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Demuir marks an inaugural release on Hot Creations with High. Alive. And Dirty., a
diverse four track EP made up of all original records.

The EP opens with Santa and The Elf. A penetrating bassline ratchets up and down, as horn
like synths whir occasionally in the background, alongside tassel-like hi-hats. Up next, the title
track High. Alive. And Dirty. provides stunning contrast. A happy, funk-fuelled number, the
track incorporates disco elements with “positive and soulful vibes”, before Rawness - Beat 3
features a “raw native structure”, bongo sounding drums and tropical vocals to from a well-
rounded, feel-good record. Eerbawdy Wants to Deeezsko rounds off the EP in fine form, with
more disco elements and chiming, emotional keys.

Canadian-based Demuir is a distinctive talent in the electronic music sphere. A prolific
producer, Demuir has already made a home on labels including I’m A House Gangster as well
as Cassy’s Kwench Records, whilst he is soon set to release on Loco Dice’s iconic Desolat
imprint.

Lemon Yellow Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Apple Red Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Sky Blue Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Evergreen Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Joaquin Joe Claussell readies the ‘Raw Tones’ LP on Rekids this June.

The first LP since 2008’s ‘Corresponding Echoes’ on his Sacred Rhythm Music, Joaquin Joe Claussell arrives on Radio Slave’s Rekids for ‘Raw Tones’, a nine-track excursion through the sound of his exquisitely soulful house music.

Originally released on uber limited cassettes, the music within ‘Raw Tones’ caught the ear of Radio Slave, aka Matt Edwards, who messaged Claussell, a friend since remixing Edwards’ Machine project in 2012, and convinced the legendary producer that the music needed a wider audience and, so, ‘Raw Tones’ the LP is here.

Introspective opening cut ‘Lock Down’ draws for breathy strings and swirling pads, followed by the hypnotic and low-slung ‘The Blame Game (Table Top Idea)’, which sees jazzy keys float around carefully crafted dubbed-out ambience and subtle, whispered vocals.

‘Break Free’ ups the energy, bringing a wonky bassline under decisive, machine-like drum hits while both spoken and sung vocals interplay throughout. ‘You Mutha Fuka’ brings rock-solid drums and thick bass underneath delayed vocals before the dreamy chords and twinkling keys of ‘Way Back Then’ close out the B-side.

The gorgeous ‘Air We Breathe (Revisited Cassette Demo)’ marries rolling percussion across live bass and softly drawn-out pads, followed by an instrumental version of ‘Break Free’. The final side of vinyl sees the extended trippiness of ‘If It's All In Your Mind Let It Out’ lead into the floaty low tempo closer ‘Hallucinations Ejaculations’.

Joaquin Joe Claussell, co-founder of Body & Soul with Francois Kervorkian and Danny Krivit, continues to run his Sacred Rhythm Music record label and curate the Cosmic Arts community centre in his hometown of Brooklyn, NYC.

World of Echo unites with the confounding genius of TRii for a highly limited first time vinyl run of 2020's Music For Desert Reboot tape, first released as TRj on the TRjj Musik label and then again as a second cassette by Mascarpone earlier this year.

As with all the sounds produced within the TRjj/TRii /TRj/TRi universe, strange illusion is part of the process, and this is certainly music that befits such smoke and mirror nomenclature, a kind of gamelan Werkbund re-programmed via the isolationist sounds of DIY home electronics conceived for a film that might or might not actually exist. Consider this time-dilation rug-pulling that's well in touch with its own mythology, so much so that it's hard to think of any obvious contemporaries, but if you've ever enjoyed the minimalist murk of Civlistijavel, the private quarters confessionals of Thomas Bush's first LP or any one of Guy Gormley's projects, you'll not got too far wrong here. Is further clarification required? That perhaps misses the point, though there is a track that features around two-thirds in entitled 'First Time Realizing the Clock Was Absent' that might function as a form of instruction to the listener. Namely, where does the time go? Music For Desert Reboot might not provide the answer, but it certainly knows how to ask the question.

Die Cinematic-Funk-Visionäre The Diasonics liefern mit ihrem neuen Album ,Ornithology", das am 3. Oktober über Record Kicks veröffentlicht wird, ein weiteres solides Set aus östlich angehauchtem Psychedelic, Cinematic und Disco-Funk. Nach ihrem 2022 von der Kritik gefeierten Debütalbum ,Origin of Forms", das von PopMatters zum Library Music Album of the Year gekürt wurde, kehren die in Moskau ansässigen Instrumentalisten The Diasonics mit ,Ornithology" zurück, einem zweiten Album, das ihre klanglichen Grenzen erweitert und gleichzeitig ihrem unverwechselbaren Stil treu bleibt. Aufgenommen in ihrem eigens errichteten Studio 23, das sich in einer umgebauten Lampenfabrik aus der Sowjet-Ära befindet, ist das Album das Ergebnis von zwei Jahren intensiver kreativer Erkundungen und Experimente. Mit ihrer ganz eigenen Mischung aus cineastischem Funk, östlich angehauchten Melodien, instrumentalem Hip-Hop und analogem Soul haben sich The Diasonics einen einzigartigen Platz in der globalen Funkszene geschaffen. ,Ornithology" markiert ein neues Kapitel: Inspiriert von wiederkehrenden Vogelmotiven in ihrer Umgebung, von Zügen und Bahnhöfen bis hin zu lokaler Folklore und den Schreien der Vögel, die über ihrem Studio kreisen, kanalisiert die Platte Ideen von Bewegung und Freiheit, sowohl thematisch als auch musikalisch. ,Das Thema Vögel und Ornithologie ergab sich ganz von selbst - wir fingen einfach an, überall um uns herum vogelähnliche Namen zu bemerken: Züge und Bahnhöfe, Geschäfte, Orte, Nachnamen von Menschen, Bücher und Filme", sagt die Band. "Wir besorgten uns ein paar alte Synthesizer und stimmten die Oszillatoren, während wir den Schreien der Möwen lauschten, die um die Fabrik flogen, in der sich unser Studio befand. Die Ideen von Flug, Freiheit und Raum wurden zentral für die Musik des neuen Albums." Klanglich gehören zu den wesentlichen Merkmalen von Ornithology nicht nur die Synthesizer, sondern auch Diana Grebs hypnotischer Gesang, der sich nahtlos in die Klangpalette einfügt und dem instrumentalen Funk Leben und Seele einhaucht. ,In unserer Vorstellung balancieren wir wie Vögel zwischen der Erde und dem Himmel und haben versucht, unsere eigene musikalische Sprache innerhalb des Konzepts der Ornithologie zu erschaffen, die den Wunsch eines jeden Menschen widerspiegelt, den Vögeln näher zu kommen und frei zu schweben, jenseits von physischen oder mentalen Grenzen." Die 2019 gegründete vierköpfige Band, bestehend aus Daniil Lutsenko (E-Gitarre), Kamil Gazizov (Keyboards), Maksim Brusov (Bass) und Anton Moskvin (Schlagzeug & Perkussion), erlangte durch eine Reihe von begehrten 45er-Scheiben auf Mocambo Records und Funk Night Records schnell Kultstatus. Ihr von der Kritik hochgelobtes Debütalbum Origin of Forms,, das von Henry Jenkins, dem Produzenten der australischen Kultband Surprise Chef, gemischt wurde, erschien 2022 auf Record Kicks und wurde von PopMatters (US) zum Library Music Album" des Jahres und von FIP (Radio France) zum Album des Monats gekürt. Das Vinyl war innerhalb weniger Wochen ausverkauft und ist nun in der internationalen Cinematic-Funk-Szene sehr gefragt. ,Origin of Forms" erhielt begeisterte Kritiken von Zeitschriften wie Wax Poetics, Mojo, Rolling Stone FR, Clash, Uncut und wurde von Jamie Cullum (BBC2), KEXP, Radio France und Huey Morgan, Don Letts, Cerys Matthews und Tom Ravenscroft von BBC 6 Music, um nur einige zu nennen, unterstützt und gespielt. Mit dem neuen Album Ornithology tauchen The Diasonics in üppige Synthesizer, stripped-down Grooves und rohes instrumentales Zusammenspiel ein, schöpfen aus der Library-Musik der 1970er Jahre, sowjetischer Jazz-Fusion und Disco-Funk und liefern eine weitere supersolide Veröffentlichung, die all die Einzigartigkeit bestätigt und vorantreibt, die ,Origin of Forms" so verlockend machte. Unverzichtbar für Fans von Khruangbin, Surprise Chef und instrumentalen Funk-Grooves.

Berlin-Hamburg duo Session Victim return to the ever-reliable Delusions Of Grandeur imprint with Chapter Two of their Sidequests trilogy, marking yet another high point in their almost twenty year journey through heartfelt, sample-rich music. Overflowing with analog warmth, sundrenched textures and irresistible grooves, the release also features a stellar remix from label cofounder and deep house pioneer Jimpster who kicks off the EP. Here he takes Behind The Glass into spaced out house-not-house territory. With crisp drum programming, trademark Rhodes, and subtle pads that build over time, his version delivers that late-night sophistication he's known for—steering the downtempo original in a clubbier direction without losing its blissed-out essence. Up next we have a brand new collaborative effort with long time friend, label mate and fellow sample nerd Nebraska. Make It Happen is a dusty, slo-mo house groove featuring delicate keys, euphoric strings and that unmistakable sense of journey. It’s just the kind of low-slung epic house they do best—intimate yet club-ready, nostalgic but never retro. Flipping over, Too Soft To Be Loud, another collaboration with Viken Arman, follows with a jazzy, almost samba-esque rhythm and swirling atmospherics. Loose percussion, catchy guitar riffs and Rhodes stabs collide with off-kilter dub FX and soft vocal snippets giving the track a laid-back, live-band feel that harks back to their See You When You Get There era. Hubcap Candy dives deep into funk territory. Nebraska’s on point boogie bassline drives the track forward as crunchy drums and layers of synths create a dreamlike haze. It’s loopy, moody, and finds Session Victim at their very best. Closing out the EP we have the original of Behind The Glass, a headsy, beatdown piece that slowly unfolds over an unconventional brass-like bassline and delicate guitar textures, paying homage to the golden age of Trip Hop haziness and it’s pioneer turntable spirit. Blending crate-digging sensibilities with forward-thinking production, this latest release solidifies Session Victim’s reputation as genre-blurring tastemakers, and their chemistry with Delusions Of Grandeur remains as strong as ever

„Raw & Alive – The Seeds In Concert“ ist möglicherweise das beste „Live“-Album, das es je gab. Das Album wurde 1968 gegen Ende der Karriere des ursprünglichen Quartetts veröffentlicht und war ein Versuch, die Live-Begeisterung, für die diese Garagenlegenden bekannt waren, auf Vinyl zu übertragen. Das Album wird von Seeds-Fans hoch geschätzt, da es spannende Versionen von Bandklassikern wie „No Escape” und „Up In Her Room” sowie hervorragende neue Originalsongs wie das punkige „Satisfy You” enthält, wobei letzteres eine klare Rückkehr zur alten Form nach dem blumigen Longplayer „Future” darstellt. Die meisten wissen jedoch nicht, dass die Aufnahmen tatsächlich live im Studio gemacht wurden und der Applaus erst nachträglich hinzugefügt wurde. Ursprünglich war geplant, eine Seeds-Show vor Publikum aufzunehmen. Im Februar 1968 wurde eine Live-Studioaufnahme vor dem Fanclub der Band aufgenommen, die jedoch in letzter Minute verworfen wurde. Die zweite CD unserer Deluxe-Vinyl-Neuauflage enthält dieses geplante Album in der Form, in der es für die Veröffentlichung vorbereitet wurde, direkt vom bisher unveröffentlichten Masterband. Die frühe Version enthielt den seltenen Titel „Hubbly Bubbly Love“, der für „Raw & Alive“ nicht neu aufgenommen wurde. Die neue 2LP „Raw & Alive“ ist die vierte Ausgabe der erweiterten Seeds-Reihe und enthält ein 8-seitiges Booklet mit Anmerkungen des Herausgebers Alec Palao, der die Geschichte des Abgesangs der ursprünglichen Seeds-Besetzung detailliert beschreibt, illustriert mit bisher unveröffentlichten Fotos des Quartetts auf der Bühne in ihrer Blütezeit Mitte der 60er Jahre. 2LPs, 22 Tracks

Gong's Gang , a one-off project for the unique family of true musicians: Giuseppe, Lino, and Rossana Nicolosi; brothers and sisters who knew ''something'' about the Italo-boogie-funk of the early '80s, uncontaminated by the increasingly invasive electronic sound of a yet unappreciated Italo-Disco. Gimme Your Love is a gem, with Rosanna Nicolosi leading the way on vocals and cascading synths and bass blending into an intoxicating mix that should make any funk detective froth with approval. And investigating how it sounds, one discovers a certain similarity to a Charades track; strings sound a bit like Gimme The Funk (written and produced by poet Lotti Golden and Richard Sher both with Chuck Wansley and Kathrine Joyce on Warp 9), mixed in 1982 by John "Jellybean" Benitez, a very close friend of Tony Carrasco, who in 1983 produced, arranged, and mixed 'Gimme Your Love'. The two always kept an eye on each other, even from a distance, staying in touch. However, these assumptions do not detract from this stellar song: whether you prefer the vocal hit or the subtly voiced instrumental, that you can dance at any nighttime party and that absolutely deserves a second chance in the spotlight.

2025 Repress

FINALLY! The very first commercial release of two legendary remixes of Arthur Russell's "In The Light Of The Miracle". Both are widely regarded as transcendent masterpieces and very much befitting of the title “holy grails”.

These long-beloved mixes are the types you'd wish would last for eternity. With almost 30 minutes of music here, we very nearly get our desires granted. At last, these jaw-dropping mixes are widely available to every Arthur fan in the world. This is musical perfection.

The deep Loft classic "In The Light Of The Miracle" remained unreleased during Arthur's lifetime, finally discovered when Phillip Glass included the original version on Another Thought on Point Music in 1993. As Steve Knutson told us, when Another Thought was being put together, the plan was to release a companion album of remixes that was overseen by Steve D'Aquisto but the project only got as far as these two remixes of "In The Light Of The Miracle".

Some dodgy scans of some centre label designs suggest that Point Music might’ve been planning to release these on a 12" but it didn’t happen. The story goes that Gilles Peterson heard the remixes on a visit to the Point Music offices and wanted to release them on Talkin’ Loud. We’re not sure how many white label copies made it out into the wild, but again, these remixes didn’t make it to a proper release.

These remixes both extend and undeniably enhance the original, elevating it to new heights. The 13 minute remix on the A-side is by Danny Krivit & Tony Smith with editing duties performed by Tony Morgan. As ever with Arthur, the music is almost impossible to describe: is it Disco? Garage House? Avant Garde? None of these tags do full justice to its sheer majesty. You best just listen. Stretching out the original with some unbelievably great percussive elements, until we're in a deeply spiritual, otherworldly realm, it's just too beautiful for words. As many have claimed, it's the prototype for EVERYTHING.

The "Ponytail Club Mix (Part 1 & 2)", produced by Tony Morgan in the mid-90s, is in a more up-tempo style, with vocals higher in the mix, the BPM upped to 120 and the addition of a housey 4/4 kick drum. A 14 minute epic, you could say this is a more straight ahead "club-friendly" mix (but can things ever be that straightforward with Arthur?!) It also has some really interesting vocal parts not used in the other versions, including some vocals from guest poet Allen Ginsberg.

These remixes are part of the same original project that also produced the Another Thought album so it seems only right that they have a sleeve that matches. Thanks again to Janette Beckman for letting us use another of her photos of Arthur and the rest of the design follows what Margery Greenspan, Tina Lauffer and Michael Klotz did for Another Thought back in 1994.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year.

12:01, time to wake up! Aris 1201 is back on CAF? with a new record. Deeply rooted in the city center of Geneva, this eight tracker is as smokey as its rush hour traffic jams. Bringing together old tracks with new material, this album spans from 4/4 club-ready highways to hip-hop inspired groovy beats. Using a minimum amount of ingredients (raw samples, percussive rhythmics, grainy textures), Aris 1201 delivers a result full of layers and complexity. So only one thing to do: hop in front of the Blunt Mobile and have a nice ride.

Die wilden Söhne Manchesters, Wode, kehren mit ihrem vierten Album „Uncrossing The Keys“ zurück und erweitern damit selbstbewusst ihren ohnehin schon beeindruckenden Sound, der auf einer düsteren Grundlage aus wildem Black Metal und eisernem Heavy Metal basiert. Nachdem sie sich von der eher geradlinigen Methodik ihres Debütalbums weiterentwickelt haben, haben Wode im Laufe ihrer Diskografie kontinuierlich Elemente aus verschiedenen dunklen Ecken des Undergrounds hinzugefügt, wobei ihr Songwriting schlanker, aber auch komplexer, fokussierter und melodischer denn je geworden ist.
„Uncrossing The Keys“ hat die Musik von Wode nicht milder gemacht, der Sound ist nach wie vor von Flammen und Wut durchdrungen, aber sie haben ein breiteres Spektrum an Stimmungen angenommen und malen mit schwärzeren, satteren Farbtönen als je zuvor. Zerklüftete Post-Punk-/Goth-Einflüsse leuchten düster in neuen Tracks wie „Saturn Shadow“ und dem verträumten Trance des atmosphärischen Instrumentalstücks „Phantom“. Das düstere Tempo und die majestätisch-nachdenkliche Stimmung der Single „Transmutation“ erinnern mit ihrer düsteren Unterströmung sowohl an Paradise Lost als auch an Amorphis, während das melancholisch-hymnische „Under Lanternlight“ mit dynamischen Melodien im Stil von Sentenced durchdrungen ist. Die Gitarren tragen manchmal einen traurigen Schimmer, ihre Hooks sind sowohl von Melancholie als auch von Bedrohung durchzogen und schweben mit Momenten elegischer Schönheit und dunkler Klage über dem Gemetzel. Der höllische, raue Gesang erhebt sich wie rituelle Gesänge aus einer anderen Zeit.
Wode beschwört Bilder einer Welt herauf, die sich ständig am Rande der Dämmerung befindet, und wirft im Verlauf der neun Tracks von „Uncrossing The Keys“ einen langen, kalten Schatten. Es herrscht ein Gefühl von Erhabenheit und Verfall, als hätte die Band ein Tor zu einem Reich geöffnet, in dem verfluchte Städte unter blutroten Himmeln schwelen und ihre Mauern ewig verlassene Hymnen widerhallen lassen. Als Ergebnis eines ständigen Evolutionsprozesses hat Wode einen wahrhaft gespenstischen und imposanten Blackened Heavy Metal geschaffen, der ein dunkles Banner hoch über einem riesigen und öden Königreich hisst.

The Rhythm Makers's Soul On Your Side is flawless proto-disco funk. The Bronx-based band - that later went on to form heavyweight disco outfit GQ - originally released this treasure in 1976 and it's long been a hard to find record. It's also rare to find a record this hard. Captivating funk at its rawest, no doubt.

Storming out the gate with the rollicking Loft/Garage staple "Can You Feel It (Part 1)", the listener is immediately put on notice that this LP is just a little bit special. The title track, "Soul On Your Side", is a classic dancer and the basis of GQ's future hit "Disco Nights". But it's perhaps "Zone", a huge Baldelli track, that the record is best known for. Hypnotic psyched-out cosmic-disco / cosmic funk, it's an unrelenting groove that really thrusts the party into hyperdrive. With doses of scintillating Latin and pulsating African rhythms driving the pumping tune, atop an unstoppable bassline and imaginative, soul-slathered keyboard figures, it's basically a full-on funk assault. You might need a lie-down after this.

But there's no let-up on the B-Side, immediately grooving thanks to "Funk-N-You", a laidback glider that just rolls in the sleek style. Gorgeous harmony skills are displayed on "Street Dreamin'". Beautiful and gritty funk, by turns. "You're My Last Girl" is an airy ballad with two leads before the legendary "Monterey" enters the fray. A much-sampled instrumental and heavy disco-funk nugget, it contains an amazing B-Boy drum break making the whole LP worth the price of admission. "Can You Feel It (Part 2)" closes out this spectacular set.

The Rhythm Makers had been gigging around New York City since the late ’60s, having initially come together as Sabu and the Survivors, named after bassist Keith “Sabu” Crier. They eventually - for this album at least! - settled on The Rhythm Makers and cut one record for the small De-Lite subsidiary Vigor. The core lineup featured Crier, keyboardist Herb Lane, drummer Kenny Banks and rhythm guitarist Rahiem Leblanc.

Mastered for vinyl by Simon Francis, cut by Cicely Balston for Alchemy at AIR Studios with artwork restored at Be With HQ, this new edition should hopefully bring this album into the homes and record boxes of many more people.

James Morrison"s new album Fight Another Day is born of difficult times and heavy emotions but one that, ultimately, leans into the light and joy and hope. Written after a period of reflection and therapy, the songs deal with his own struggles, childhood, and personal battles, with Morrison saying, "Every day being a bit of a battle. Trying to eke the light out after what felt like darkness for ages." From the defiant title track to the soul-baring Something I Can"t Forget and the feelgood New Day, the album captures a wide emotional spectrum. "I"m really proud of the album in terms of the creative, sonic elements and how I dealt with truthful stuff," he says, "but also... it"s an album of songs that hopefully make you feel better and make you nod your head and stamp your feet and singalong."

James Morrison"s new album Fight Another Day is born of difficult times and heavy emotions but one that, ultimately, leans into the light and joy and hope. Written after a period of reflection and therapy, the songs deal with his own struggles, childhood, and personal battles, with Morrison saying, "Every day being a bit of a battle. Trying to eke the light out after what felt like darkness for ages." From the defiant title track to the soul-baring Something I Can"t Forget and the feelgood New Day, the album captures a wide emotional spectrum. "I"m really proud of the album in terms of the creative, sonic elements and how I dealt with truthful stuff," he says, "but also... it"s an album of songs that hopefully make you feel better and make you nod your head and stamp your feet and singalong."

Sabrina Claudio's fifth studio album, Fall In Love With Her, marks a significant evolution in her musical journey. Known for her ethereal blend of R&B and pop, Sabrina Claudio delves deeper into personal narratives, offering listeners an intimate exploration of love, identity, and self-discovery.

This album follows her 2022 release, Based on a Feeling, where she emphasized authenticity and emotional resonance in her music. With Fall In Love With Her, Sabrina Claudio continues this trajectory, crafting songs that are both vulnerable and empowering. The lead single, "Need U to Need Me," exemplifies this, weaving themes of longing and self-worth into a sultry, atmospheric soundscape. Her introspective songwriting, combined with minimalist production, allows her vocals to shine, creating an immersive listening experience.

With a GRAMMY win to her name for her songwriting work on Beyonce’s Renaissance album & over 3B worldwide streams to date, Sabrina Claudio has firmly established herself as a standout in the R&B and Pop spaces.

1xLP, and includes a poster. Grab the vinyl today — and fall in love with her all over again.

NYC punk-chic, discodelic funk band Say She She is back with Cut & Rewind, their politically-charged, dancefloor-crushing third album. Led by the powerhouse vocal trio of Piya Malik, Sabrina Mileo Cunningham, and Nya Gazelle Brown, the group channels progenitors like Minnie Ripperton, Charles Stepney, Liquid Liquid, and Raw Silk to create a groove-forward, psychedelic soundscape of pulsing disco beats, heavenly whistle tones, and soaring three-part harmonies. There's a feeling of righteous rebellion simmering beneath these songs' body-moving exterior, though: "She Who Dares" is a call to fight against a near-future dystopia where women's rights have been decimated globally; "Disco Life" decries the racism and homophobia of Steve Dahl's 1979 "Disco Demolition Night," reclaiming the dancefloor as "a playing field where all are free." Cut & Rewind is protest music dressed up as a sweat-dripping, hip-shaking, mind-expanding good time.

Introducing Kattguld, the definitive collection of Les Big Byrd's essential singles and EPs from their PNKSLM years. Volume 1 chronicles the band's prolific output between 2014 and 2018, capturing their signature blend of swirling psychedelia and melodic invention. This long-awaited compilation brings together fan favorites and rare cuts, including the highly sought-after "Back To Bagarmossen" and "Two Man Gang" - two tracks that have become staples in the band's catalog and frequent requests for repressing. A must-have for both longtime fans and new listeners, Kattguld offers a deep dive into one of Sweden's most captivating modern psych acts. RIYL: Brian Jonestown Massacre, Dungen, Spacemen 3, Beak>, Moon Duo

Transparent Vinyl. Introducing Kattguld, the definitive collection of Les Big Byrd's essential singles and EPs from their PNKSLM years. Volume 1 chronicles the band's prolific output between 2014 and 2018, capturing their signature blend of swirling psychedelia and melodic invention. This long-awaited compilation brings together fan favorites and rare cuts, including the highly sought-after "Back To Bagarmossen" and "Two Man Gang" - two tracks that have become staples in the band's catalog and frequent requests for repressing. A must-have for both longtime fans and new listeners, Kattguld offers a deep dive into one of Sweden's most captivating modern psych acts. RIYL: Brian Jonestown Massacre, Dungen, Spacemen 3, Beak>, Moon Duo

featuring newly unplugged versions of five classic tracks ‘Cast No Shadow’, ‘Morning Glory’, ‘Wonderwall’, ‘Acquiesce’ and ‘Champagne Supernova’, all newly mixed by Noel Gallagher. Initial qtys could be reduced, but you’d like to think that they will press enough stock for demand.






f B3. Untitled (Remastered)






[f] B3. [Untitled] (Remastered)






[f] B3. [Untitled] (Remastered)

featuring newly unplugged versions of five classic tracks ‘Cast No Shadow’, ‘Morning Glory’, ‘Wonderwall’, ‘Acquiesce’ and ‘Champagne Supernova’, all newly mixed by Noel Gallagher. Initial qtys could be reduced, but you’d like to think that they will press enough stock for demand.






f B3. Untitled (Remastered)






f B3. Untitled (Remastered)






[f] B3. [Untitled] (Remastered)






[f] B3. [Untitled] (Remastered)






[f] B3. [Untitled] (Remastered)

Ramirez returns with THA PLAYA$ MANUAL II, the long-awaited sequel to his cult classic that helped solidify his place as one of underground rap’s most distinctive voices. Steeped in Southern-fried funk, Bay Area swagger, and Memphis-style menace, this new chapter finds Ramirez sharper, smoother, and more seasoned—delivering game like a streetwise sage with a gold grill grin.

Where the original Playa$ Manual was gritty and raw, THA PLAYA$ MANUAL II sounds like a player who's leveled up. The beats knock harder, the flows glide slicker, and the game is deeper. Ramirez weaves tales of betrayal, come-ups, late-night drives, and cold-hearted reality with the same charismatic cool that made him a standout in the $uicideboy$-adjacent G59 movement—but this time with a more refined, cinematic approach.

From trunk-rattling bangers to syrupy smooth cuts that soundtrack late-night escapades, THA PLAYA$ MANUAL II feels like a ride through Ramirez’s world with tinted windows up and the bass on max. It’s a record for the hustlers, the heartbreakers, the loners, and the legends in the making.

This is more than a sequel—it’s a statement: the playa’s still active, and the manual’s been updated.

Formed in the mid-eighties Midlands, they are still not only eating pop but spewing it up in a chaos of thrilling ideas on new album ‘Delete Everything’. Their eighth record sees them further refine, define and deconstruct their melange of industrial rock, loop da loop techno, gonzoid hip hop and punk rock into a series of captivating sci-fi anthems. The band still look and sound like they have stepped out the pages of 2000 AD magazine with Graham Crabb and Mary Byker trading vocals like bouncing Duracell bunnies to the itching, compulsive beats surrounding them. Davey Bennett brings the bottom end and Cliff Hewitt plays the beats whilst Adam Mole delivers guitar aggro and sometimes waves his keyboard around with a delinquent glee. Still creative, still in a world of their own Pop Will Eat Itself have deleted everything and started all over again.

Indian Summer of Love finds The Bongolian immersed in a new set of sounds and influences for a new Belle Epoch. It’s a musical landscape informed by the Sixties psychedelia of India via a Haight Ashbury happening.

It’s a kaleidoscopic vision that takes us from a 20th century Fin de Siècle and lands us in the here and now of the 21st Century. It’s for dancers, for seekers and is all underscored by The Bongolian’s trademark heavy rhythms and breaks. It’s another fine instalment of essential cuts for the dancefloor and for high fidelity listening, quality is guaranteed.

From the East to the West, welcome to the Indian Summer of Love. Nasser Bouzida performs drums, percussion, guitars and keys whilst the album features several new flavours to the Bongolian sound with the prominent instrumentation of sitars and bansuri, along with flute, trumpet, saxophone and trombone performances from several stellular international guest musicians.

In 2005, when they formed Cotonete, the Parisian musicians secretly dreamed of playing 70s Brazilian funk in Brazil. Having become specialists in the style, the dream became a reality 12 years later thanks to Brazilian singer and actress Simone Mazzer (awarded Newcomer of the Year), who decided to hire the Parisian group to record her second album.
The engagement quickly turned into a collaboration, with Cotonete taking part in the selection of the repertoire, the arrangements, and the production of the album. It was prepared and recorded in Paris at Studio Prado in July 2016. It would be mixed and released in Brazil in 2017.
And so, Simone finally invited Cotonete to come and set foot on Brazilian soil. Five concerts, including two wonderful ones at the SESC Copacabana in Rio, were organized for the album's release. It was during this tour that the band met singer Di Mélo, with whom they recorded the album "Atemporel" in Sao Paulo, featuring the track "A.E.I.O.U."

Nearly 10 years after its recording, the album "Simone Mazzer & Cotonete" is finally being reissued on vinyl on Prado Records. It has been remixed for the occasion by Fabien Girard.
Simone Mazzer will be in France in September 2025 and performing at the Studio de l'Ermitage on September 19th for the official vinyl release.

Acclaimed British artist Leon Vynehall presents is highly anticipated third album, In Daytona Yellow, via Ooze INC. Marking the next stage in the Ivor Novello-nominated producer and DJ’s evolving sound, In Daytona Yellow showcases Vynehall’s experimentations with fringe electronics, pop, and R&B, and his growing confidence through collaboration and live vocals. Across 10 hypnotically off-kilter tracks, we hear Vynehall at his most deft and diaristic.

Over the past 13 years, Vynehall has built a formidable reputation through his genre-defying artistry. From his early days as a leftfield house producer releasing on labels like Aus Music, Running Back, 3024, and Rush Hour, to his critically acclaimed debut album Nothing Is Still (2018) and the boundary-pushing Rare, Forever (2021), he has continually redefined his creative limits. While Rare, Forever was a bold step away from dance music—melding post-punk textures with experimental electronics—In Daytona Yellow pushes these experiments into a more traditional songwriting framework, inspired by both contemporary and 80s avant-pop.

In Daytona Yellow is set to be a career-defining release, cementing Leon Vynehall as one of electronic music’s most innovative and thought-provoking artists, part of a vanguard expanding the ambition of electronic music.

"Horizons/West" (2025) completes the thematic arc begun with "Horizons/East" (2021), pairing personal reflection with sweeping sonic ambition. Self-produced by the band, engineered by guitarist Teppei Teranishi, mixed by Scott Evans, and mastered by Matthew J. Barnhart, "Horizons/West"balances cinematic tones with spacious atmosphere. Teranishi calls it "less dense," while vocalist Dustin Kensrue sees it as their first sequel-two halves of a larger emotional and political panorama. Blending post-rock textures from their earlier albums "Beggars" and "Major/Minor", with rhythmic complexity from "Horizons/East", the band sharpens its edge without losing nuance. Kensrue"s vocals shift from whisper to roar, anchoring meditations on perception, memory, and social influence. "Horizons/West" looks inward while never ignoring the larger world - urging listeners not to adopt beliefs, but to interrogate them. After more than two decades, Thrice continues building catharsis from chaos, and clarity from noise.

"Horizons/West" (2025) completes the thematic arc begun with "Horizons/East" (2021), pairing personal reflection with sweeping sonic ambition. Self-produced by the band, engineered by guitarist Teppei Teranishi, mixed by Scott Evans, and mastered by Matthew J. Barnhart, "Horizons/West"balances cinematic tones with spacious atmosphere. Teranishi calls it "less dense," while vocalist Dustin Kensrue sees it as their first sequel-two halves of a larger emotional and political panorama. Blending post-rock textures from their earlier albums "Beggars" and "Major/Minor", with rhythmic complexity from "Horizons/East", the band sharpens its edge without losing nuance. Kensrue"s vocals shift from whisper to roar, anchoring meditations on perception, memory, and social influence. "Horizons/West" looks inward while never ignoring the larger world - urging listeners not to adopt beliefs, but to interrogate them. After more than two decades, Thrice continues building catharsis from chaos, and clarity from noise.

Mit ihrem achten Studioalbum ,Feed The Fire" schlagen Pigeons Playing Ping Pong ein triumphales neues Kapitel auf. Aufbauend auf ihrer charakteristischen Mischung aus Funk, Rock und Jam treibt die Band mit einfallsreichen Arrangements, einzigartigen Taktarten und einer sich ständig erweiternden Klangpalette ihren Stil weiter voran. Die 12 Tracks von PPPP wagen sich in unbekanntes Terrain vor, bleiben dabei aber dem improvisatorischen Geist und den funkigen Wurzeln treu, die ihren Sound seit über 15 Jahren prägen. ,Feed The Fire ist die perfekte Metapher für unser unerschütterliches Bekenntnis, uns weiterzuentwickeln", sagt Frontmann Greg Ormont. ,Wir treiben uns ständig dazu an, als Musiker, Songwriter und als Band zu wachsen. Musik zu machen fühlt sich an wie etwas, wozu wir geboren wurden, und deshalb bleiben wir entschlossen, diese kreative Flamme auf jedem Schritt des Weges zu schüren. Dieses Album fängt diese inspirierende Reise ein, auf der wir sowohl auf als auch abseits der Bühne unser Bestes geben."

,Push pull/ Side to side/ This way/ That way/ Can't decide/ Pressure! Pushing in/ Flattened me out from end to end", singt Blair Tramel in ,Worldwide", dem Titelsong aus dem neuen Album von Snooper. Der Song fängt die schwindelerregende Stimmung der Band während ihres rasanten Aufstiegs vom DIY-Circuit in Nashville zu weltweiten Tourneen und Bekanntheit in den entlegensten Ecken der Untergrund-Musikszene ein. Aber obwohl die Band den Druck spürte - der Song ist teilweise von YouTube-Videos über hydraulische Pressen inspiriert -, waren alle Herausforderungen eine Chance für Veränderung. ,Worldwide" ist ein Leitbild für das Album, nicht nur thematisch, sondern auch ästhetisch, und zeigt Snoopers stilistische Experimentierfreudigkeit. Neu inspiriert von elektronischer Musik, ist der Rhythmus von ,Worldwide" unerbittlich und mechanisch - er fängt das rasende Tempo ein, in dem Snoopers Leben verlief, lässt aber durch Tramels Schreie und Connor Cummins' dreckigen Gitarrenbreaks. ,Worldwide" führt uns in das nächste Kapitel von Snooper ein - persönlicher, kathartischer, schärfer, mutiger, eingängiger. ,Es gibt einen Sweet Spot", sagt Tramel über die Entwicklung, die sich aus Snoopers turbulenter Erfahrung in den letzten Jahren ergeben hat. ,Für einen Moment schaffen Push und Pull diesen wunderschönen Tanz."

,Push pull/ Side to side/ This way/ That way/ Can't decide/ Pressure! Pushing in/ Flattened me out from end to end", singt Blair Tramel in ,Worldwide", dem Titelsong aus dem neuen Album von Snooper. Der Song fängt die schwindelerregende Stimmung der Band während ihres rasanten Aufstiegs vom DIY-Circuit in Nashville zu weltweiten Tourneen und Bekanntheit in den entlegensten Ecken der Untergrund-Musikszene ein. Aber obwohl die Band den Druck spürte - der Song ist teilweise von YouTube-Videos über hydraulische Pressen inspiriert -, waren alle Herausforderungen eine Chance für Veränderung. ,Worldwide" ist ein Leitbild für das Album, nicht nur thematisch, sondern auch ästhetisch, und zeigt Snoopers stilistische Experimentierfreudigkeit. Neu inspiriert von elektronischer Musik, ist der Rhythmus von ,Worldwide" unerbittlich und mechanisch - er fängt das rasende Tempo ein, in dem Snoopers Leben verlief, lässt aber durch Tramels Schreie und Connor Cummins' dreckigen Gitarrenbreaks. ,Worldwide" führt uns in das nächste Kapitel von Snooper ein - persönlicher, kathartischer, schärfer, mutiger, eingängiger. ,Es gibt einen Sweet Spot", sagt Tramel über die Entwicklung, die sich aus Snoopers turbulenter Erfahrung in den letzten Jahren ergeben hat. ,Für einen Moment schaffen Push und Pull diesen wunderschönen Tanz."

frozen reeds presents Mark Fell’s ‘Psychic Resynthesis’, an instrumental work performed by Explore Ensemble. This double LP is the label’s 8th release, arriving 13 years after its foundation.

Fell is a multidisciplinary artist, composer, and theorist based in Rotherham, UK. Renowned for his rigorous and conceptual approach to electronic music and sound art, his work explores the limits of structure, rhythm, and perception through a blend of computational systems, philosophical inquiry, and cultural critique.

Over the last decade, Fell’s practice has visibly shifted from a world of technical intricacy and myopic microdetail to one of collaboration and community. He has purposefully sought out diverse musical partners from a wide variety of traditions and disciplines and found equally diverse ways to work and create together – not to integrate their playing into a musical fusion, but rather to discover how such combinations of approaches and experience can stimulate unique and heretofore unheard results.

The music here emerges from a commission for contemporary chamber group Explore Ensemble, situating Fell’s work in a new context entirely. Having been a notable critic of classical music’s slavish adherence to traditional musical notation, “the score”, and its associated issues of control and hierarchy, one might expect a provocative or abrasive approach. Instead, a work of deep, tonal introspection unfolds - an elegant structure navigating the artist’s antipathy for linear or timeline-based musical approaches.

In Fell’s selection of timbres and events, the dynamic of composer and performer is interrupted by his twin adoption of system and flexibility. Mathematical determination and sonic fixation vie for dominance. The conflict governing combinations. Upsetting preconceived strategies.

Published in an edition of 777 double LPs, with included digital download, the result, ‘Psychic Resynthesis’, represents both a prismatic object for repeated examination and an abstruse table of musical correspondences.

Didjits verbanden ihre Liebe zu Hard Rock (AC/DC, Black Sabbath, Cheap Trick), Punk (Sex Pistols und vor allem die metallische Kunstshow von The Plasmatics) und Rock'n`Roll der 50er Jahre (insbesondere Jerry Lee Lewis und Little Richard) zu einer Marke, die, wie Dexter Holland von The Offspring treffend beschreibt, ,ein wackeliger Zug war, der kurz vor der Entgleisung stand". Bei chaotischen Live-Shows brachte Gitarrist und Sänger Rick Sims das Publikum gekonnt gegen sich auf und trug so zur Raserei des rasanten Rocks bei, den sie langsam perfektionierten. Jello Biafra, ein früher Unterstützer der Didjits, bewunderte ihre Fähigkeit, das Punk-Publikum zu vergraulen und es dennoch mit offenem Mund und Hörverlust zurückzulassen. Ab 1988 veröffentlichten die Didjits fünf Alben in voller Länge bei Touch and Go Records (darunter eine Neuauflage ihres 1986 selbst veröffentlichten Debütalbums Fizzjob) sowie zwei Singles und eine EP. Es folgten MTV-Videos, ausverkaufte Clubs, Tourneen durch Europa und Nordamerika - bis 1994 (ironischerweise das selbe Jahr, in dem The Offspring ihr Platin-Album "Smash" veröffentlichten, das ein Cover von ,Killboy Powerhead" aus Didjits 1990er Veröffentlichung "Hornet Pinata" enthielt). Diese LP, gepresst auf 180 Gramm schwerem, opakem lila Vinyl, ist ein Archivdokument der Band von ihren Anfängen im ländlichen Illinois bis zu ihrer Auflösung über ein Jahrzehnt später. Die ausgewählten Tracks vereinen 17 Fan-Favoriten aus Didjits' Touch and Go-Diskografie auf einer einzigen LP.

"ADRIAN YOUNGE PRESENTS SOMETHING ABOUT APRIL II" is the debut album showcasing the soul-stirring voice that has graced some of Younge's most iconic projects. From "Something About April" to "The Midnight Hour", Oden's vocals have captivated audiences worldwide. Oden strives to vibrate frequencies relatable to lovers from all walks of life: a forgotten tenet derivative of `70s soul. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.