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Aufgenommen in Londons berühmtem Hammersmith Apollo im Jahr 2004. Mit einem starken Line-up mit David Coverdale, Doug Aldridge und Reb Beach an den Gitarren, Timothy Druley an den Keyboards, Marco Mendoza am Bass und Tommy Aldridge am Schlagzeug.

Destiny of Illusion is a 24-track full length debut from Pretty V (aka. Voldy Moyo, v7backin2007, #Smokesito), a prolific artist from Wakefield, UK who has been frequently performing and releasing music & videos online for the past 9 years, building notoriety for his unique sound and prolific output and gaining support from artists such as MIKE & King Krule, both of which have brought Voldy out for many shows, and for collaborations.

The album will release on the 24th April 2025, along with a release show the same day at Ormside Projects.

The album is produced entirely by aloisius, a prolific artist & producer, as well as the founder of life is beautiful records). ‘Destiny of Illusion’ is a landmark album for both Pretty V & aloisius, being their first full-run vinyl release. The album will be available exclusively on Vinyl, Cassette & CD.

This album also holds additional historical significance being that it is the first official/ full-run vinyl release for life is beatiful records.

The first pressing of ‘Destiny of Illusion’ will be limited to 397 copies.

(10x12" box set, limited to 1000 copies, with premium finishing, uniquely numbered, incl. 10 records in individually printed sleeves, a booklet detailing the club's history & exclusive stickers) Boccaccio has secured its place among legendary venueslike Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond.



Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A Guy Called Gerald, the unmistakable influence of black American pioneers is clear-the originators of the firstanalog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection, offering a timeless snapshot of a unique era.

To celebrate the 15th anniversary of DJ Hell's groundbreaking album Teufelswerk, this limited anniversary edition brings back the legendary release in a deluxe 3xLP set, pressed on transparent Neon Yellow, Orange, and Red vinyl. Included is an exclusive poster featuring the original vinyl front cover, along with a special hype sticker for collectors. Originally released in 2009, Teufelswerk remains a milestone in electronic music, seamlessly blending techno, ambient, and experimental elements. The album features collaborations with the likes of Bryan Ferry, exploring the duality of Day and Night-contrasting euphoric club tracks with deep, cinematic soundscapes.

Christian Kleine continues to unearth long-lost transmissions with Electronic Music From The Lost World: Vol.2 - another batch of pristine artifacts from his personal DAT archive. Much like its predecessor, this release serves as both a time capsule and a reminder of Kleine’s effortless blend of melodic warmth, intricate rhythm programming, punk influences, and a deep-rooted love for the fringes of electronica.
Where Vol.1 felt like an invitation back to the late ‘90s, a time when IDM was still an evolving conversation, this second volume extends the dialogue, revealing more of the sonic experiments and fully-formed pieces that never saw the light of day. Tracks recall specific moments from Kleine’s time living in Berlin, an era of minimal comforts but maximal creativity, where all that really mattered was that the PowerPC, sampler, and synths kept running. This period of introspection, coupled with the musical freedom afforded by cheap rent and late-night school classes, shaped the deeply personal and solitary sound of these recordings.
Visually, Vol 2 shares its origins with the first volume, as Midori Hirano’s stark Berlin photography forms the foundation, and Noah M / Keep Adding pushes the imagery into a brighter, more reflective final space. Final touches remain in familiar hands, with LOOP-O on mastering and lacquer duties, bringing new life to Christian’s OG DAT recordings. 
And much like the classic City Centre Offices era that shaped this sound and Kleine’s early career, this release nods to that legacy. A special limited 7” EP with two bonus tracks, designed in tribute to CCO’s iconic DIY aesthetic, will be available on release day direct from the label’s Bandcamp. 

Signs & Gestures is a various artists limited vinyl pressing which will be available digitally later this year. The vinyl version was mastered by Todd Mariana at Chicago's newest cutting studio, Deep Grooves Mastering.

The compilation features four tracks. Longtime friends Awoke (aka John Griffin) and Jack Buser write the two cuts on the A-side. These guys have known each other for many years and the complimentary nature of their tracks echo their years long relationship. Both use analog gear in their productions. In fact, that is an understatement as both are engineers by day and admitted audio gear junkies by night. Awoke's Untitled #2843 is a quirky drama builder throwing the In My House vocal over squelches and acid lines. Buser's Midi Boson is a classic exercise in simplicity. Drums from an MPC and a lead from Elektron's Monomachine are all it takes for this groove to rattle the dance floor.

Side B is also the work of two close friends. Nathan Drew Larsen remixes Little Turtles by Souls Found. Mazi edits Nathan's remix (released earlier on Fresh Meat's When Bad People Cook Good Food Volume 3) to 6 minutes, removing the atmospheric outro and reducing some of the extended sections. What remains is an energetic workout that is uncommonly melodic and emotional. As Audio Soul Project, Mazi's remix 3 of Sentimental Love combines sections from the first two of his remixes of this song released on Vizual Records back in 2011. This new version will hopefully express the care and love that went into preserving the message of Joshua Iz and Chez Damier's original.

For their second album 'The Foel Tower', Quade holed up in an old stone barn in the cradle of a Welsh mountain valley.
The valley was a stark and windswept backdrop with little daylight, as the band would huddle around crackling fires each evening. “There was very much a feeling of being on the complete fringes of society,” the band says. “The last vestiges of settlement before the unrelenting barren moors that loomed over us.”
It was an environment that would shape the band – a Bristol four piece made up of Barney Matthews, Leo Fini, Matt Griffiths and Tom Connolly – and the record they have made. It’s an album that is as dreamy as it is melancholic, and as quiet and tender as it is forceful and potent – gliding across genres like winds blowing over those wide-spanning Welsh hills – to arrive at something the band half-jokingly, yet somewhat accurately, describe as “doomer sad boy, ambient-dub, folk, experimental post-rock.”

Quade is a band but it’s also a very close-knit group that have been friends since childhood who use this musical vehicle for interpersonal explorations and connections. “We’ve individually experienced a lot of difficulty over the last several years and Quade has represented a space to shelter from these,” the band says. “This means we often communicate extensively with each other about the issues affecting us individually and collectively. These conversations and concerns are central to The Foel Tower.”

In many ways, the making of this record – or any Quade record – goes way deeper than the simple writing, construction and recording of music. It is a profoundly deep and meaningful experience. “A key theme of the album relates to why we connect with specific places in the way that we do,” the group says. “We often remove ourselves to isolated valleys, sheltered from some of the painful personal struggles that we have experienced as a band. These become spaces in which we collectively purge ourselves of some of these difficulties hoping to make Quade a physical and emotional place of solace. This album celebrates these places that we’ve been able to retreat to and recuperate.”

It is a deep, dense record that is stuffed with musical, cinematic and literary influences – from Ursula La Guin and Cormac MacCarthy through to RS Thomas and Yeats – but despite the heavy, introspective and anxious nature of some of the material, it is also a record that is remarkably deft, agile and considered.

Made with producer Jack Ogborne and mixer Larry ‘Bruce’ McCarthy, there is a pleasing duality to the final sound of the record. One that feels fragile and intimate but also powerful and forceful, as introspective as it is expansive, and a record that is as detailed and textured as it is wide open and spacious.

The album title also pays homage to the place that shaped it so greatly. Within this remote Welsh valley stands the Foel Tower, a stone structure filled with valves and cylinders that can raise and lower the level of the reservoir to draw off water. Which it can then send as far as 70 miles to Birmingham. However, in the late 1800s this land was occupied by local farmers and families in the hundreds until the British Government acquired the land, cleared the valleys, and promptly displaced them in order to begin serving the vastly expanding industrial English city. The band dug into the history and politics of this and wove it into the themes they were already thinking about, using what the Foel Tower stands for as something of a contemporary metaphor. “This tension was something that we wanted to explore without the haughty judgement of our more metropolitan lifestyles,” they say. “And to explore how this specifically relates to ourselves: how can we envisage a genuinely ecological future for ourselves – one that is accessible, affordable and in harmony with endangered rural practices.”

What makes The Foel Tower such an incredible record is that it feels born of a time, place and situation that only existed in that very moment. It’s a snapshot of those 10 days spent in rural Wales and all the feelings and anxieties the band were experiencing at that specific time, magically caught on tape. “The album very much feels tied to this valley for us and the conversations and experiences we shared there,” they say. “It brings up a great deal of poignancy for us, an emblem of some fleeting respite from the strains we all have to experience. But there’s also deep sadness knowing how transient these moments are – in fact, there’s just a great deal of sadness in this album. But it’s also a record that while personal, resigned, and emotionally burdened, is ultimately hopeful.”

Tony Johnson--the electrifying new alter ego of multi-talented artist Toon Janssens. Under this moniker, he delves deep into the world of acid and electronic soundscapes, capturing the raw energy of the early days. Get ready to be transported into a hypnotic realm of cosmic atmospheres.

Edits by Mr K
Edit heavyweight Danny Krivit edges close to full-on remixes with these two extended takes on soul genius Stevie Wonder’s timeless tunes. Using isolated instruments and vocals, the familiar classics take new shape in the able hands of Mr. K, providing a fresh look at cuts that have never faded in popularity. ‘Master Blaster’, Stevie’s tribute to Bob Marley, gets an attention-grabbing intro that is tailor-made to slide right into DJ sets, while the flip, the R&B essential ‘I Was Made To Love Her’, is filled with breakdowns and clever cuts that will open the eyes and ears of even the most jaded soul fanatic. Masterful work from NYC’s edit king and a fitting tribute to the Motown legend on a loud 12-inch readymade for club play. Record Store Day special!

“Trustworthy”. is the meaning of “danama”, this Bambara word from Mali. Believing in oneself, in others, in the word given, in desirable futures. Advocating optimism, momentum towards the future, collective strength and the wise magic of cultural blending… especially during these troubled times of endless wars, of nationalist withdrawals or the abundance of naturals disasters, all encouraged by a carnivorous capitalism?

So confidence, we need tons of it. Maintained by the flame, the phlegm and the stratagem of these afro-groove scientists, without ignoring their sorrows nor the scandals of History. This is the athletic art of Arat Kilo, who remain without question the best ethio-jazz orchestra in France, on the trail of this fifth album recorded in the Spring of 2024. Confidence was also needed to change the way things worked. For all the previous albums, the band came together in the studio to play each track together, all in the same room, in the romantic idea of a warm, lively, organic gesture, in the manner of the great Ethiopian masters of the 60s and 70s.

For Danama, the music was initially collected in tandem: guitar/bass, drums/percussion, saxophone/trumpet, and the two voices. A few new instruments were added along the way : dark synthesizers, a bass clarinet, a tiny guitalélé (similar to the ukulele) and a Malian n'goni (sometimes described as ‘the griot's lute’). Then, and above all, there was the question of experimenting with real sound production, using sound design, multi-track exploration and effects applied to the textures collected over eight days at the Gong studios in Montreuil and OneTwoPassIt in Bagnolet just outside Paris.

In this way the band, all growing up influenced by the hip French Radio Nova's ‘Grand Mix’, were completely free to express their natural taste for fusion between genres. Borrowing from the frantic rhythms of Newark's jersey club, English 2-step or New Orleans brass bands, grafted onto Arat Kilo's musical base: tezeta, the famous minor pentatonic scale typical of Ethiopian jazz, melancholic to perfection. The result is layers of sound, collages of emotions, like the album cover, created by artist Clément Laurentin from multicoloured fragments of posters torn up in the street.

So Arat Kilo are back: The same band, the same collective strength, the same fight for values, their new album “Danama” carries the demand for a better world even further, with words of hope from singer Mamani Keita and the social critique of American MC and poet Mike Ladd ! The result is this luminous voyage down the Danama canal. In all, eleven songs and an instrumental, mixed by Mathieu ‘Gib’ Gibert - one of French band La Fine Équipe's beatmakers - set to drive the crowds wild and remind us how to stick together again.

"The Millennium's Begin can truly be described as a bona fide lost classic. On Begin, hard rock, breezy ballads, and psychedelia all merge into an absolutely air-tight concept album, easily on the level of other, more widely popular albums from the era such as The Notorious Byrd Brothers. The songwriting, is sterling and innovative, never straying into the type of psychedelic overindulgence which marred so many records from this era. At the time the most expensive album Columbia ever produced (and it sounds like it), Begin is an absolute necessity for any fan of late-'60s psychedelia and a wonderful rediscovery that sounds as vital today as it did the day it was released. Begin is available as a limited edition of 1000 numbered copies on yellow & orange marbled vinyl and includes an insert."

KZ1 originally came from Fair Oak, Southampton and during the early 90’s he worked for Fantazia as their event photographer whilst also employed as a writer and record review for Mixmag, Blaze, Wax and Hit The Decks. Known locally as a solid DJ, his decks were used by the DJ Format and by Brent from Aquasky to practise on before they could afford their own.

He only released one record back in the day for Madison’s resident DJ Stu J’s label Adrenalin Records (Drop The Bass/I Know I Can Make It – repressed by Vinyl Fanatiks in 2022) and remixed a couple of tracks for 3rd Rail on Delirious Recordings (repressed by Vinyl Fanatiks in 2019). Then he vanished, work taking him away from the rave scene and to pastures new in Swindon.

Enjoying being back in the scene again via the represses, he decided he would hunt long and hard for some tracks that he wrote in 1993 but never released… and finally he found them. Using the mastering skills of Dapz at Compound Audio, the tracks were brought back to life and pressed on this beautiful bubblegum pink vinyl.

Own a slice of the nice… 4 tracks from an era of music that was made for partying… and partying hard!
Take me away!

Mint Green Vinyl. Graham Jonson is drawn to the comforts of melody and noise. How the two conspire in tension, tonally and atonally, stirring up memory and mood. This quality animates the technicolor world of quickly, quickly, the psych-pop project that emanates from Kenton Sound, his basement studio in Portland, Oregon. "Everywhere your eye lands, there's another curio to marvel over," noted Pitchfork's Philip Sherburne when he visited Jonson's recording space for a Rising feature just after the release of his "strikingly original" 2021 debut LP, The Long and Short of It. Since then, Jonson formed a live band, released his Easy Listening EP in 2023, and navigated the up-and-downs of a young musician, the sustainability of tours and relationships. While shaped by personal bouts and fallouts, his highly-anticipated full-length follow-up finds Jonson making music that's universal, open-ended, and rewarding, like great songwriters can do. He set out to make a folk album but couldn't help coloring it in with noise; a confluence of lush instrumentation and unexpected sounds. Ambitious yet intimate, hi-fi yet homespun, the idiosyncratic songs on I Heard That Noise curve around the contours of everyday life with warmth, wit, and dissonance.

Low Fuzz is proudly debuting with Avoiding Traps LOWFUZZ001, an album by Georgian musical auteur Rezo Glonti. Created using only Max/MSP and the Soviet-era LOMO MKE-100 microphone, this work marks a departure from Glonti’s traditional approach to sound. Filled with subtle yet unconventional ambient shifts , each track weaves tranquil textures, flavored with vocoder and vocal-driven sounds.
LOW FUZZ is an independent record label, musical platform and event series est. 2022 in Georgia, Tbilisi curated by ESI (Irakli Shonia).
LOW FUZZ is closely affiliated with Mutant Radio and Left Bank in Tbilisi.
The concept started as a collaborative show with Mutant Radio, and it's grown with Left Bank to host regular event series in the club setting. With the proper sound system to showdown and the ability to extend the playtime, LOW FUZZ lines up all sorts of genres and styles to host locals and artists around the globe from time to time

Als Warped Tour Pop-Punk und American Apparel Indie-Rock das seltsame Post-Y2K-Milieu Gitarren-Band-Milieu dominierten, lieferten Bostons Karate einen fesselnden Schuss Rock, der sich ständig zwischen verschiedenen Schattierungen von unterirdischen Klängen bewegte. Die ruhigen Momente auf Karates viertem Album haben viel von der alten, ungezügelten Intensität, verwoben mit gedämpften Jazz-Melodien und Slowcore-Zurückhaltung. Diese 25-jährige Jubiläumsausgabe von Unsolved entspricht der Originalpressung aus dem Jahr 2000 und enthält auf Seite D die zwei Tracks der "Death Kit" 7" und den Song von der Crownhate Ruin Splitsingle.

Cherrie Coke Bottle Vinyl. Als Warped Tour Pop-Punk und American Apparel Indie-Rock das seltsame Post-Y2K-Milieu Gitarren-Band-Milieu dominierten, lieferten Bostons Karate einen fesselnden Schuss Rock, der sich ständig zwischen verschiedenen Schattierungen von unterirdischen Klängen bewegte. Die ruhigen Momente auf Karates viertem Album haben viel von der alten, ungezügelten Intensität, verwoben mit gedämpften Jazz-Melodien und Slowcore-Zurückhaltung. Diese 25-jährige Jubiläumsausgabe von Unsolved entspricht der Originalpressung aus dem Jahr 2000 und enthält auf Seite D die zwei Tracks der "Death Kit" 7" und den Song von der Crownhate Ruin Splitsingle.

CHIME OBLIVION began out of the blue. David Barbarossa reached out to John Dwyer saying he was a fan of OSEES and he was invited to a show in London. The two hung out and hit it off, "then I rabbit holed on Bow wow wow too…," Dwyer recalls. "I reached out to David and suggested that we try and write some songs together... I flew David out, we met at my studio and spent five days writing basin drums ideas." The two got to know each other and had a lot of laughs. Dwyer then brought in Weasel Walter, knowing that he would be perfect "to add all that legitimate old-school weird proto-punk no wave guitar scratch to it, which of course he did masterfully." Next came Tom Dolas to play fuzzy marimba, and the fabulous H.L. Nelly, "as I knew her from a record I’d put out back in the day for a band called Naked Lights from Oakland. I knew that she could pull off the vocal style I had in mind." Together, the group created their debut self-titled album, due for release via Deathgod on April 18th. CHIME OBLIVION will be released as a 45 rpm 12" vinyl, CD & on digital. They're sharing the first taste of the album today, in the form of lead single, "NEIGHBORHOOD DOG." "For fans of Adam & the Ants, Bow Wow Wow, Crass, The Slits, and any other wierdo punk we fell in love with as youths." CHIME OBLIVION is due for release on April 18th via Deathgod.

CHIME OBLIVION began out of the blue. David Barbarossa reached out to John Dwyer saying he was a fan of OSEES and he was invited to a show in London. The two hung out and hit it off, "then I rabbit holed on Bow wow wow too…," Dwyer recalls. "I reached out to David and suggested that we try and write some songs together... I flew David out, we met at my studio and spent five days writing basin drums ideas." The two got to know each other and had a lot of laughs. Dwyer then brought in Weasel Walter, knowing that he would be perfect "to add all that legitimate old-school weird proto-punk no wave guitar scratch to it, which of course he did masterfully." Next came Tom Dolas to play fuzzy marimba, and the fabulous H.L. Nelly, "as I knew her from a record I’d put out back in the day for a band called Naked Lights from Oakland. I knew that she could pull off the vocal style I had in mind." Together, the group created their debut self-titled album, due for release via Deathgod on April 18th. CHIME OBLIVION will be released as a 45 rpm 12" vinyl, CD & on digital. They're sharing the first taste of the album today, in the form of lead single, "NEIGHBORHOOD DOG." "For fans of Adam & the Ants, Bow Wow Wow, Crass, The Slits, and any other wierdo punk we fell in love with as youths." CHIME OBLIVION is due for release on April 18th via Deathgod.

Imagine having a song go viral for 17 years - without even knowing it. That's exactly what happened to the German 1980s band FEX. And this isn't just any song - it's The Most Mysterious Song on the Internet, a track that puzzled music detectives for decades before finally being identified in November 2024. Now, it has been officially released - twice.

The Story in Brief:
Sometime around 1984, a song was broadcasted on NDR Radio. The name of the song was Subways Of Your Mind - only found out 40 years later in November 2024. Back then, a listener recorded the NDR show on cassette, a common practice at the time. Decades later, the tape resurfaced, but while most songs from the recording were identified, one remained an enigma. On March 18, 2007, the track was uploaded to the internet in an attempt to uncover its origins. Due to its now-iconic opening lyric, it was tentatively titled Like The Wind. Over time, the mystery deepened, and the song was given a nickname: The Most Mysterious Song - or simply TMMS.

Starting in 2019, a dedicated Reddit group, TheMysteriousSong, now boasting over 63,000 members, took up the search. They meticulously documented every lead, hoping to solve the riddle of the song's origins. Then, in 2024, the breakthrough: Reddit user marjin1412 reached out to musician Michael Hädrich after discovering a reference to his band FEX in an old newspaper article. Hädrich, FEX's keyboardist, provided a recording from an old demo cassette which included an alternative version of the song. On November 4, 2024, the mystery was officially solved: FEX was the band, Subways Of Your Mind was the title.

What Happened Next:
Since then, FEX has released two singles - both featuring Subways Of Your Mind - through the Berlin-based independent label The Outer Edge. First, the demo cassette version was pressed onto vinyl, as the original NDR radio recording remained lost (see EDGE-028). The Remastered Demo Mix single instantly topped Bandcamp's global charts, holding the #1 spot for several days. By then, it was clear: this was more than just an internet curiosity. A real fanbase had formed. Enthusiastic comments on the sales page ranged from "best post-punk song to ever exist" to "FEX themselves (are) perhaps the most underrated musicians of all time."

But the story didn't end there. A higher-quality version of the NDR radio recording was rediscovered in late december, remastered, and now sent for a second vinyl pressing: the TMMS Version. This new vinyl 7" is backed with Talking Hands another great and unissued song that was found on the demo cassette.

Fame Comes with a Price
Suddenly, time isn't standing still for FEX. The band had to come to terms with the fact that they had become Lostwave super stars. A FEX fan club quickly formed on Reddit, fan-hosted FEX parties are popping up, and the internet is demanding more - an album, merchandise, live performances. But how does a band prepare for a comeback after a 40-year hiatus?

For now, FEX is carefully considering their next steps. Their demo cassette contains six songs - and a few other recordings have resurfaced which probably could be restored and compiled. But foremost, a brand new re-recording of Subways Of Your Mind is in progress.

One thing is certain: The Most Mysterious Song will continue its unstoppable journey around the world. Don't miss this (second) chance to own a piece of music history!

As they celebrate a remarkable 20 years as a band in 2025, Mayday Parade are set to release perhaps their most aspirational sort yet: SWEET, SAD, SUGAR, a three-part album showcasing their prolific, emotionally resonant songwriting. The first entry, SWEET, arrives April 18, 2025. Across its eight songs, SWEET succinctly showcases just how far Mayday Parade has come in those years: The trademark sound that’s transformed them from genre newcomers to torchbearers for a new generation is still there, but fans will also nd the band continuing to nudge the edges of their sound outward, whether they’re stomping through reactive alt-rock, crafting wryly sardonic pop-punk, standing up shimmering arena rock, or melding muscular, grungy guitars with electro-pop sweetness. Recorded with longtime producers Zack Odom and Kenneth Mount, SWEET, SAD, SUGAR marks Mayday Parade’s first album since 2021’s What It Means To Fall Apart as well as the band’s first self-released collection.

"After more than 20 years, Band Of Brothers is still considered one of HBO's most important series. Produced by Steven Spielberg and Tom Hanks, the series has won major awards such as the Golden Globe for Best Miniseries and the Emmy Award for Outstanding Miniseries. Band Of Brothers is a war drama miniseries based on historian Stephen E. Ambrose's 1992 non-fiction same titled book. It follows the story of Easy Company of the U.S. Army 101st Airborne Division and their mission in World War II Europe, from Operation Overlord to V-J Day. The score, composed by the late Michael Kamen, is credited as one of the essential elements in creating the realistic atmosphere of the series. Kamen was best known for scoring movies such as Die Hard, Lethal Weapon and X-Men, and received an Academy Award nomination for both Don Juan DeMarco and Robin Hood: Prince Of Thieves. Revisit the Band Of Brothers score with this deluxe reissue on white coloured vinyl, available as a limited edition of 1500 individually numbered copies. The 2LP is housed in a sleeve finished with linen laminate and includes a 4-page booklet with a large cast picture on the inside."

Limited edition of 500 copies.

Hard Top assembles the previously unreleased 1975 recordings of legendary South African saxophonist Kippie Moketsi (also spelled Moeketsi). The 2LP vinyl edition is presented in a gatefold sleeve featuring artwork by Mafa Ngwenya and comes from As-Shams Archive on the heels of the Tete Mbambisa's previously unreleased African Day album in 2024.

By 1975, at the age of 50, saxophonist Kippie Moketsi had already earned his stripes as a South African jazz figurehead. His tenure with the Jazz Epistles and the cast of the "South African Jazz Opera" King Kong in the late-1950s had not only marked his own rise to fame but also seen him help catalyse the ambitions of a younger generation of iconic artists who would go on to become the defining figures of modern South African jazz. While he didn't enjoy the same international attention as his protégés Miriam Makeba, Hugh Masekela and Abdullah Ibrahim, his humble and challenging career on the local jazz scene until his death in 1983 saw him forge an enduring legacy.

Owing to the efforts of record producer Rashid Vally, Kippie Moketsi's journey through the 1970s is beautifully documented, most notably on the albums Dollar Brand + 3 (1973), Tshona! (1975) and Blue Stompin' (1977), in which he shares the spotlight with Abdullah Ibrahim, Pat Matshikiza and Hal Singer respectively. As a featured performer on Soul of the City's Diagonal Street (1975) and Dennis Maple's Our Boys are Doing It (1977), Moketsi is seen embracing the popular orientations of South African jazz in 1970s but, having come up in the 1940s and 1950s, he never forgot his roots as a dedicated admirer and scholar of traditional American jazz.

While Moketsi did write some memorable compositions, it was in the role of interpreter that he shone most brightly. With its title derived from a good-natured nickname that nodded to Moketsi's elder status by way of his receding hairline, Hard Top is a covers album that looks back in time to the era of rhythm and blues while also indulging 1970s pop and funk with a decidedly South African vibe. Officially joining Kippie Moketsi's catalogue 50 years after it was recorded, Hard Top provides an opportunity to celebrate the multiple dimensions of a South African jazz legend and reflect on the unwavering support of his fan, producer and friend Rashid Vally, who passed away in December 2024.

Carrying on their longstanding dedication to the seminal output of Merzbow, Urashima returns with what is unquestionably their most ambitious release to date: “Collection 001-010”, a deluxe, 10 LP vinyl box set limited to 299 copies, gathering together the entirety of the project’s first ten releases, originally released in 1981. Encountering the band in its early incarnation of the duo of Masami Akita and Kiyoshi Mizutani, raw, exposed and bristling with energy, foreshadowing numerous trajectories they would follow over the coming years, these astounding full lengths - the majority of which have never been released on vinyl - come housed in a beautifully produced, deluxe wooden box, with each LP in its own individual sleeve reproducing the original artwork, and a LP-sized 32-page book containing reproductions of artworls and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore, and Akita himself, amounting to what is unquestionably one of the most historically significant releases we’re likely to encounter in 2025.

Deluxe Edition of 299 copies, remastered from the original analog tapes by Masami Akita, each LP comes in its individual sleeve reproducing the original artwork, also includes a LP-sized 32-page book. ** Since its founding during the late 2000s, the Italian imprint, Urashima, has become a definitive voice in the landscape of noise. Bringing forth beautiful limited edition releases, they’ve sculpted a singular vision of one of the most vibrant and revolutionary bodies of experimental sound to have graced the globe. Among the many projects that they have supported over the decades, there has been an undeniable dedication to the output of the seminal Japanese noise outfit, Merzbow, making a significant amount of the project’s out of print back catalog available across a range of formats. Now they return with what is arguably their most stunning and ambitious release dedicated to the project to date: “Collection 001-010”, gathering the entirety of Merzbow’s first ten releases, largely privately released by the band on cassette across 1981, in a deluxe, 10 LP vinyl box set. Representing what is effectively ground zero in Japanese noise and collectively amounting to some of the most sought after releases ever produced within that movement, Urashima’s truly beautiful collection comes fully remastered by Masami Akita himself from the original tapes, presenting all but a small number in their first ever vinyl pressings, with each LP housed in its own individual sleeve reproducing the original artwork, alongside a LP-sized 32-page book containing reproductions of artworks and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore and Akita himself. Towering with energy and groundbreaking creative vision, within the realms of noise and experimental music, releases don’t get more monumental or historically important than this!

Merzbow came roaring onto the Tokyo scene in 1979, and remains, to this day, one of the most prolific and aggressively forward-thinking projects in experimental music. Eventually becoming the solo vehicle for the efforts of Masami Akita, in its earliest incarnation the project was the duo of Akita and Kiyoshi Mizutani, taking their name from German artist Kurt Schwitters' pre-war architectural assemblage, The Cathedral of Erotic Misery or Merzbau, and quickly set out to challenge entrenched notions of what music could be. Embracing technology and the machine, even in its earliest iterations, Merzbow pushed toward new territories of the extreme, arriving at a space of pure, unadulterated sonic onslaught that has continued, for over 40 years, to set the pace for the entire genre of noise, and has remained one of the movement’s most important, definitive voices, continuously laying the groundwork for countless artists who have followed in its wake.

When dealing with historical gestures, there’s an invertible aura surrounding original line-ups and early statements, and rightfully so. It is often within a band’s debut that we catch the purest glimpse of the raw energy and creative ferment that made them what they are. This is certainly the case when regarding the coveted early releases of Merzbow, capturing the emergence of the project in its form as the duo of Masami Akita and Kiyoshi Mizutani as they helped set the blue print from the then emerging movement of Japanese noise. Over the course of its nearly five decades of activity, Merzbow has always been noted for how prolific and ambitious the project is. This was no less the case in the very beginning. While they were active for roughly two years prior, in 1981 alone they issued ten self-released cassettes numerically titled “Collection 001-010”, albums which have both individually and collectively become holy grails in the realms of noise, with only two - “Collection 007” and “Collection 009” - ever receiving vinyl reissues prior to now.

As Lasse Marhaug deftly articulates in the newly commissioned liner notes for “Collection 001-010”, despite having been recorded in different location across a span of time, the sum total of Merzbow’s first ten releases might be best regarded as a single release to be listened to in the same, durational sitting, with the material standing well apart from what most came to expect from Merzbow, while foreshadowing numerous trajectories the project would take over the coming years. Not only do these recordings feature a vast array of instrumentation - tapes, acoustic and electric guitar, violin, drums, voice, recorder, organ, found sounds, clarinet, homemade and prepared instruments, a vast arsenal of effects and electronics, and piano, to only begin to scratch the surface - the majority of which would disappear from the project’s active sources of sound generation over the subsequent years, but there is a slow pacing and raw sense of openness and exposure that reveals strong connections to the avant-garde improvisations of groups like AMM, Musica Elettronica Viva, and Gruppo di Improvvisazione Nuova Consonanza, the psychedelia of groups like Taj Mahal Travellers and Flower Traveling band (both of whom Akita mentions having seen in youth within his interview with Jim O’Rourke), and rock in general - albeit in fully abstracted forms - unspooling as brittle, pointillistic, textural, raw and abrasive forms, that occasionally flirts with unexpected tonal sensibilities. As Marhaug describes it in his excellent liner notes: «Sonically, “Collection” sounds more sparse and stripped. It’s dry sounding, up-front, no reverb, and there’s less heavy low-end grime and thin on the signature frequency sweeps. Viewed in a 1981 context, musically, it’s more akin to what the LAFMS (Los Angeles Free Music Society) pool of artists were doing at that time than what was happening in industrial music... There’s a strong playfulness throughout, like the sound objects are being explored for the first time, without neither restraint nor hurry. Events are allowed to be fully examined before the music moves on, or simply cuts off. To a large degree, the music on “Collection” feels acoustic in nature, although a Electro-Harmonix ring-modulator features prominently throughout.»

Easily described as a rarely encountered revelation into the original and earlier documented studio sound of Merzbow, “Collection 001-010” collectively amounts to an engrossing sonic journey in its own right, while also allowing for important, often overlooked connections drawn from numerous other creative wellsprings, notably free jazz, underground rock, the output of European and Japanese avant-garde music, as well as Dada, Fluxus, and Mail Art, much of which, beyond the illumination made possible by the sounds, Jim O’Rourke’s fantastic interview with Akita, published in the booklet, further explores, offering great insights into the origins of Merzbow and the thinking behind the project, as well as aspects of the earliest days of Japanese noise.

Newly mastered from restored audio fidelity tapes. Comes in digi sleeve with alternate sleeve artwork and includes a rare 8-page booklet. Includes the original version of 'Pop Corn', later a worldwide hit in 1972 . Adds rare single B-side as bonus track. This CD edition also adds exclusive mono mixes to the expanded tracklist.

One of the earliest & most influential Electronic albums OF ALL TIME "Audio Fidelity Records... believes Gershon Kingsley is a true genius and a worthy creative compliment to the electronic wizardry of Robert A. Moog, the creator of the Moog Synthesizer." 1969 The Beatles were influenced by him (and sampled his music on their 1968 Beatles Christmas EP). Since 1972, his music accompanies each day's Main Street Electrical Parade in Disney theme parks. Yet Gershom Kingsley (born: Götz Gustav Ksinski) remains a mystery to many, despite being one of electronic music's finest pioneers and earliest exponents of Robert Moog's synthesizer and the possibilities its use bought to music. Newly mastered from restored Audio Fidelity tapes - this reissue sounds incredible! The rare non-album B-side The First Step (The Sea Of Tranquility) has been added to the LP while the CD adds additional mono mixes and comes in the album's alternate cover. Both LP and CD include the rare 8-page booklet that came with initial copies of the Audio Fidelity LP. To repay The Beatles compliment of including one of his songs, Gershom Kingsley covered two Fab Four classics in his own unique electronic style and included them on Music To Moog By: 'Nowhere Man' and 'Paperback Writer'. "First-wave Moog enthusiast and electronic music pioneer...." Electronic Sound - The Electronic Music Magazine, January 2020.

R&B duo THEY. — songwriter Drew Love and producer Dante Jones — have developed a smooth, future-facing sound for nearly a decade. In the early days, it was simple; two artists aligning on an appreciation for '90s R&B, new jack swing, and the height of soul-sampling hip-hop. Jones making beats and Love on the lines, a basic, balanced, and open-ended setup, free from major label expectations (which they'd feel on their 2017 breakout Nü Religion: Hyena) and high-profile collaborations (explored on 2018's Fireside, 2020's The Amanda Tape, and 2023's Nü Moon). They're proud of every stop along their story, while hindsight and a fresh perspective after signing to Secretly-affiliate label drink sum wtr have afforded them some distance to reflect on where THEY. goes next. The answer is LOVE.JONES. Here the duo exudes a whole new energy by reasserting their artistry in its most potent and pure form, just Love and Jones, making straight-fire, love-making music indebted to the golden neo-soul era that gave us the namesake 1997 film. “Forget the features, forget bringing in the big producers and writers. It's really just a return to our original dynamic," says Jones. Refined and reinvented, THEY. have arrived at their boldest work, a stacked, high-energy collection celebrating Black art, culture, and "the intense feelings of Black love."

Wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! // Unlike anything else, this is THE high life music you've always wanted // Ceremonial music played with abandon and extreme intent, honoring the living and dead alike // Recorded on location in SW Madagascar by Maxime Bobo // “Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted - ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations – which last between three and seven days – cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global. Recorded live on location by Maxime Bobo, this vinyl LP includes a 4-page full-color insert with detailed liner notes plus photos of the musicians and surroundings.”

UV & Nenor link up once more and return to Fossils with three new edits that take the form of spaced-out deep cosmic chuggers. These are all classy tunes with an analogue edge, great deference to the classic synth sounds of days gone by but all with nice modern touches. 'Space Love' is a widescreen odyssey with sultry female vocals and a sweet theremin sound. On the flip, 'Shwag' has hazy pads and slowed down, rugged, sleazy drums and bass and then last of all comes 'GoGo Stomp' with another bubbly bottom end, squelchy bassline and weird but wonderful vocal sounds. A brilliantly high-grade addition to your record back.

Ralph Lawson's legendary Leeds-based label 20/20 Vision is in the middle of celebrating 30 years in the game. Part of that now extends to this reissue of a record that played a huge part in establishing the imprint back in the day. It comes from the co-founders' production alias Wolf n Flow and though it was recorded more than 20 years ago, this record still bangs. 'Messin' With My Mind' is a perfect mix of squelchy tech and vocal loveliness that calls to mind early Fresh & Low. The Oliver.r dub is more sleek and blissed out and two Electric Press remixes close out with some late-night heft.

Renowned DJ and selector MURO is a Jedi-level compiler and this new collection of his delves into Victor's extensive archives to spotlight a world of Japanese jazz, fusion and AOR. It take sin plenty of internationally known names like Yasuko Agawa on the sunset sounds of 'L.A. Night', Sadistics who offers the more psyched out guitar leans of 'On the Seashore', Yuji Ohno's neo-Balaeric bliss-out 'The Dawn of Seychells' and Hiroshi Fukumura's soul soothing Ry Ayres-style melodies on 'White Clouds.' These are luxurious sounds and timeless tracks with MURO's signature funky perspective making this a brillaint choice for brighter, warmer days.

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

Collecting Orders For Repress

Debut EP on Grape City Records for French young wizard Alpine DJ, full-heart producer, profoundly musician, formerly known behind the decks for depicting his high intensity creativity through energetic DJ skills, or sharing machines with his companions of Hanna & Robbie, delivering entrancing and shamanic live acts.

Alpine DJ evolves in « Illusions » with playful synths, epic adventurous lines, shooting star lasers, penetrating colors and pearlescent layers, and delivers a glazed 4-track EP rooted in post disco heritage gloomily twisted with new-school trancy house oddities and futuristic techno driven bass lines. Propulsive gear for peak time and ascensions of euphoria, settled in dreamy and spacey energies, proving Alpine’s shrewdness in musical and production search exploration, a juvenile yet extra-sharp lucidity.

Boxset w/ 12" + 7" + Tape + Magazine, Posters

Embryo Issue 5 - Interviews and Mix series Exome
Quiet Husband
Jim KirkwoodSvartvit
Trenchfoot
Necropolis Festival White Centipede Noise Cryptworm Hyperdonitia
Crawl of Time
Night Terror Records Disengagement
Snet
Ineffable Slime
Marie Queau
Personal Hell

Natural Sciences Recs started in 2015 before mutating into the Embryo magazine series. Flesh Renewed marks ten years of the label with the fifth issue of Embryo. A light into the gutter of the fringe underground, through new tracks from the labels catalogue, 100 pages of interviews by labels and artists kicking against the grain and ties forged from the 80’s tape network. We invite you to witness the next stage of the evolution.





e A1. Osiris - Starlight Scorpio 1989 - 7"
f B1. SEEMEN - Floating Gently 1989 - 7"

Black Loops is an endlessly creative producer who has brought constant invention to house music since his first release over a decade ago. His widescreen sounds take their cue from funk, soul and disco and are underpinned by a love of 90’s grooves. They appeal to DJs and dancers alike which explains his constant demand for DJ sets around the world as well as his music being played and supported by the biggest names in the scene. After many years of vital 12"s and remixes, he now draws on everything he has learned and raises his levels with a fully realised debut full length album dropping 9th May, 2025.

Ahead of the LP we present the Experience EP which sees Jimpster and Black Loops himself deliver Dub versions of two of the LP’s highlights; Electrical and Experience. Jimpster kicks off with a stripped back, rolling Italo-inspired groover with touches of modular synth sequences, string stabs and dubbed out vocals. Black Loops follows with his own version keeping the funk factor intact with guitar licks, synth blips and extra fat, moog bassline.

Flip over for the original of Experience featuring Marlena Dae with it’s distinctly 90’s, Vogue-era Madge mood. Black Loops then proceeds to take it to the club on his Dancefloor Dub, stripping out the vocals and working up a punchy, minimal groove for the dancers. Closing out the release we have an exclusive original, not included on the LP entitled Inmasoul. Jazzy, deep beats are the order of the day here, making for a perfect warm up track to set the mood.

LP 1 is Original Reissue, LP 2 is the Instrumentals. This album, originally released in 2019, was highly lauded with esteemed praise, topping many Album Of The Year lists inlcuding NPR, Pitchfork, Rolling Stone, Time Magazine. This vinyl has been out of print and in high demand, repress is restricted to limited quantities and will be out of print again in under a year. Now includes a 2nd LP featuring the never before available Hiding Places instrumentals from Kenny Segal. Fully produced by Kenny Segal, (Project Blowed, Kenstrumentals beat tape Series, Happy Little Trees). LP has unique gatefold artwork by Myra Musgrove and features custom “oakwood” coloured vinyls. Hiding Places is a collaborative album from Brooklyn-based rapper billy woods and Los Angeles beat scene veteran Kenny Segal. As a label, we at Backwoodz take a lot of pride in our physical products; in creating original artwork that will stand the test of time, and in issuing limited-pressings that stay limited. We had always resisted repressing a piece of vinyl and even when the demand for Hiding Places built to a fever pitch during 2019, we stuck to our guns. Still, by the end of the year, as the AOTY nominations kept rolling in, we knew that we needed to do something. But we also were determined not to sacrifice the uniqueness of that first pressing. So we decided to commission all-new artwork, and press up the instrumentals as well and put it all together as a GATEFOLD 2XLP. So, on top of the best album of 2019, you get Kenny’s incredible instrumentals, available on wax for the first time! On its face, it seemed an unlikely pairing; woods who moonlights as ½ of dissonant rap duo Armand Hammer is a chaotic force, the warped relic of an NY indie-rap wave that never happened. Meanwhile, Segal has been in L.A. for twenty years; from paying dues with Project Blowed to pushing the culture forward with Busdriver and Milo. All the while, his soulful, dreamlike production precariously tethered to earth by the right drums or rumbling bass. But look closer and it makes more sense. After all, Segal lent his production to a couple of songs on Paraffin, Armand Hammer’s critically-acclaimed opus, and the two artists have more than a few shared collaborators: Open Mike Eagle, ELUCID, and Hemlock Ernst amongst them. Hiding Places finds both artists deep in the labyrinth. Segal’s lush soundscapes have a new edge, woods’ writing is, paradoxically, at its most direct. Hiding Places is a child’s game: funny and cruel, as brutal as a fairy tale. The album features familiar names from both artists’ well of collaborators with ELUCID, Self-Jupiter, Blockhead and MOTHERMARY making contributions.

This landmark compilation has introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collection has been expanded with 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band.

The 3LP collection now contains 38 tracks, 30 of which have new mixes for 2023. The set’s 12 newly added tracks are collected on its 3rd LP. An insert contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 collection is a joyous celebration of The Beatles’ timeless musical legacy.

Being one of the most popular albums in the history of the label,

Music Brokers is happy to announce the release of Jazz And Beatles in a limited-edition double LP.
The album features 24 stellar Beatles classics reinvented in jazz form that highlight the catalog of the biggest band of all time.
Gems such as “Yesterday”, “Here Comes The Sun”, “Revolu- tion” and “She Loves You” have new life with reworked versions
by many of the biggest names in the nu-jazz move- ment including Jazzystics,
Les Crossaders, The Cooltrane Quartet, Eve St. Jones and Apollinare Rossi. With stellar artwork and remastered sound,
this is another essential addition to your jazz-lounge music collection in vinyl format.

For Record Store Day 2020, Far Out Recordings presents a special 'poisoned vinyl' edition of Ivan 'Mamão' Conti's critically acclaimed Poison Fruit album. The 180g splattered colour LP is accompanied by an exclusive bonus 7” with a previously unreleased track from the original Poison Fruit sessions ‘Katmandu, and ‘Ninho’, a track never before released on vinyl.

From an artist in their seventies, you probably wouldn’t expect to hear an album like this. But Brazilian drumming legend Ivan ‘Mamão’ Conti has been experimenting and innovating for the last half a century. As one third of cult Rio jazz-funk trio Azymuth, Mamão was at the root of the group’s ‘samba doido’ (crazy samba) philosophy, which warped the traditional samba compass with jazz influences and space age electronics. Even with his lesser known jovem guarda group The Youngsters, Mamão was experimenting with tapes and delays to create unique, ahead-of-its-time sounds, way back in the sixties. More recently Mamão recorded an album with hip-hop royalty Madlib under the shared moniker ‘Jackson Conti’.

With his first album in over twenty years, and the first to be released on vinyl since his 1984 classic The Human Factor, Mamão shares his zany carioca character across eleven tracks of rootsy electronic samba and tripped out jazz, beats and dance music. Featuring Alex Malheiros and Kiko Continentino on a number of tracks, the Azymuth lifeblood runs deep, but venturing into the modern discotheque (as Mamão would call it), Poison Fruit also experiments with sounds more commonly associated with house and techno, with the help of London based producer Daniel Maunick (aka Dokta Venom) and Mamão's son Thiago Maranhão.

Take a bite of Mamão’s psychoactive Papaya and join the maestro on a weird and wonderful stroll through the Brazilian jung

The Beatles 1962 – 1966 & The Beatles 1967 – 1970 (2023 Edition) 6LP BLACK

These landmark compilations have introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collections have been expanded: ‘Red’ has 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band. ‘Blue’ has 9 additional tracks including “Blackbird” and “Glass Onion” including the last new Beatles song, “Now And Then” for a total of 21 new additions which are all compiled onto the 3rd disc, effectively creating a ‘new’ LP for each set.

Together the 6LP’s contain 75 tracks, 36 of which have new mixes for 2023. The inserts contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 & 1967 - 1970 collections are a joyous celebration of The Beatles’ timeless musical legacy.

Mash-up master AMERIGO GAZAWAY has compiled a collection of the most popular and sought after tracks in the SOULMATES catalog. Featuring choice cuts from very hard to find/out of print vinyl, fan favorites, and even a few former digital exclusives pressed to wax for the very first time.

Turkish band islandman release the ‘Bahar’ EP + Bonus tracks for the first time on Vinyl for Record Store Day 2025.

The A side consists of four sublime tracks including ‘Sattava’, ‘Sad Walk’ and ‘Self-Hypnosis’ & title track ‘Bahar’ which is

a firm fan & listener favourite which has racked up over 3 million streams.

The B Side includes 3 tracks never before released on vinyl tracks from the Turkish Trio. Kicking off with "Yorgunum Kaptan” A rework of Cem Karaca’s composition recorded in ’84, which lyrics were initially driven from the poem written by Nazım Hikmet in 1957. This fresh take on the original is an ode to the pioneer and a homage because of being the inspiration for the band from the beginning.

Next up is Nara Nara Nara (islandman Remix) by NaraBara, the Jazz-Fusion band from Mongolia. This is the most recent chugging islandman remix.

Closing off the EP is the fantastic Future Days (Hey! Douglas Remix) which was released in 2018, but still sounds so fresh today.