiece has captivated listeners worldwide, racking up over 68 million streams and selling out two previous limited vinyl pressings in the process.

Blending jazz influences with soulful grooves, this album is a true gem for any lover of neo-soul. Featuring collaborations with fellow Saskatoon artists — including the ethereal vocals of Katie Tupper, the masterful guitar work of Justice Der, the sultry sax of Connor Newton, and the artistry of Simon Jasieniuk — the project is a lush and unforgettable listening experience. Standout tracks like “Smoke” and the titular “Daughter of the Sun” highlight Tupper’s smoky, enchanting voice, perfectly paired with vbnd’s lush, soul-infused production.

Since its release, ‘Daughter of the Sun’ has become a cornerstone of Saskatoon’s blossoming jazz and soul scene, with vbnd drawing inspiration from icons like D’Angelo, Jaco Pastorius, and Snarky Puppy.

Split Evolution from Chicago and released two singles. The first "Jumpstreet" (vocal/instrumental) on Wasp in 1978 (although copyright on the label states 1974 whilst publishing states 1978) followed by "If Only You Would Say (I Love You)" (vocal/instrumental) on Jumpstreet in 1984 as The Three Phases Of Evolution. Both pretty hard records to find and not even listed on 45Cat but appear to have been reissued by Magnetic Recordings in 2014 (both included below). Interestingly, on the label for the latter it states that it is from the LP "Jumsptreet" so perhaps an album was in the pipeline? They recorded a third single which only made it to a test pressing stage, as the full run was cancelled later on. This unreleased third single "Bedroom Eyes" / "Let Me Do It" is the one out in March on Canonnball Records. The only surviving copy was found by rare soul DJ Dave Thorley on a record hunting trip to the States in the early noughties.

Our 8th Anniversary release is totally, completely, wholeheartedly dedicated to LOVE. Written not to be a ballad neither to be a dancer “Bedroom Eyes” inevitably ended up being both, turning out in what I consider the definitive love song, up there with Sly, Slick and Wicked's Sho' Nuff. It just melts my heart. Warm basslines laying on a catchy drumming which anyone would likely mistake for an Enchantment groove. A man and a woman dueting like if they were actually laying in bed after a consuming day out, and finding relief in each other’s presence. The man, desperate for love, makes questions to which the woman answers in the choruses with a hidden prayer to stay together forever. All with mutual background voices and brass crescendos and strings pizzicatos counterpointing each others to make it a beautiful yet rough arrangement. Just pure Soul love heaven.

First things first - you don’t need me to tell you about the significance of Australia in the history of punk. I mean, what am I, Jon Savage? Google it yourself, FFS. Instead, let’s just agree that the speedy, feral racket thrown together by the likes of The Saints, Radio Birdman and The Scientists in the mid-late ‘70s is AT LEAST as deliriously entertaining as anything concocted by their UK/US counterparts, sowing the seeds for seemingly endless garage-inflected noisemakers in the land down under. No one likes using words like ‘tradition’ or ‘heritage’ here - the punk rock clusterbomb is far too messy for any of that business - but also emerging from Australian rock’s primordial soup is the addictive sneer of Stiff Richards. Like their predecessors, the band are a gleefully wracked mess of full throttle energy and barrelling power chords, with songs like ‘Kids Out On The Grass’ and ‘Point of You’ proving at least the equal of ‘(I’m) Stranded’ or ‘Aloha Steve And Danno’. Nine tracks in less than 30 minutes, all winners and all determined to leave you flipping over couches and smashing your TV set. And let’s face it, you may as well; there’s nothing good on. It all builds towards frantic closer ‘Fill In The Blanks’, which rattles around your speakers like the UK Subs trying to play Ed Kuepper riffs at the centre of an earthquake, before grinding to a halt as a voice says, “That’s the one.” Does it sound self-satisfied? Hey, it’s got good reason to - this is the best no-frills garage rock party since Gino & The Goons’ ‘Do The Get Around’, and the only appropriate response is to declare yourself betrothed to Stiff Richards because you can’t imagine your life without ‘em. Don’t believe me? Sort out your ears and get ‘State Of Mind’ in ‘em. Rock’n’roll as it’s supposed to be played.

Sanam is a free-rock post-folk sextet consisting of Sandy Chamoun, Antonio Hajj Moussa, Farah Kaddour, Anthony Sahyoun, Pascal Semerdjian and Marwan Tohme. The group first formed as part of a performance with Hans Joachim Irmler from the legendary German experimental group Faust, at the Irtijal music festival. Their music and performances are akin to a ritual, a marriage and an exorcism of traditional Egyptian song/Arabic poetry and improvised rock, free jazz and noise. They recorded their first albumAykathani Malakonin a traditional house in the village of Saqi Reshmaya, which was then mixed by Radwan Ghazi Mounmeh (Jersualem In My Heart).

"Equinox", Gianni Marchetti's 1977 twin album of "Solstitium", released in a handful of promo copies by RCA in their renowned "Original Cast" series, takes us on a journey through the author's groovier and wilder temperament, feeling as fresh and surprising today as the day it was made, offering immediate understanding of the reasons why it has remained one of his most sought after - and virtually impossible to find - titles over the decades.

RIYL: Piero Umiliani, Sandro Brugnolini, Stefano Torossi

The limited release as part of RCA's "Original Cast" series only increased its mystique, making it a coveted piece among collectors and connoisseurs. The album's distinctive character lies in its spontaneous, freewheeling approach, which contrasts with the more polished productions of the era. It's a perfect example of Marchetti's unique vision, where each track seems to evolve organically, offering both intricate musicianship and a sense of unrestrained creativity.

Los Angeles based producer Truncate and Chicago legend DJ Hyperactive team up for their first ever collaborative EP consisting of 4 deep, heady, funky club tracks.

Watkins Group returns to Frequency Consortium for its second release, pushing further into the murky depths of dubbed-out desolation. Dubh Dubs (Dark Dubs) takes its name literally—seven tracks of cavernous low-end pressure, submerged echoes, and spectral atmospheres, drawing inspiration from the voids between worlds, the unseen corners of deep space, and the eerie stillness of unknown places.

Where Beanntan a’ Bhròin charted a course through the bleak grandeur of the Highlands, Dubh Dubs plunges headfirst into the abyss, embracing the weight of isolation and the slow decay of time. Watkins Group crafts a sound that feels at once infinite and suffocating—pulsing, restrained, and heavy with the dread of something just beyond reach. Tape-warped textures and submerged percussive mutations unfold in glacial movements, calling to mind the nocturnal dub abstractions of Porter Ricks, the blackened ambience of Thomas Köner, and the sub-heavy spirals of Rhythm & Sound at their most ghostly.

A study in tension and negative space, Dubh Dubs marks another compelling entry in the Frequency Consortium catalog—an offering for those drawn to the darker recesses of sound, where every echo leads deeper into the unknown.

In loving memory of my brother and kindred spirit - Marcus Rafferty

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

2025 Repress
Singing black-lit liturgies of bog bodies caked in mud, entranced by nocturnal landscapes flickering in the moonglow and powered by queer enchantment, Tristwch y Fenywod are a Welsh-language gothic avant-rock powercoven. Exhumed from the depths of Leeds’
experimental underground, the trio consist of Gwretsien Ferch Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The Courtneys).
Stark, striking and bewitching, Tristwch y Fenywod’s self-titled album is their debut studio recording, following just 10 gigs and a live demo. Formed in 2022, Tristwch y Fenywod ("The Sadness of Women”) record exclusively in the Welsh language, conjuring an eldritch, subterranean, alien folk music played on dual zither, electronic drums and bass guitar. With towering, siren-like vocals curling around the Welsh consonants, accompanied by stark, martial rhythms and swirling claw-plucked strings, Tristwch y Fenywod feels like an early 4AD recording dredged from the waters of an Anglesey swamp. The effect is simultaneously chilling and stirring.
The eight tracks on the record constitute what feels like a recently rediscovered, unholy grail of edgy, atmospheric, occult feminist goth emissions. Gwretsien’s dual-zither playing scatters melodic fragments and spirals of harmony around the decimated space opened up by the lugubrious bass playing and pounding, brooding drum pads.
Coupled with the Welsh vocal, Tristwch y Fenywod embody a new, unique Celtic darkwave sound, equal part Pornography-era The Cure, Svitlana Nianio’s haunted hammered string-work and the dark beauty of Dead Can Dance or This Mortal Coil. Opener Blodyn Gwyrdd feels like the last ride of Princess Ukok, with lumbering bass and 6/8 rhythms in procession to the event horizon with an entreating, impassioned vocal and surprising lyrical theme. The doomed dancing of the zither provides the mysterious melodic bedrock throughout the album, particularly on Ferch Gyda’r Llygaid Du’s heavy funereal swa and the slowly building, paroxysmal banshee breakdown of Awen: an astonishing swell of thrilling chaos.
The album was recorded and produced by Ross Halden and the band at Hohm Studio, Bradford, Summer 2023.

Mid 80's Rub-A-Dub, London style - wicked conscious toasting action from Ranking Anne on her 1984 follow up LP on the great Ariwa.
Produced by Mad Professor, featuring host of guest musicians and singers ( Johnny Clarke , Jah Shaka to name a few) joining the sessions. Class

The first in a two part series on Canopy documenting the work of the Beninoise supergroup, T.P. Orchestre Poly-Rythmo, who were responsible for an astonishing multitude of records, numbering well over 250 releases. While the group underwent numerous personnel changes over the course of their 40+ year legacy; the founder, composer, vocalist & multi-instrumentalist Clément Melome remained a constant and uniting force.

The title track, "Zo Tche Kpo Do Te", sung in Fon by bandleader Clément Melome translates as, "My Fire Will Not Go Out" and was taken from the self-titled LP "Melome Clement & L'International Orchestre Poly-Rythmo". It is here remastered and reissued by Canopy for the first time. This evocative song is a hybrid of soukous-like elements with a driving, almost disco beat and a relentless bassline shot through with funky guitars and triumphant horn arrangements. The atmosphere is given a cosmic sensibility with synth lines and psychedelic FX, culminating in a sonic cocktail that has often been described as "Voodoo-disco".

Accompanying the original version are two remixes by producers whose work Canopy has long admired.

Jose Marquez adds live bass and percussion to his "Mezcla", turning it into an uplifting opus that deftly dances the line between the original work and the modern elements, tastefully updating the sound to segue between the past and present.

Sol Power All-Stars up the ante with their powerful reinterpretation. Throbbing bass underpins a club focused yet dubbed out and psychedelic afrobeat over which Clement Melome's composition shines. The Ibibio Horns add complimentary horn arrangements and galactic synth solos. The end result is a master work in 21st century future-vintage afro funk creation.

Cindys petrochemical plant managed by her husband Norbert
He’s just half-eaten a sandwich, he’s got a little dino friend, a couple perhaps.
Surrounded by strange industrial structures and debris he’s quickly animated by inhuman images and sounds.
Fearful over a dream she had about sinking in quicksand she quickly remembered Pasolini’s words.
‘In a dense fog’ they read, no it was perhaps another instance.
She used to live on an island and swim off a beach at an isolated cove. She orders pizza often. Of all the rocks in the cove it seems that only one comes alive and sings to her.
In the voice of the core.
The factories wide consumption continues.
Twenty-two minutes per side.
Something good.

Isophlux Records presents Eleuthera EP, the latest release from Miami-based electro pioneer Shad T. Scott, aka Dcast Dynamics (Gosub). After a two-year hiatus living aboard his sailboat, Scott returns with an EP inspired by Eleuthera Island’s rich history and mysticism. Available on both vinyl 12"and digital formats, the EP captures the island’s haunting energy and spiritual depth.

Drawing from Eleuthera’s voodoo folklore and deep cultural roots, Eleuthera EP weaves narrative-rich electro at 140 BPM, slowing to 135 BPM on Side B. "Ritual Ascension" opens with hypnotic rhythms, reflecting the island’s spiritual rites. "Eleuthera Shadows" delves into the darker, mysterious corners where the past lingers. Side B's "Output" nods to Scott's earlier work with its syncopated basslines and atmospheric textures, while "Lucayan Sunset" closes with a serene, reflective tone—an homage to the island’s mystic sunsets.

Scott’s work as Dcast Dynamics continues to push the boundaries of electro, blending personal experience with Eleuthera's otherworldly influence. This release offers a journey for both long-time fans and new listeners alike.

200 copies only. 10 track LP....

GLOW WORLD is Rod Modell's new project resulting from his collaboration with Taka Noda. The duo delivers what could be an example of perfect elegance and musical refinement, but the resulting sounds are once again dirtied, ruined and ravaged by a noise capable of deafening us, sounds that come from afar, that seem to fade away but suddenly illuminate the world around us, which lands on us and which no longer belongs to us, leaving us lost in an infinite melancholy.

GLOW WORLD is a work characterized by buoyant ambient sounds from which delicate rhythmic textures emerge, and never speeding up they run along the routes of an electronic music that surely knows how to be as minimal and suffused as it is distressing. Touches of piano, slow pulsations of bass lines and constantly disturbed sounds that nevertheless almost lull the listener into listening to this timeless music, perfect for letting go, observing time inexorably slipping out of our hands forever.

Sounds that are timeless, it was said. Rod Modell and Taka Noda are visionaries, and GLOW WORLD is a rare gem. Simply another masterpiece.

Emotional Especial returns to the music of Peter Reilly aka Persian, with a second EP diving into his extensive catalogue to celebrate this cult artist and evaluate his recent decision to retire from music production.

For over 20 years Reilly has been an exemplary electronic producer, a producer’s producer, a DJs producer, releasing over 50 EPs that crossed genres, from Breaks to Digidub, Electro to Garage, House to Jungle and on and on.

If this release is to act as an epitaph, then its exploration of Reilly’s wonderful programming, sampling and understanding of emotions is laid bare. Spread across a series of self-released edits hidden within limited run EPs, Questions appeared as something akin to beats interludes, across numerous releases over the last 10 years.

Bringing the best versions together on one EP, Questions 1, 2, 5, 3 and 7 have been re-edited, extended and sequenced into a continuous mix especially for this finale. Starting with the ambient breaks of Questions 1, this is a Balearic beginning where bubbling acid meets haunting refrain, before segueing effortlessly into the sunrise breaks of Questions 2. A nod to Carl Craig’s classic Incognito remix, the solo keys add a touch of jazz to a glide by shooting melody.

Side 2 rises. Question 5 heralds a half stepper Dub bassline riding the Amen breaks, the now familiar Brando sample, a wormhole in your brain that ties the EP together, joining the dots as strings float skywards, allowing Questions 3 break it all back down. Herbie Handcock inspired Funk Boogie beat, shouts out to his own Existence To Resistance label, leads to the pure ambient closing of Questions 7. A showcase again of Persian’s multi-genre dexterity and maybe, just maybe brings an influential music chapter to a close.

We are thrilled to announce the highly anticipated re-issue of Ash Ra Tempel's legendary 5th Studio Album "Starring Rosi" in our "50th Anniversary Edition". Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience.
The Album has been recorded by Manuel Göttsching in it´s entity, with additional help to come from Producer Dieter Diercks playing bass, percussion, Drummer Harald Grosskopf and of course Rosemarie "Rosi" Müller.
"Starring Rosi" is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Originally released in 1973, this album marked a significant departure for the band, featuring Rosi Müller, who added a lyrical and vocal dimension to the band's typically instrumental soundscapes & Manuel Göttsching background singing.
To many technically Ash Ra Tempel last, yet most accessible, release, although there was the soundtrack to Philippe Garrel´s movie "Le Berceau de Cristal" and there might be some further previously unreleased, music to come out later.

Album Background:
*Starring Rosi* stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics.
It marks an unique chapter in Ash Ra Tempel's discography, featuring the ethereal vocals of Rosi Müller alongside Manuel Göttsching's visionary guitar work. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music.
From the dreamy opening track "Laughter Loving" to the meditative "Day-Dream" and the atmospheric "Interplay of Forces," songs that illustrate the band's evolution from their earlier, more intense and improvisational albums, showcasing a more reflective and introspective side .
"The Fairy Dance" is delving into the mystical and meditative, transporting listeners to a dreamlike state.
While "Schizo" sounds like a continuation of the best moments of the previous Ash Ra Tempel records, is the last track "Bring Me Up" an Up-tempo Song that features Manuel as well on vocals.
"Starring Rosi" captivates with its blend of cosmic improvisation and melodic beauty.

Reissue Details:
This reissue of *Starring Rosi* has been introduced and overseen by Manuel Göttsching still, and finalised by his Family exactly to his standards, in which the meticulous approach to his work lives on.
An updated 2024 recut carefully commissioned by Schnittselle in Berlin (who also signs responsible for the previous ART Reissues, likewise, the 2016 E2 E4 Anniversary Edition ensure the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. The reissue is available on 180-gram Black vinyl and a Limited Edition in transparent Pearl Sunrise Vinyl.
Both vinyl editions comes with a replica of the original Vinyl Artwork including it´s original Backside.
The Limited Edition also includes a Poster of the alternate Backside, used later on the CD Editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased Original "The Fairy Dance" Music and "Schizo" Composition Sheets handwritten by Manuel

2025 Repress

Label owner Gianluca Caiati recognised as Kaiser is back on his own imprint with a new EP called Controcorrente. To the DJs, for the DJs. To the club, for the club. What is written behind this new story?