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A faithful police dog and his human police officer owner are injured together on the job, triggering a harebrained but life-saving surgery that fuses the two of them together,

and Dog Man is born. DreamWorks Animation’s adaptation of Dav Pilkey’s New York Times bestselling literary phenomenon is directed by Emmy winner Peter Hastings

(The Epic Tales of Captain Underpants, Kung Fu Panda: Legends of Awesomeness), and stars the voice talents of Pete Davidson, Lil Rel Howery, Isla Fisher, Poppy Liu,

Emmy nominee Stephen Root, Billy Boyd and Emmy and Golden Globe winner Ricky Gervais.



Dog Man composer Tom Howe has scored over 100 projects for film and television, including Ted Lasso, Shrinking, Daisy Jones and the Six, and The Great British Bake-Off.

“Because Dog Man doesn’t talk and I wanted to capture his high energy, I incorporated hand-clapping percussion, vocal layering of dog pants and mouth trumpets.

I recorded all of these mad mouth sounds myself in the studio. And as a contrast to Dog Man, the police chief and action cues are accompanied by wah-wah guitars, sax and afro flute.

It’s like Bullet meets Shaft, blending elements of Lalo Schifrin and Isaac Hayes. This thread of classic ̛60s and ̓70s crime thrillers is woven throughout the score.” Tom Howe

OONA Recordings is proud to announce the upcoming release of the soundtrack for The Girl With The Needle by Frederikke Hoffmeier. Hoffmeier, whom performs under the stage name Puce Mary, brings a raw, intense and atmospheric score to this Oscar-nominated film, which is contending for Best International Feature. Known for her bold, experimental approach to sound, Hoffmeier’s composition immerses listeners in the film’s dark, emotionally-charged world. Directed by Magnus von Horn, The Girl With The Needle premiered at the Cannes Film Festival, where it earned praise for its uncompromising vision. The film went on to receive a Golden Globe nomination for Best Non-English Language Film and won two prestigious awards at the European Film Awards, including Best Score for Hoffmeier’s hauntingly powerful work. The score to The Girl With The Needle is as dark as it is compelling, a masterclass in creating tension, unease, and raw emotional weight. Hoffmeier’s sound design is equal parts abrasive and intimate, drawing the listener into a world of fractured beauty. Her use of organic textures, electro-acoustic undertones, and dissonant, atonal melodies challenges traditional notions of film music, offering something deeply visceral and unpredictable. The Guardian described Hoffmeier’s score as "nerve-abrading," highlighting the relentless, uncomfortable energy that underpins the film. The Chicago Reader similarly calls the score haunting, noting how it amplifies the film’s stark atmosphere. Drawing comparisons to the intense works of composers like Mica Levi, Awards Radar Magazine praises Hoffmeier for pushing the film’s emotional core to its breaking point, deepening the agony of the protagonist. Throughout the film, Hoffmeier’s score becomes as much a character as the people on screen. Her collaboration with von Horn is marked by a shared vision of pushing the limits of cinema and sound. Screen Daily describes the score as "daring," with its aggressive, contemporary tones standing in stark contrast to conventional film scores. The result is a uniquely modern, avant-garde work that reflects the film's visceral and unsettling nature. Hoffmeier crafts a world of sound that lingers long after the credits roll. The soundtrack’s fusion of organic instrumentation with electro-acoustic elements and bold industrial sounds sets it apart from the ordinary. The British Film Institute notes how Hoffmeier’s "atonal score" creates an "enervating effect," pulling listeners deeper into the film’s raw emotional depths. The combination of brutal sound design and haunting melodies builds a layered, evocative listening experience, one that grows increasingly intense with every listen.

The deadbeat Danish duo return to serenade us with their signature sound of fuzzed-out garage-rock guitars, falsetto vocal supremacy, and an unyielding rhythm section. Gabestok find themselves lodged at the pinch point between the grandiose and the garage, crafting songs that are at once eminently epic yet raw and direct. Alle Dør I Fremtiden is a road trip into oblivion, always accelerating toward some unknown precipice until inevitably driving you over the edge. Laying in the wreckage of an old car smelling of stale cigarettes and beer you wonder what happened, then flip the record and start again.
A short conceptual album steeped in hopelessness, regression, power, and the almighty battle against mob mentality in the wake of advancing technology and knowledge. Set amidst a geomagnetic storm on a desolate, scorched Earth, we follow an obsessive collector who has amassed a vast physical repository of lost knowledge now esoteric in an era of hard drives and remote storage. Books, piles of papers, and artefacts are all locked away in his private Citadel, far removed from a population of spiritless people, trapped within their own thought-prisons, fiercely guarded by corporate algorithms.
Fire and flames come in many disguises and eventually We All Die in the Future.

His story is entangled in the story of America, and he's been tracing it's highways and
entertaining it's audiences, and those abroad, for nearly six decades.
So, it's fitting that his new record, is entitled Look Out Highway, and it's remarkable
that a man who has spent more days on the road than off still brings such spirit and
passion to the music and the lifestyle. Throughout his illustrious career Charlie
Musselwhite has received 13 Grammy nominations and 33 Blues Music Awards. In
2014 his collaboration with Ben Harper Get Up won a Grammy and in 2010 he was
inducted into the Blues Hall of Fame. In 2023, Musselwhite was cast in Martin
Scorsese's film Killers of the Flower Moon.Charlie has collaborated with an eclectic
list of incredible artists over the years, including Ben Harper, Cyndi Lauper, Eddie
Vedder, Tom Waits, Bonnie Raitt, Gov't Mule, INXS, George Thorogood, Eliades Ochoa,
Cat Stevens, Elvin Bishop and John Lee Hooker.More than any other harmonica player
of his generation, Charlie Musselwhite can rightfully lay claim to inheriting the mantle
of many of the great harp players that came before him with music as dark as
Mississippi mud and as uplifting as the blue skies of California.
In an era when the term legendary gets applied to auto-tuned pop stars, this singular
blues harp player, singer, songwriter, and guitarist has earned and deserves to be
honored as a true master of American classic vernacular music.

"After a first appearance on the "Various 1" EP, Oshana now makes her full release debut on Altered Circuits. The "Origins EP" is, in the artist's words, a collection of old-meets-new four-to-the-floor club flavours. Originating from her live set practice, it's a proper representation of where she's currently at: making a push for the bigger and bolder. Her obvious talent for meticulously stacking textures doesn't stop her from shifting to the stripped-back and straightforward when needed. The constant throughout is a sensibility for the dancefloor, which never lets anything get in the way of groove and rhythm. "Above We Soar" drops right into the action with a menacing bassline and equally gloomy synthesizer layering. The cut's gothic-black palette works a charm merging palpable tension with restraint. It builds for 4 minutes towards a drop - and then a slamming acid line succeeds in cranking the energy even up another notch. "Space And Time Dimensions" is a loopy roller which, by the sound of its reverb levels and ambient noises, might have been recorded at a missile silo. The stretched vocal samples and ever-evolving drums propel it forward in a vintage, Chicago house type way. There's a moment of calm when those briefly fall away; one of its quirky basslines subsequently makes room for a slick little polyrhythm sine, and everything clicks even more. On the other side, "Girls In The Front" doesn't loosen the reins either, as hefty kicks and another sturdy bassline immediately set the tone. The air appears charged with static electricity, and Oshana's way of niftily adding and subtracting seamlessly draws the listener into a groovy trip. 5 minutes fly by, and then the lead still has to emerge. The one that eventually comes in is huge and hypnotic. Topped off with a selection of vocals that burst with impatience, the track hints at the anthemic. Closer "Origins" taps into a more progressive and trance side with its modulated formant bassline, jittery arpeggiator lead and heavily flanged flourishes. A gust of electronic flutes and sleek chords take a turn for the - almost - idyllic. Not for long: not uncharacteristically, it switches back to the main beat and back into more ambiguous yet familiar territory."

Margate-based Braga Circuit showcases a refined signature style and knack for killer sampling with this standout debut on Air Miles. 'Fall' kicks off with amped-up chord stabs and brilliantly well-swung, rolling kicks that soon get those hips moving. 'Closer' oozes summer cool thanks to the balmy chords that soften the percussive, garage-flecked house drums. There is also plenty of Kerri Chandler soul in these here beats that makes them all the more essential. 'Filter Feed' layers up dusty perc and thudding kicks with sultry vocal whispers. It's steamy and irresistible and last but not least, Leod is another talent from the coastal town of Margate and remixes this one with a more direct and dubby style.

Die Herzschmerz-Verkäufer Nature TV verkaufen von Tür zu Tür ein Elixier aus Jangle-Indie und melancholischem Yacht-Rock. Ihr Debütalbum "Unlucky For Some" ist eine Sammlung von 7 EPs, die ewig liebeskranken Dream-Pop mit klassischer Soundinnendekoration und kompositorischen Wendungen paaren. Die reichhaltigen Songs setzen das Thema Liebeskummer in High-Fidelity fort. Das Ergebnis ist eine LP, die mit akribischer Liebe zum Detail summt und sich dennoch so benommen anfühlt wie die Einnahme von Beruhigungsmitteln im Whirlpool. Eine Indie-Jangle-Partyband auf dem Höhepunkt ihres Könnens, nur dass die Party vorbei ist und sie mit dem Soundtrack für das Aufräumen beauftragt wurden. Jemand liegt bewusstlos im Gartenstuhl, Zigarettenstummel stecken in leeren Dosen, eine Tür ist aus den Angeln gerissen, der Pool ist halb versickert, Regen strömt an den Fenstern herunter und alle müssen morgen früh arbeiten. FFO-Immobilien, Ducktails, Glitzerparty.

- "Verträumt schöner Indie-Pop mit einem subtilen Hauch von Introvertiertheit." - CLASH

- "Ein Song für die Heimreise am späten Freitagabend, wenn Ihre Hoffnungen zerstört wurden und Sie etwas Zuneigung brauchen." - Line Of Best Fit

- "Indies neuste strahlende Sterne." - DIY

"Circling The Drain" is a collaborative project from Offish, featuring four talented guest artists: Forgiven Soul and Gred Lvov from Ukraine, both deeply influenced by the techstep scene, alongside UK-based TRC2 and NonRev, known for their atmospheric approach to drum & bass. Each artist brings their unique perspective and style, resulting in a release that showcases a rich diversity.

Side A includes "Eviscerate" and "Mushrooms," which embrace hard-hitting, broken rhythms inspired by jungle and old-school dnb influences. Meanwhile, "Cautionary Tale" and "Look For Patterns" on side B showcase a more refined drum & bass structure, with tightly engineered drums, complex basslines, and intricate, multi-layered atmospheres.

Now releasing their third album together, ‘Deep Freedom’ on Connessioni, Lorenzo Fortino and Brody have grown even closer and more complementary as artists.
Renowned and recognized globally as producers thanks to their two previous albums, they take another step forward with this new work, delivering something truly unique and unlike anything else. Their sound remains consistent, mature, and decisive, driven by a commitment to absolute artistic freedom.
The EP opens with “Our Truth” (A1), a techno/electro track where electronic drums, bass, and atmospheric synths blend seamlessly. Lorenzo’s processed vocals add depth to the composition, uilding to a point where body and mind move in unison on the dancefloor.
The journey continues on the same side with “Homemade Mould” (A2), a raw and direct house track that most closely embodies the recognizable hallmark of the two Italian producers.
Side B begins with “Deep Freedom” (B1), featuring singer Veronica Marini in her recording debut. The song delivers an explicit message of rebellion, layered with a profound call to action for the world. Set against a deep, immersive soundscape that bridges house and techno, it seeks to awaken the spirit—encouraging listeners to embrace life and fight for freedom.
The album concludes with “Leave Those Memories” (B2), a house track that feels like an instant global hit from the very first listen. The drums, bass, and synths come together flawlessly, creating the perfect backdrop for Veronica Marini to shine. Her remarkable jazz-infused soul takes center stage, moving effortlessly through lyrics that showcase her distinctive interpretative style — one that can only come.

Definitive Recordings Reissues the Classic "Do It" by Las Americas with Remixes by St. David.

Definitive Recordings proudly presents the reissue of "Do It", a timeless house classic by Las Americas, the project of renowned producer David Alvarado. Originally released in 1994, this track returns in remastered form, accompanied by two fresh remixes by Italian house maestro St. David and a remastered version of the Chuck Phulasole remix.

St. David, born Davide Disanto in Bari, Italy in 1991, leads this reissue with his distinctive old-school house style. His influence shines throughout this reissue, showcasing why he is one of the most respected figures in the underground house music scene. With a career rooted in the 90s house aesthetic, he has reached the top of the World Vinyl Charts multiple times, with support from icons like The Martinez Brothers, Jovonn, and Chris Stussy. Drawing inspiration from legendary American house labels such as Strictly Rhythm and Nervous Records, St. David has built a reputation for blending timeless grooves with modern energy.

His "St. David Big Tool Mix" is a playful and catchy reimagining that manipulates the iconic vocal phrase "Do It" with rhythmic sampling, injecting a vibrant groove into the original. The "St. David Drum Tool Dub" takes a funkier, stomping approach, layering the track with sharp, rhythmic guitar licks and adding a fresh twist to the vocal hook.

The remastered original from 1994 remains a testament to David Alvarado's legacy, with its repetitive 90s house structure, featuring classic basslines and funky guitar riffs centered around the unforgettable vocal motif. Rounding out the release is the Chuck Phulasole remix, which leans into a moodier vibe with its focus on keys and a prominent Moog bassline, adding depth and texture to the track.

The "Do It" reissue is a celebration of house music's enduring influence, pairing a remastered classic with fresh interpretations for contemporary dancefloors.

* Light Years: A captivating late-night roller, reflecting the distances traversable through sound. Layered drums breaking like waves across a vast alien ocean, with 808 subs providing the ballast.

* Dust: Textured patterns move through the atmosphere like fine particles, drawing listeners into the haze. Mystery and nostalgia combining to produce jungle which looks back over its shoulder whilst racing forward, into the future.

* Antares: The red super-giant at the heart of the scorpion. Deep, resounding bass below, providing the foundation for the pulsating choppage, and shimmering harmonies above.

* Omega 7: Jungle drum & bass which shamelessly revels in the virtues of everyone’s favorite fatty acid. High-energy beats, nourishing rhythms and therapeutic low-end, emulsified to provide a supplement which promotes balance and wellness.

Teal’s debut LP, Original Watercolour, is an album that feels like a canvas come to life. A sonic blend of street-soul, digi-dub, and downtempo. Original Watercolour explores the complexities of love, oneness, and intuition — themes that resonate deeply within the context of the history women have shared with what was once known as the “ladies’ medium.”

The bi-coastal family trio—Ashleigh and Melissa Ball, better known as the Ball Sisters, alongside producer N1_SOUND—bring a fresh, genre-defying sound to the table with their latest 6-track album. Running just under 30 minutes, this immersive collection weaves together skipping beats, addictive bass lines, three-dimensional flute textures & emotional vocal melodies. This musical portrait is as ethereal as it is powerful, inviting the listener to get lost in its depths while celebrating the beauty of self-expression.

The opening track, “Original Watercolour,” takes you on a psychedelic trip-hop journey. From the first reverberous snare hit, you’re whisked away to a sonic wetland — lush and euphoric. The soft yet poignant soundscapes set the tone for the album, inviting us into a world where the boundaries between earth and music, reality and imagination, automatically seem to blur.

“Locked In 2 Love” offers a boogie-fueled bassline that pushes Teal into dance-floor territory with soaring flutes and rhythmic intricacies that make it impossible not to move — it’s a track that exemplifies the magic of Teal’s ability to craft both intimate and expansive musical landscapes. And then, there’s the hypnotic flow of “One In The Same,” where stacked vocal harmonies and mantra-esque lyrics transport you to a place that could easily be mistaken for a lost Soulquarians demo. It’s gentle yet unrelenting in its depth.

The second side of the album opens with “Sleep on It,” a track that immediately grabs attention with its dancehall-driven rhythm. Ashleigh Ball's vocals set the stage for a song that’s both introspective and emotionally charged, yet unmistakably rooted in groove. The phased-out bassline creates an almost hypnotic atmosphere. Pulling the listener into a mood of contemplation—matching the restless, sleepless night that Ball describes. As the song progresses, this groove builds in intensity, culminating in an explosive ending that mirrors the emotional release of a long-held frustration.

Original Watercolour is more than just an album — it’s a meditation on the interconnectedness of life and art. “Frog Kingdom,” the longest and only instrumental track creates a contemplative space that builds upon the themes introduced earlier. It feels like a sequel to their earlier work, Frog Legacy from their debut Bluish Green 2024 12”, expanding on the familiar sound with even more complex layers.

Yet the real emotional power of the record lies in its closing track, “Can’t Shake the Feeling.” Simple in structure but profound in impact, this song captures a deep yearning and understanding — that everything, from the ecosystems we inhabit to the relationships we nurture and the art we create, is fundamentally interconnected. As the track crescendos in a falsetto peak, it becomes clear that the album is a reflection of both the world around us and the personal journey each member of the band has embarked upon to get to this point.

Just as the medium of watercolor has been traditionally linked to women artists, Teal carries this legacy into the modern musical landscape, blending the richness of history with a unique forward-thinking perspective. The album feels like both a celebration of the past and a bold declaration of a path forward — one that welcomes anyone ready to join in and shape the future of the art form.

The beauty of Teal’s work is that it feels familiar, while simultaneously offering something new and refreshing. Original Watercolour doesn’t just push musical boundaries; it redefines them, offering a lush and textured soundtrack for those willing to listen closely.

In a world that often feels over-saturated, Original Watercolour stands as a reminder of the power of simplicity, intuition, and connection. Teal’s debut album invites you to experience something both deeply personal and universally understood. The landscapes they create are vivid, yet soft, grounding yet expansive. With each track, Teal’s music reflects the interconnectedness of all things — a truly unique piece of work in the world of experimental soul and dub adjacent electronic music.

Rising and falling. We all live in the same pond. Peace to all.

Previously unreleased; four track 12" with two different vocal takes, each w/ dub. Comes in Bond Export company sleeve.

Another cold case solved! One of DKR's early victories was finding a tape of the drum & bass cut of the legendary dubplate 'Rocks & Mountains.' Rumor had said the artist was the Mighty Travellers, but this didn't really add up chronologically or audibly. More astute listeners mostly agreed the artist was likely the Majesterians, a little recorded group who had made a couple other records for Taxi circa 1980. When we first issued the song on a 10" back in 2011, even Sly himself couldn't recall for sure who sang the tune. Like with other 'mystery' projects which we eventually came to realize, we never gave up digging on this one. There were two mysteries at work here - one, confirming the identity of the group, and two - finding the other cut of the tune, which features fuller instrumentation and a different vocal take. Both cuts were around on dubplate circa '80/'81, and the latter cut can be heard ever so briefly in the infamous UK "Sound Business" documentary film from '81. In the course of a mere 13 years, both questions came to be solved - we obtained a pretty clean plate cut of the fuller mix, and we confirmed the identity of the group. The Majesterians were a vocal trio consisting of Everton Dacres, Roderick Perkins and Paul Mitchell. While the latter two gentlemen don't seem to have done much otherwise, we are sure the roots heads and hopefully all DKR followers know Everton Dacres, who made some fine roots music in the 1970s prior to fronting the Majesterians. We spoke to Everton and he confirmed 'Rocks & Mountains' was their tune, cut in Channel 1 at a Taxi session featuring a host of other artists. Indeed, these were the heady days of 1980 with Channel 1 booked round the clock for locked-in sessions, with the Taxi Gang and the Roots Radics laying down future classic after future classic. All that said, we're happy to re-present this tune now with not only proper accreditation, but also both known mixes and the drum & bass mix in improved fidelity over its previous issue.

Keith Hudson’s Nuh Skin Up Dub is a deep, heavyweight dub album that stands as one of the most potent statements in the genre’s history. Released in 1979, this sonic masterpiece showcases Hudson’s signature dark, almost mystical production style, where heavy basslines, echo-drenched drums, and ghostly fragments of vocals swirl together in a hypnotic haze. Unlike the more polished, accessible dub records of the time, Nuh Skin Up Dub is raw, unfiltered, and experimental, pushing the boundaries of rhythm and space. Tracks like "Nuh Skin Up" and "Felt We Felt the Strain" pulse with an eerie, almost menacing energy, while Hudson’s masterful use of reverb and delay creates a soundscape that feels simultaneously expansive and claustrophobic. Often referred to as the “Dark Prince of Reggae,” Hudson had an uncanny ability to craft music that was both deeply meditative and unsettling, and Nuh Skin Up Dub is a prime example of his genius. It's a record that rewards deep listening—every spin reveals new layers of sonic detail, hidden textures, and dub wizardry. For fans of heavy, atmospheric dub, Nuh Skin Up Dub is an essential listen, a landmark recording that solidifies Keith Hudson’s status as one of the most visionary figures in reggae history.

Izil Recordings, founded by Moroccan electronic music pioneer Amine K, is a platform dedicated to showcasing the depth and diversity of Morocco's underground scene. Named after the Berber word for "pure," the label stays true to its name embodying unfiltered artistic expression, blending rich cultural heritage with contemporary electronic innovation. Izil's debut release sets the tone for this vision, featuring a collaboration between Amine K and WAHM, alongside remixes from Rodriguez Jr. and Denis Horvat.
"Kill the Anger" introduces the label with a deep, pulsating energy, merging hypnotic rhythms with raw intensity to create a bold statement for Izil's sonic identity. Rodriguez Jr. elevates the track with a melodic, atmospheric touch, adding layers of emotive synths that transform it into an expansive and immersive experience. On the B-side, "Sundance" unfolds as a warm, flowing journey of organic textures and deep, rhythmic movement, capturing the essence of Moroccan influences within a contemporary electronic framework. Denis Horvat then reshapes it into a darker, driving rework, injecting moody synths and crisp percussion to craft a club-ready, high-energy take.
This release marks Izil Recordings' first venture, laying the groundwork for more forward-thinking, African centric music to come.



A1. WAHM X Amine K - Kill the Anger
"Kill the Anger" marks the launch of Izil Recordings, Amine K's new platform for Moroccan electronic music. A collaboration with WAHM, the track delivers deep, pulsating energy with an emotive intensity, setting the foundation for the label's sonic identity. It merges North African influences with forward-thinking underground sounds, offering a raw yet refined record.



A2. WAHM X Amine K - Kill the Anger Rodriguez Jr. Remix
Rodriguez Jr. takes on the "Kill the Anger" remix with his signature melodic approach, enriching the original with layered synths and atmospheric textures. His remix takes a more expansive, emotionally charged direction, transforming the track into a fluid, immersive soundscape. This fresh interpretation highlights Izil Recordings' commitment to artistic evolution and depth in electronic music.



B1. Amine K X WAHM - Sundance (Izil Recordings)
"Sundance" serves as the B-side, offering a deep, flowing rhythm infused with organic textures. The track's warm, evolving groove reflects Izil Recordings' vision-blending Moroccan heritage with contemporary electronic exploration. With its dynamic movement and rich tonal layers, "Sundance" delivers a hypnotic and transportive listening experience.



B2. Amine K X WAHM - Sundance Denis Horvat Remix
Denis Horvat reworks "Sundance" into a darker, more driving rendition, intensifying its momentum with crisp percussion and moody synth layers. His remix injects a brooding, high-energy edge, reshaping the track into a club-driven powerhouse. This take further showcases Izil Recordings' fusion of global electronic innovation with deep-rooted cultural influences.
Originals Written and produced by Amine K & WAHM
Vocals by Hicham Belahmer
Guitar by Walid De La Morsaliere
Additional Production and Mixing by Julian Ganzer at Studio Kreuzberg Berlin
Remixes written and produced by Rodriguez Junior & Denis Horvat
PIcture by Sandra Levigne
Artwork by Mose

Panos Alexiadis is a sound artist based in Athens, Greece, active in the field of contemporary electro-acoustic music. He founded and co-curated the tape label Thalamos, a home for exploratory sounds, where some of his own works also found their place. Marking a return after a period of (sonic) reflection, Cestrum Nocturnum is an album of remembrance and renewal. Through a lattice of self-sampled piano, fragmented voices, field recordings, and transient digital traces, Alexiadis composes a space of warmth—an electronic tapestry woven from the ephemeral. Across six pieces, sound unfolds like memory: layered, textured, dissolving at the edges yet leaving an imprint. A meditation on the cyclical nature of being and the often unnoticed beauty that quietly persists, even in the darkest hours. Cestrum Nocturnum is both a shelter and a signal.

--

The night has a thousand eyes,
And the day but one;
Yet the light of the bright world dies
With the dying sun.

The mind has a thousand eyes,
And the heart but one:
Yet the light of a whole life dies
When love is done.

Francis William Bourdillon, 1899

--

All music composed, recorded & mixed by Panos Alexiadis
Spoken word on 'But One' & ‘Follower' by Fotini Stamatelopoulou
'The Night Has a Thousand Eyes' poem by Francis William Bourdillon
Mastered by Christophe Albertijn

Hey, hard rock and metal fans—ready for another classic, early ‘90s album that never before made it to vinyl here in the States? Did we hear you say “Yeah!?” Then may we present Tyketto: Don’t Come Easy! This is another great, rockin’ record that got lost in the grunge craze that swept the music industry, and, just like our recent reissue of Wildside’s Under the Influence, it’s the debut release from a band that should have blown up much bigger than they did. You no doubt remember their single “Forever Young;” but the rest of the album offers melodic hard rock of the highest order, especially on tracks like “Burning Down Inside” and the power ballad “Standing Alone.” Excellent vocal work from former Waysted frontman Danny Vaughn, too. Remastered for vinyl by Mike Milchner at Sonic Vision…teal with white swirl vinyl, complete with printed inner sleeve!

HISINGEN TAXI RIDER is TOMMA INTET’s fourth album, but the first to be written entirely in Swedish. It tells the story of moving to Gothenburg and the transformative experience of new impressions and people. A tribute to adventure, the thrill in your stomach, and all those late nights. Taxi rides to raves and after-parties. Taxi rides home to loneliness. Taxi rides to love and taxi rides to anxiety.

With HISINGEN TAXI RIDER, TOMMA INTET continues on their distinctive path, refining their signature sound. Layered harmonies run like a red thread through an ever-evolving musical landscape—blending grit with angel dust.

Written and produced by Magnus Petersson at Rum 101. Produced, mixed, and mastered by Johan Holm at Studio Påtår.

Marty Willson-Piper is an English guitarist, singer, and songwriter best known as a longtime member of the Australian band The Church (1980–2013). With a career spanning over 45 years, he has contributed to a wide range of musical projects, including his solo work, collaborations with All About Eve and The Saints, and his own band, Noctorum.

In 2025, Willson-Piper launched Archaeological Dig - Volume 1, the first in a planned trilogy of releases where he re-records over 30 songs from his extensive catalog. This re-imagined collection features ten songs from different time periods, played with strings, acoustics, piano, and keyboards while still incorporating bass, drums, and multi-layered vocals. The album revisits material from his solo career—including selections from In Reflection (1987), which also received a Record Store Day 2025 reissue, and Art Attack (1988)—as well as songs from his tenure with The Church, drawing from landmark albums like Heyday (1985) and Starfish (1988).

Included in Volume 1 are fan favorites like "Tristesse," originally featured on Heyday (1985), and "Spark," from the platinum-selling Starfish (1988). These songs highlight the diversity of Willson-Piper’s catalog and showcase his evocative songwriting and signature guitar work.

Adding to the album’s distinctive presentation, the cover art for Archaeological Dig features a themed sci-fi illustration, with each of the three volumes depicting Willson-Piper in a different setting alongside UFOs. The release is available across all planets and throughout the galaxy via the In Deep boutique label in conjunction with Schoolkids Records.

Blending psychedelic rock, folk, and alternative influences, Willson-Piper’s music remains deeply atmospheric and introspective. Beyond his recording career, he is also an avid vinyl collector, music historian, and passionate champion of independent artistry.