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012 proudly presents 01211, a release marking the first-ever collaboration between Claudio PRC and CONCEPTUAL. A long-anticipated meeting of two like-minded artists, Syklit unfolds as a shared exploration of depth, restraint, and sonic research, supported by a masterful revisit by Marcal.

Built around the concept of cycles as continuous motion and transformation, Syklit develops through three original cuts that function as interconnected chapters of a single narrative. Hypnotic structures, stripped-back grooves, and carefully sculpted sound design define the EP. It blends techno sensibilities with an introspective, atmospheric approach. On top of that, Marcal delivers a striking reimagining of Sykli I, merging raw tribal energy with cutting-edge, sci-fi-driven sound design to unleash a relentless groove made for peak-time, late-night sessions.

The result is a cohesive and powerful release, equally suited for immersive listening and deep, forward-thinking dancefloors, celebrating a meaningful first-time collaboration and uncompromising shared sonic visions.

Doomcrusher fuse stomping industrial riffs, uncompromising gutturals and uplifting hooks - modern core with electronic depth and metal roots.

In the crucible of the apocalypticatmosphere that envelops our world, Doomerusher was forged. Born out of the deepest desire to be the harbinger of change, the band emerged with a resolute mission: to defy the impending doom that looms on the horizon. Founded by Andy Posdziech (Any Given Day), Jean Bormann (Rage), Marv Kinkel & Rob Lee, Doomcrusher's sound is a powerful fusion of stomping and heavy mid-tempo industrial riffs, seamlessly intertwined with uncompromising gutturals that resolve into unfolding and uplifting hooks. The band's sound is further enriched by sophisticated electronic elements, adding depth and complexity to their musical tapestry. The ambition is clear - to redefine modern core music while staying true to the roots of the metal genre. Their music is not merely an auditory experience; it's a journey through the realms of sound, a deliberate exploration of the boundaries of heavy music. Doomcrusher stands as a defiant force against the inevitable, a rebellion that crushes the darkness of doom with an unwavering belief in the transformative power of music. DOOMCRUSHER BIO SHORT: Forged in the apocalyptic atmosphere, Doomcrusher blends stomping industrial riffs with guttural vocals and uplifting hooks. Their music, a deliberate exploration of heavy soundscapes enriched by electronic elements, redefines modern core while honoring metal roots- a defiant force against impending doom

"Psychedelia in White", das dritte Album des ehemaligen Nick Cave and the Bad Seeds-Mitglieds Mick Harvey und seiner langjährigen musikalischen Partnerin Amanda Acevedo, knüpft an ihr 2023 erschienenes Duett-Debüt Phantasmagoria in Blue an.

Das überwiegend aus Eigenkompositionen bestehende Album bewegt sich zwischen Mystik, Mythologie, Liebe und Verlust. Mit vielschichtigen Arrangements und opulenten Klangtexturen erkundet das Duo neue, experimentellere musikalische Räume. Traumartige Bilder und mythologische Motive verbinden sich mit einer persönlichen Botschaft der Hoffnung und der Sehnsucht nach einem Ausweg aus dem Chaos der Gegenwart.

Zu den Höhepunkten zählen „Perfect Storm“, entstanden in Zusammenarbeit mit dem kanadischen Komponisten Peter McNestry, „Song for Aurora“, eine Glam-Rock-Hommage an Marc Bolan und T. Rex, sowie „The Greatest Delight“, inspiriert von Acevedos Visionen von Schattenwesen und jenseitigen Liebenden.

Diese Aufnahme von Vivaldis „Vier Jahreszeiten“ aus dem Jahr 1969 mit der Academy of St Martin in
the Fields und Sir Neville Marriner – dem am häufigsten aufgenommenen Orchester-Dirigent-Duo der
Geschichte – ist nach wie vor so frisch und voller neuer Ideen wie bei ihrer Erstveröffentlichung.
Alan Lovedays wunderbar stilvolle Violinsoli und Simon Prestons einfallsreiche Continuo-Bearbeitung auf
Cembalo und Orgel machen diese Aufnahme zu einer der musikalisch befriedigendsten „Jahreszeiten“-
Einspielungen. Transparent, lebendig, tänzerisch.
Die Serie wurde von Rainer Maillard gemastert und von Sidney C. Meyer in den renommierten EmilBerliner-Studios unter Verwendung ihrer 100 % rein analogen Techniken (AAA) geschnitten. Es werden
ausschließlich analoge Quellen aus den originalen Stereo- und Quadrophonie-Masterbändern verwendet,
darunter auch kürzlich entdeckte analoge Master von frühen Digitalaufnahmen.
Diese in Deutschland bei der Schallplattenfabrik Pallas auf 180 g Virgin-Vinyl gepressten Deluxe-GatefoldVeröffentlichungen in limitierter Auflage enthalten: das Original-Artwork und Liner Notes; Archivfotos und
Faksimiles der Original-Aufnahmeblätter. Jede einzelne Veröffentlichung enthält individuelle Anmerkungen
von Dominic Fyfe, in denen die Geschichte der Aufnahme, der technische Hintergrund und der MasteringProzess detailliert beschrieben werden.

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

Der zweite Teil von Chapter Musics gefeierter australischer Post-Punk-Compilation-Reihe ,Can't Stop It!" erscheint erstmals auf Vinyl als Deluxe-Doppelalbum. Die Compilation wurde ursprünglich 2007 auf CD veröffentlicht und präsentiert eine unglaubliche Auswahl an innovativer und oft bisher unveröffentlichter Musik aus den Jahren 1979 bis 1984. Nun aktualisiert Chapter Music die Compilation mit sechs bisher unveröffentlichten Bonustracks sowie neuen Liner Notes, Fotos und einem neuen Layout. Dies ist eine unglaublich reichhaltige und dynamische Zeit in der australischen Musikgeschichte, eine Zeit, in der Australien aus dem Schatten ausländischer Einflüsse trat und vielleicht zum ersten Mal seine eigene musikalische Identität behauptete. ,Can't Stop It! II" enthält Titel, die mittlerweile zu Meilensteinen der australischen Post-Punk-Geschichte geworden sind, darunter ,Lamborghini" von Severed Heads und den Proto-Oz-Rap-Klassiker ,Do the Job" von Use No Hooks sowie frühe Werke von Künstlern wie Lisa Gerrard von Dead Can Dance und Mark Seymour von Hunters & Collectors. Zu den Bonustracks gehören das verblüffende ,How" von This Five Minutes aus Brisbane, das ,Fool's Gold" von The Stone Roses um mindestens fünf Jahre vorwegnimmt, sowie Tasmaniens eigener Performance-Punk Chainmale mit seinem ausgeflippten ,Freakout". ,Diese Ära der australischen Musik wurde nicht durch einen Sound oder ein Instrument definiert, sondern durch eine anarchische Kreativität" - Stephen Deusner, Uncut

The deluxe 10th anniversary edition of case/lang/veirs features the new track "Accidental Tattoo" and twelve never-before-released live recordings alongside the original studio album from supergroup of singer-songwriters Neko Case, kd lang and Laura Veirs. Released in 2016, case/lang/veirs is a true collaboration between three phenomenal, self-driven artists: "the strongest voices in their field - lang the full-voiced seductress, Case the hurricane, and Veirs the wry storyteller" (Pitchfork). The women wrote all 14 songs and shared lead vocals equally, sometimes even within the same track. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. "There"s a generosity of spirit to case/lang/veirs," NPR praised upon the album"s release, "a worthy extension of three tremendous catalogs, in which three great singer-songwriters sound enhanced and invigorated by the challenge of living up to each other"s legacies." They worked over two and a half years in Portland, Oregon, where lang and Veirs both live, sometimes in lang"s loft with a view of Mount St. Helens, others in Veirs" dining room or backyard studio. The album was written from the ground up without any real plan beyond a desire to make music together and a faith that it would reveal itself. They produced the album with Tucker Martine, at his Portland studio in November 2015.

The deluxe 10th anniversary edition of case/lang/veirs features the new track "Accidental Tattoo" and twelve never-before-released live recordings alongside the original studio album from supergroup of singer-songwriters Neko Case, kd lang and Laura Veirs. Released in 2016, case/lang/veirs is a true collaboration between three phenomenal, self-driven artists: "the strongest voices in their field - lang the full-voiced seductress, Case the hurricane, and Veirs the wry storyteller" (Pitchfork). The women wrote all 14 songs and shared lead vocals equally, sometimes even within the same track. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. "There"s a generosity of spirit to case/lang/veirs," NPR praised upon the album"s release, "a worthy extension of three tremendous catalogs, in which three great singer-songwriters sound enhanced and invigorated by the challenge of living up to each other"s legacies." They worked over two and a half years in Portland, Oregon, where lang and Veirs both live, sometimes in lang"s loft with a view of Mount St. Helens, others in Veirs" dining room or backyard studio. The album was written from the ground up without any real plan beyond a desire to make music together and a faith that it would reveal itself. They produced the album with Tucker Martine, at his Portland studio in November 2015.

Recorded in 1997, upon The Shadow Ring’s return from their final US tour, Lighthouse captures the group at their most stripped-down and visionary. Graham Lambkin’s fractured texts conjure Folkestone’s haunted coastline—Vikings, the Morgawr, a fading Britain, the pull of the sea—under the sway of Alternative TV’s Vibing Up the Senile Man (Part One), the mechanical vernaculars of Robert Ashley and Mark Perry, and the deflated humor of Dad’s Army and It Ain’t Half Hot Mum. Originally issued in 1999 on Scott Foust’s Swill Radio, this lost masterpiece—a stark, lo-fi world of home recording and concrète capture—is once again available on vinyl. For fans of Alan Titchmarsh, David Croft, Harry Pussy, and Idea Fire Company.

A beautifully observed baroque masterpiece, part dream pop, part futuristic psych-folk with ambient synths and Josephine Foster’s plaintive guitar. Godmother is a slowly unfolding song cycle that marries a myriad of previous musical escapades with electronic experiments. Exploring new horizons on this record, it sees Foster at her most expressive and hypnotic. Now back home in the mountains of Colorado, Josephine’s 20-year journey to this new nirvana becomes enthralled further with a symphony of synths that sound like they are played in some neighbouring netherworld, through cotton gauze. It’s music that’s devotional, spiritual, a fitting soundtrack for any journey within or without, a means to experience places and vibrations beyond the boundary of time and space. Discussing the record, Josephine explains “You may notice me travelling a bit further sonically from our precious earth, aspiring to rise into broader astral perspective, to contemplate the light and origins of it all, as I do believe there is a grand source that is the sum of it all, us all. Performing all the parts on this recording, you may sense me focussing gestures of my singing into the instrumentation, which is a very great relief indeed, as the voice has such grand dreams to be set free.” “With her haunted, theatrical delivery, Foster cuts an arresting figure.” Pitchfork // “Out of time yet timeless” The Wire

For close to a decade, B’licious has been best known as the voice ofThe Heliocentrics, the London psych jazz and funk collective whose collaborators include Madlib, Mulatu Astatke, DJ Shadow, Gaslamp Killer and Lloyd Miller, with stages taking her to Glastonbury, Roskilde and Worldwide festivals alongside artists including Marshall Allen and Bilal. Her appearance on Strut Records’‘Nuclear War’, a tribute to Sun Ra also featuring Marshall Allen, Knoel Scott and Bilal, is the latest marker of a body of work built over years on some of the most respected stages in UK jazz and soul. Following her 2022 solo EPSurrender, ‘Apple’ is the lead single from her debut full-length album,Serpent Dreams.

‘Apple’ was co-produced byDan Smith of The Noisettesand engineered bySie Medway-Smith, whose credits include Björk, Depeche Mode, Gang of Four and Massive Attack. On the flip side,SLICKnBOBBY— known for chest-rattling basslines and immersive, dubbed-out rhythms — deliver a live reworking that shows off their skills perfectly, drawing on a background that includes performing alongside Wally Badarou and frequent collaborations with Liam Bailey and Greentea Peng.

The most beautiful thing we’ve ever released?

It is virtually impossible to describe with mere words how emotionally powerful this work of art is. Just listen. Listen, listen, listen...

A blissed-out 80-minute epic, Hatchback's Phaser For The Ocean, Chorus For The Moon is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Moving, hypnotic and deeply meditative, it's FFO Mike Brooks, Deuter, Klaus Weiss, Innovative Communication, Harmonia, Cluster, Ashra's New Age of Earth, Stomu Yamashta, Haruka Nakamura, Yoshimura, Hosono, the works.

A record truly deserving of the deluxe Be With treatment, the vinyl was specially cut at Abbey Road Studios whilst the original stunning artwork has been pleasingly expanded. Now, an eye-catching holographic-foil layer moon is set against the original tones, wrapped up in a sumptuous double-gatefold jacket.

Soaked in Californian consciousness and limited to a run of just 500 copies for the world, this release is a treasured balm like no other for these troubled times.

Hatchback is the atmospheric, melodious ambient alias of California-based artist Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs.

"When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like Quadrophenia and The Lamb Lies Down on Broadway, as well as epic pieces that took up an entire side of a record: Pink Floyd’s Echoes, Yes’ Close To The Edge, Klaus Schulze’s Nowhere Now Here, Miles Davis' Shhh/Peaceful and He Loved Him Madly. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ Tales From Topographic Oceans and Tangerine Dream’s Zeit being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album." - Sam Grawe

Phaser For The Ocean Chorus For The Moon is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI. These are songs for the sunrise and the sunset - and every colour in between.

New Japanese Ambient Electronica from Tokyo

Composing primarily with the piano, Kotaro Maruyama creates music for a variety of visual media, including commercials and short films. Influenced by the composer Toru Takemitsu, he places importance on the “silence” and "ambience" of sound, aiming to create works where the music quietly depicts a scene.

Kotaro Maruyama's first solo album, "Vapor Curve," is constructed entirely from the sound source of the OP-Z digital synthesizer. Notably, he avoids the concept of harmony for a single tone, instead pursuing a unique "woven harmony" created by intricately layering multiple independent melodies. Using only the OP-Z, and recording everything in a single take without using a computer, Kotaro Maruyama's "Vapor Curve" is distinguished by its uncompromising production style. The minimalist melodies that are layered to create an ambient soundscape, along with the incidental noise that gives an organic texture to the inorganic electronic sound, showcase the raw appeal of sound that is imperfect."

Originally scheduled for release September 2025, this album faced delays due to a series of errors involving the distributor, pressing plant, and cutting engineer. However, earlier this year, Personal Affair teamed up with a new distributor, Rubadub, who introduced them new pressing plant, allowing them to restart the entire pressing process from scratch. Emerging from Tokyo via Glasgow, this release is now ready to deliver a fresh sound to the world."

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Heights Of Fire” by Capleton is being released as an LP via Diggers Factory and presents a brand-new album produced by Evidence Music. The release once again puts Capleton’s distinctive voice front and centre, while also speaking to collectors who value a high-quality pressing.

Musically, “Heights Of Fire” blends classic reggae foundations with modern production elements; weighty bass foundations, precise drums, and organic arrangements carry the messages. Guest appearances by Damian Marley and Stephen Marley, along with collaborations with Derrick Sound, Little Lion Sound, Eesah, Mista Savona, Mixing Finga, and L’Entourloop, provide sonic variety and international influences. Lyrically, the tracks revolve around spirituality, resistance, and personal reflection, which Capleton delivers with emphatic rhetoric.

Key characteristics of the LP include its distinct production signature and the collaboration with established reggae heavyweights, which give the album both depth and a contemporary freshness. The arrangements move between dense roots passages and airy choruses, making the record resonate with both traditional listeners and a younger audience. The release on Diggers Factory also underscores the clear collector focus of the physical rollout.

In Walter Benjamin’s seminal essay “Art in the Age of Mechanical Reproduction”, he posits that the aura of art objects is destroyed by the ability to photographically reproduce them. When you had to make a pilgrimage to a work it remained elusive, charged, ever distant; but when you can easily see a reproduction, such aura dissipates. What Benjamin did not anticipate is that in the age of AI and the frictionless fount of digital content, we have imbued mechanical and analog means of media production with aura. Film cameras from the last 100 years are in high demand (the point and shoot Olympus Mju I featured in Wim Wenders film Perfect Days still sells for $200), vinyl sales continue to grow year by year, 35mm and 70mm film screenings have become aura-drenched events people travel across country for, and as to the world of vintage and analog synthesizers, when a friend asked for the price on the Yamaha CS-80 synth used on Toto’s “Africa”, the answer was a cool $60,000.

Despite the ability to simulate almost any synthesizer on a computer, the original physical units retain their mystique. Perhaps this lies in the physical process, many of these synths are temperamental and difficult to fully utilize, and the effort and ingenuity can be felt in ways that will always be absent from easy digital simulacra. Perhaps there is an aura in their imperfection, as Brian Eno wrote: “Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided.” Some may call this nostalgia, but such sonic imperfections are the sounds of humans interacting with the physical world, and it is understandable to feel a pang of emotion and attachment in a time of exponential alienation.

Marche 22 was recorded over a week at the Museo Del Synth Marchigiano in Macerata, Italy. The museum is filled with rare and obscure synths (especially CRB, GEM & Elka) as well as salvaged materials from a nearby shuttered Farfisa organ factory, including MARS, an unfinished realtime audio processing application developed by IRIS - similar to the now well known MAX/MSP. Kyle Dixon and Michael Stein play a suite of pieces that encompasses the last sixty years of synthesizer music—there are nods to Cluster, Tangerine Dream, Jean Michel Jarre, and Morton Subotnick. Dixon and Stein are like jazz masters playing the American songbook with their own riffs and quotations. What shines through in these varied works that are sometimes rhythmic, sometimes melancholic, and sometimes both, is a soul, a spirit, an emotion vibrating through the tones like the charge of coming rain or the thrum of a distant train on the tracks. - Neil Fauerso

Leap Life is Saul Williams’ first solo album in over 10 years and marks a major return for one of the most influential voices in spoken word and experimental music. Named after Saul’s leap year birthday, the project has been carefully sequenced by composer and producer Carlos Niño as a fully immersive, front-to-back listening experience.

The album expands Saul’s sound into electronic and ambient territories while remaining rooted in spoken word, with rich sound design built from nature recordings, environmental textures, and expansive instrumentation. It also sees Saul step further into the role of producer, drawing influence from Fela Kuti, Black church traditions, and South African electronic music. The record features a standout cast of collaborators including Kamasi Washington, Georgia Anne Muldrow, Moor Mother, Gonjasufi, and Surya Botofasina, alongside material developed with Robert Del Naja (Massive Attack). Released via Big Dada, the album marks a full-circle moment with the label where Saul originally launched his solo career.

Released in 1991, the Cramps’ “Look Mom No Head!” is a stone-cold classic.
As well as black vinyl, it was also released on red and Ace are delighted to give fans old and new the opportunity to restock their vinyl blood bank with that delicious colour.

Emerging in the early 2020’s - Static Abyss is a monstrous hybrid of twisted, doom-laden brutal death, comprising of longstanding members of the US metal scene. The band consists primarily of the duo of Deathgrave’s Greg Wilkinson (Guitars/bass) & Chris Reifert (vocals), both also members of legendary American masters of sickness, Autopsy, with Chris also notably starting his career with genre pioneers, Death. The band’s debut, ‘Labyrinth Of Veins’ was released in 2022, & their second album ‘Aborted From Reality’ followed in quick succession, surfacing in 2023.

Returning now for Static Abyss’ third studio album, & with the addition of Chad Gailey of fellow death merchants Necrot behind the drumkit for this release, ‘The Dying Hunt’ plummets the listener again into the festering, psychedelic swamps of lunacy, with the spiralling melodies texturing the relentless savage riffs for an effective nightmare inducing trip through the sonic abyss. Continuously & relentlessly flitting between brutal passages & hypnotic otherworldly craziness, ‘The Dying Hunt’ reflects the ailing world & the unravelling of the psyche of its inhabitants in this darkly dystopian landscape, for a masterful descent into sick Death Metal combined with Crust & Doom elements.

‘The Dying Hunt’ was recorded at Earhammer Studios in Oakland, CA, with engineering, mixing & mastering overseen by Greg Wilkinson himself. Cover art comes courtesy of Jon Santos.

This edition of ‘The Dying Hunt’ is presented on limited yellow marble vinyl, including printed inner sleeve with lyrics.

Album #6 der brandneuen Vinyl-Serie mit zukunftsweisenden Aufnahmen der musikalischen Avantgarde.
Luigi Nono (1924–1990) genoss während seiner gesamten Karriere große Anerkennung. Als zentrale Figur
des Nachkriegsserialismus trat der venezianische Komponist in den 1950er Jahren als eines der drei Mitglieder der „avant-garde trinity“ neben Karlheinz Stockhausen und Pierre Boulez in Erscheinung.
„Contrappunto“ wurde 1968 für 2-Kanal-Tonband komponiert, in einer Zeit, in der Nono sich intensiv für
die internationalen Studentenbewegungen sowie gegen den Vietnamkrieg engagierte. Nono stützte das
Werk auf eine Madrigal-Komödie von Adriano Banchieri aus dem frühen 17. Jahrhundert und erklärte,
er habe „versucht, die Art des musikalischen Prozesses widerzuspiegeln, den Banchieri verwendete: die
Konzentration auf die Stimme, die Einbeziehung von Klangmaterial der damaligen Zeit, humoristische und
parodistische Verzerrungen, insbesondere in den lyrischen und dramatischen Elementen … aber in der heutigen Aktualität“.
Roland Kayns „Cybernetics III“ nimmt auf beeindruckende Weise die Fortschritte in den Bereichen Synthese, Computer- und Aufnahmetechnik sowie die Entwicklung von Samplern und Sequenzern vorweg. Die
Art und Weise, wie diese Werkzeuge von den Künstlergenerationen, die in Kayns Fußstapfen traten, aufgegriffen wurden, hat die Rahmenbedingungen der elektronischen Musik grundlegend verändert. In diesem
Sinne hat „Cybernetics III“ tiefgreifende Veränderungen im kreativen Denken vorausgesehen.
Gemastert und geschnitten von den originalen analogen ¼-Zoll-2-Spur-Masterbändern von Rainer Maillard
und Sidney Claire Meyer in den Emil Berliner Studios.
Limitierte und nummerierte Auflage mit Original-Artwork und einem neu gestalteten, wunderschön gearbeiteten Sammler-Cover mit neuen Liner Notes von Bradford Bailey, gepresst auf 180-g-Vinyl.

Swiss hard rock veterans Shakra return with renewed fire and unstoppable energy on *Just Live Loud*, their explosive new studio album and the band’s very first release through Frontiers Music Srl. Fueled by massive riffs, soaring melodies, and the unmistakable chemistry that has defined Shakra for decades, the album captures the spirit of classic European hard rock while pushing the band into a heavier, more modern sonic territory. Produced with a raw yet polished approach, *Just Live Loud* delivers a powerful mix of thunderous anthems, emotionally charged ballads, and adrenaline-fueled rockers designed for both festival stages and late-night highway drives. From razor-sharp guitar work and pounding rhythms to towering vocal hooks, every track reflects the band’s commitment to authenticity, passion, and pure rock’n’roll attitude. Lyrically, the album celebrates resilience, freedom, brotherhood, and the determination to live life at full volume — themes that resonate deeply with the band’s own journey through the international hard rock scene. *Just Live Loud* also marks an exciting new chapter for Shakra, combining the experience and songwriting strength of their legacy years with a fresh creative momentum that feels more vital than ever. With this landmark release, Shakra reaffirm their status as one of Switzerland’s premier hard rock exports and prove that true melodic heavy rock is alive, loud, and ready to conquer a new generation of fans.

Recorded in Waterloo, Iowa and produced by Michael Cutsforth , the album blends iconic blues storytelling with soulful, lived- in delivery, performed with clarity, conviction, and heart. Burt - long celebrated for his ability to captivate audiences with a raw, acoustic roots style and winner of the International Blues Challenge for solo artist - returns to the core of what makes his music resonate so deeply. After releasing three studio albums with full- band arraignments, This Trip marks a conscious shift toward intimacy and honesty. Burt brings the immediacy of his live performances into the studio, stripping back instrumentation to place the listener directly in the room with the storyteller. The result is a warm, immersive listening experience where every lyric lands with intention and every pause carries meaning - an album that invites you to slow down, lean in, and truly listen. Lyrically, This Trip reflects on life in all its chapters, exploring love, loss, hurt, fear, joy, and the moments that define who we become. These are songs shaped by experience and delivered with empathy, offering comfort as much as truth. Listening to Kevin Burt feels less like consuming music and more like sharing space- it's reflective, grounding, and quietly transformative. This Trip isn't just an album you hear; it's one you feel, and one you'll want to return to again and again.

For more than a decade, Mama's Broke, the Canadian duo of Amy Lou Keeler and Lisa Maria, have forged a style carried across landscapes rather than tied to one Their forthcoming 12- song LP Reunion follows years in near- constant motion, bringing their folk- without- borders approach to small clubs, DIY spaces, and everywhere in between. Reunion reflects a world coming apart in plain sight, tracing fractured communities, the erosion of shared ground, and the growing awareness that the systems we were taught to trust no longer hold or deliver the promises they were meant to keep. The songs don't preach or prescribe; they reflect, holding up a mirror and leaving space for something else to take shape.

Emerging in the early 2020’s - Static Abyss is a monstrous hybrid of twisted, doom-laden brutal death, comprising of longstanding members of the US metal scene. The band consists primarily of the duo of Deathgrave’s Greg Wilkinson (Guitars/bass) & Chris Reifert (vocals), both also members of legendary American masters of sickness, Autopsy, with Chris also notably starting his career with genre pioneers, Death. The band’s debut, ‘Labyrinth Of Veins’ was released in 2022, & their second album ‘Aborted From Reality’ followed in quick succession, surfacing in 2023.

Returning now for Static Abyss’ third studio album, & with the addition of Chad Gailey of fellow death merchants Necrot behind the drumkit for this release, ‘The Dying Hunt’ plummets the listener again into the festering, psychedelic swamps of lunacy, with the spiralling melodies texturing the relentless savage riffs for an effective nightmare inducing trip through the sonic abyss. Continuously & relentlessly flitting between brutal passages & hypnotic otherworldly craziness, ‘The Dying Hunt’ reflects the ailing world & the unravelling of the psyche of its inhabitants in this darkly dystopian landscape, for a masterful descent into sick Death Metal combined with Crust & Doom elements.

‘The Dying Hunt’ was recorded at Earhammer Studios in Oakland, CA, with engineering, mixing & mastering overseen by Greg Wilkinson himself. Cover art comes courtesy of Jon Santos.

This edition of ‘The Dying Hunt’ is presented on limited yellow marble vinyl, including printed inner sleeve with lyrics.

Originally released in 2016, 'Your Wilderness' marked a pivotal moment in The Pineapple Thief's evolution, expanding the band's sonic palette & establishing a creative partnership with renowned drummer Gavin Harrison that would help define the group's next chapter. Widely regarded as one of the band's most ambitious & emotionally resonant works, the album remains a landmark release in modern progressive rock. Now, to celebrate its 10th anniversary, Kscope presents a newly remastered edition of 'Your Wilderness' on clear double vinyl, featuring a 2026 remaster by Steve Kitch &, for the first time on vinyl, the companion album '8 Years Later'. Previously only available as part of the sold- out 'Your Wilderness' Earbook, '8 Years Later' collects material written during the same creative period, offering a deeper insight into one of the most fertile eras in The Pineapple Thief's catalogue.

The No Static series continues with NS12001, another essential release from the Reel People Music Group's vinyl-only label. Pressed on striking neon green 12" vinyl and strictly limited to just 300 copies worldwide, this collector's edition revives four timeless instrumentals from Blaze's legendary The Instrumentals Project, originally released on Papa Records in 2004. While the original vinyl has long been deleted and now commands premium prices on the collectors' market, No Static gives these sought-after cuts a welcome return to wax. Featuring Sapporo, Celestine Prophecy, Microboards and Astrology, this release celebrates Blaze's unmistakable blend of soulful, deep and hypnotic grooves. A must-have for DJs, house music collectors and lovers of classic underground dance music.

Anjunadeep Explorations delivers a third vinyl sampler, marking the label’s 100th release and two years since its launch. Anjunadeep, the imprint’s parent label, has become “one of dance music’s ultimate tastemaker labels” (Billboard), best known for breaking global artists like Ben Böhmer, Lane 8, Tinlicker and Dusky. The ‘Explorations’ imprint is an evolution of the much-loved Various Artist EP series of the same name, which spanned 25 editions between 2016-2023 on Anjunadeep. Responsible for bringing through now-mainstay acts to the label such as Ben Böhmer, CRi, Luttrell, Rezident and Simon Doty, the series also featured underground talents like Theo Kottis, Sam Goku and Gacha Bakradze. Between the label’s launch in July 2024 and the release of this sampler, the label has introduced just under 50 acts to the Anjunadeep label group, comprising just shy of half of the label’s output so far, and with a release schedule booked until 2027 shows no signs of slowing down.

The latest vinyl sampler features six exciting tracks showcasing fresh talent like British duo josh & sam who are twins and Argentina’s Rossie, alongside established names including the widely-respected lo-fi producer dj poolboi. In keeping with the imprint’s ethos, the product also sees three further label debuts from AFFKT, foglight and Giom respectively hailing from Spain, Lebanon and France

With features from an all-star cast including Dizzee Rascal, Method Man, Roots Manuva, Rodney P, Jehst, P Money, Chester P, Rude Kid and with production from Basquiat, Leaf Dog, Mystry, Illinformed, Kidkanevil, Forest DLG, Pete Cannon, Muckanicks, Pitch 92 & more, we are delighted to reveal the latest incarnation of ‘WIZVILLE’ in a Limited Edition 2x12” Smoky Marble Vinyl Repress w/ Gold Embossed Cover in Super Limited Numbers.

Die Deluxe-Vinyl-Edition des letzten Albums von TBF. Enthält die zwei LPs (Horrorful Heights) plus eine weitere LP (Horrorful Offal) in einem schönen Schuber mit Stanzung sowie eine Download-Karte. Diese besondere Deluxe-Ausgabe vereint "Horrorful Heights" mit dem begleitenden Bonus-Album "Horrorful Offal" (11-Song-Extra-Album mit Outtakes und Sessiontracks). Horrorful Heights markiert ein beeindruckendes neues Kapitel im umfangreichen Werk von The Bevis Frond und zeigt die anhaltende Kreativität des Songwriters, Gitarristen und Frontmanns Nick Saloman, der nun in ein weiteres Jahrzehnt als Musiker startet. Seit langem als eine der markantesten Stimmen des britischen Underground-Rock etabliert, verfeinert Saloman weiterhin die Qualitäten der Band aus melodischer Psychedelia, drahtigen Gitarrenepen und Songwriter-Kunst. Einer der zugänglichsten Einstiege in die Bevis Frond Welt, welcher alle Stärken zu einem zusammenhängenden, lebendigen Ganzen vereint. Das Album bewegt sich fließend zwischen klirrendem Psych-Pop, schweren Gitarrenriffs und pastoralen Träumereien. Die Bandbreite des Albums ist groß, aber klar definiert. "Draining The Bad Blood" erinnert an den klassischen Bevis-Frond-Stil melodisch inspirierten Gitarrenpops der 60er Jahre, "Space Age Eyes", eine prägnante neunminütige Odyssee, verweist auf die transzendentalen Erkundungen des elektrischen Miles Davis der 70er Jahre. Der mit Sitar untermalte Titeltrack driftet durch rauchige Psychedelia mit mehrstimmigem Gesang und geschichteten Tablas - ein liebevolles Echo der Headshop-Mystik, mit der Saloman während der gesamten Bandgeschichte gespielt hat. An anderer Stelle verbindet "Mossback's Dream" lysergische Leads mit der treibenden Energie des amerikanischen Hardcore der 80er Jahre und schafft so einen Hybrid, der sowohl zeitlos als auch völlig eigenständig wirkt. Weitere Höhepunkte sind das von den Byrds beeinflusste "Buffaloed", das wirbelnde "Silver Insects" und "That's Your Lot", ein rasantes Feuerwerk melancholischer Euphorie und einer der unmittelbarsten Songs des Albums. Obwohl eklektisch anmutend, ist es ein fokussiertes Porträt von The Bevis Frond im Jahr 2025 - vital, melodisch und frei von Nostalgie. Saloman beschreibt die Sammlung ganz einfach: die besten Songs, die er in den letzten Jahren geschrieben hat, entstanden ohne Zwang und ganz instinktiv. Das Ergebnis ist ein Höhepunkt aus der Spätphase einer der stillsten einflussreichen Underground-Bands Großbritanniens.

En Direct presents “No More Spectacles”, the fourth release from one of the finest electro EBM projects worldwide. With this new work, En Direct leans further into a sharper and more emotionally charged EBM sound while making clear they do not renounce their roots as the driving force behind the influential electro imprint Clear Memory. The record is infused with strong post- punk overtones, somewhere between the cold intensity of classic body music and the melancholic tension of post-punk reimagined through EBM structures. No More Spectacles delivers a sound that feels both immediate and deeply atmospheric. Drill-like kicks hammer through the mix while distorted basslines split the tracks wide open, locking into martial and commanding vocal lines that push the energy forward with relentless precision. Mechanical yet deeply human, the record balances darkness, groove, and emotional weight with remarkable control. Built for strobe-lit floors and restless bodies, “No More Spectacles” confirms En Direct as masters of a sound where post- punk sensibility and EBM functionality collide at full force. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

2026 Repress

Berlin’s Phil Berg, one of techno’s most distinctive rising names, debuts on Mutual Rytm with his ‘Dārin’ EP. First invited as the debut guest DJ for Mutual Rytm’s inaugural label night back in 2022, Berlin’s Phil Berg has maintained a close relationship with the imprint ever since. Known for his shadowy, immersive sound, Berg has carved out a singular position within the scene - equally respected for his high-impact DJ sets, his improvisational live performances, and a production style defined by clarity, tension, and a deeply recognisable sonic identity. While his live shows remain a vital part of his artistic DNA, often shaping the raw ideas that later evolve in the studio, his work extends far beyond the club floor, marking him out as a fully formed and increasingly essential voice in contemporary techno. That connection between stage and studio is fully realised on ‘Dārin’, where Berg delivers a darker, more driving statement for his Mutual Rytm debut, with the title track already becoming a standout in the sets of label founder SHDW. The title cut opens the EP with great urgency, as flaming drums and machine-gun synths are fired across the night sky, with sensuous whispers and sonar pulses adding the pull of the groove. Next, ‘Tempest’ brings big, banging hits, nailing down the kicks while rising tension appears through the backlit synths and distant bass rumbles. ‘Tanoo’ releases the pressure with a more luminous synth line that locks you in a trance as linear drums race on, while ‘Mephisto’ keeps you on edge with twitchy motifs and a burrowing bassline that drills down deep into a moody underworld. The EP closes with ‘Destiny Bond’, which rises with undulating, tactile lines, sleek synth smears, and a cosmic sense of travel. As digital bonus cuts, ‘Seiko’ and ‘Nyx’ bring anxiety and foreboding to the fore with two more muscular and physical deep techno hitters crafted for maximum impact.

Geometrik Records is delighted to once again play a part in the exclusive recovery of Marcelo Expósito's previously unpublished work, which had been lost since its original creation in the 1980s. Marcelo Expósito is one of Spain's most internationally renowned contemporary artists, whose work is regularly exhibited across Europe and Latin America. He began his career at a very young age during the era of sound experimentation that flourished in the wake of so-called industrial culture, which found particularly fertile ground in Spain. As co-editor of legendary publications such as the fanzine Experiencias (1983) and, above all, the cassette-fanzine publisher Necronomicón (1983-1987), which operated on an international scale, Marcelo Expósito has, in recent years, been reconstructing those of his sound experiments that had been lost for decades. The album we are now presenting brings together material previously released on cassettes as EGK023 in a very limited edition. These tracks have now been remastered and expanded to complete this record, which noise musician Mattin has described as "secret recordings that constitute a gem from the rich Spanish underground of the 1980s". In the words of Luis Alvarado, editor of the Peruvian label Buh Records, this album allows us to appreciate how "Expósito developed a style of his own that understood sound as a malleable material open to chance. The recordings gathered on The Lost Tapes reveal an artist who moves as much through territories of unsettling textures and atmospheres as through zones of abstraction and radical noise". Influenced by the early work of figures such as Maurizio Bianchi, Nurse With Wound, and La Otra Cara de un Jardín, the release of this album provides a key piece in reconstructing the genealogical puzzle of Spanish experimental music. This carefully curated edition-in Spanish and English-includes a lengthy essay by Marcelo Expósito on the creative processes behind his work and the historical context of the industrial culture of the 1970s and 1980s, as well as extensive liner notes contributed by Vittore Baroni, editor of the legendary Italian label Trax; Francisco Felipe, co-founder of the Ars Sonora programme on Radio Clásica (Radio Nacional de España) and one of the most active names on the Spanish experimental scene of the 1980s; Mattin and Susana López (Susan Drone), key figures in the sound experimentation of the generation that emerged in the 2000s; as well as the aforementioned Luis Alvarado.

¡Hola amigos! ¡Dieciséis guarniciones de chile picante, peyote loco y tequila helado! ¡Hermoso!
If there's one thing I'm good at it's finding records. It doesn't matter where in the world I am, I find records, the best records, the rarest records. And always in Mint condition. I have a knack for it. One place I like to hunt for records is South of the Border, in Mexico. You can find great records there, way out in those pequeños pueblos del desierto. Another great thing you can find is cactus.
Mexico is famous for cactus. You got your Ariocarpus, your Turbinicarpus, your Mammillaria. You got cactus of all kinds, big and small. Little ones like Eplithelantha, psychedelic ones like the peyote Lophophora, and rare ones like Aztekium. But my favourite is Mammillaria humboldtii. Now this one is very hard to find. The villagers over in Hidalgo know where it is, and they go high up in the mountains to look for it.

Now these guys, they take their time. But when they come down from those mountains, they bring back the most beautiful specimens. I really mean it, they're beautiful. They're like clumps of fluffy white golf balls, and they have these cute little pink flowers. Beautiful I tell ya. I pay precio alto for a good specimen of Mammillaria humboldtii.

Elevator Music is the collaborative album from Newport’s own Lord Sko and acclaimed producer Statik Selektah — a smooth, soul-heavy project rooted in classic East Coast hip-hop tradition. With Statik’s signature dusty drums and soulful sample chops setting the tone, Sko delivers sharp storytelling, effortless flows, and downtown NYC swagger across ten standout tracks.

The album features appearances from Dave East, B-Real, Smoke DZA, Ab-Soul, and more, adding extra depth to an already cohesive listen. From introspective cuts like “Better Days” to smoky late-night anthems like “Northern Lights,” Elevator Music captures the feeling of timeless New York rap with a fresh new perspective.

Ursprünglich in kleinen, ausverkauften Auflagen selbst veröffentlicht, fangen La vida de alguien más (2021) und Obrigaggi (2023) Diles Que No Me Maten auf dem Höhepunkt ihrer unermüdlichen Kreativität ein - sie bewegen sich fließend zwischen krautrockigen Grooves, Free-Jazz-Chaos und spektralen, traumartigen Meditationen. La vida ist ein berauschender 34-minütiger Ausbruch von Post-Punk-Dringlichkeit und improvisierten Wendungen, während Obrigaggi, aufgenommen in einem Haus am Flussufer in Veracruz, mit intimer, jenseitiger Anmut dahinschwebt. Nun werden diese Alben zum ersten Mal gemeinsam neu aufgelegt und über Moonlight Activities vertrieben. Diese Alben markieren die Entwicklung der Band von Underground-Lieblingen in Mexiko-Stadt zu einer der experimentierfreudigsten Rockbands auf der internationalen Bühne.

Ursprünglich in kleinen, ausverkauften Auflagen selbst veröffentlicht, fangen La vida de alguien más (2021) und Obrigaggi (2023) Diles Que No Me Maten auf dem Höhepunkt ihrer unermüdlichen Kreativität ein - sie bewegen sich fließend zwischen krautrockigen Grooves, Free-Jazz-Chaos und spektralen, traumartigen Meditationen. La vida ist ein berauschender 34-minütiger Ausbruch von Post-Punk-Dringlichkeit und improvisierten Wendungen, während Obrigaggi, aufgenommen in einem Haus am Flussufer in Veracruz, mit intimer, jenseitiger Anmut dahinschwebt. Nun werden diese Alben zum ersten Mal gemeinsam neu aufgelegt und über Moonlight Activities vertrieben. Diese Alben markieren die Entwicklung der Band von Underground-Lieblingen in Mexiko-Stadt zu einer der experimentierfreudigsten Rockbands auf der internationalen Bühne.

For nearly three decades, MARTYRIUM have carried the banner of blackened thrash metal through the Dutch underground. Unconcerned with trends and passing fashions, the band have remained committed to a sound built on aggression, speed and atmosphere. "Malevolent" continues that path with confidence. Rooted firmly in black/thrash metal and sharpened by occasional death metal influences, the album delivers eleven tracks where controlled chaos meets total destruction. Every song serves the greater whole, resulting in a cohesive album that remains furious from beginning to end. There are no compromises and no detours on Malevolent - just a band doing exactly what it has believed in since 1996.

Completes the vinyl collection of Los Mockers, alongside the reissue of their original 1966 LP, this two handful of tracks, previously unreleased or out of print, traces the journey of five teenagers who, clinging to rock & roll, became legends. Blending the raw energy of 1960s rock & roll with rhythm & blues roots and later-day musical maturity, Los Mockers left a lasting mark on the Río de la Plata scene f rom their explosive beginnings to their 21st-century comeback. REWIND brings together rare recordings spanning nearly sixty years: from mid-1960s demos and singles to reunion sessions recorded between 2006 and 2012, i ncluding deleted material and an unreleased live track. Side A captures the band's early fire, opening with a 1965 demo of "I Just Want to Make Love to You," recorded under their original name, Los Encadenados, at Radio Ariel in Montevideo. It also includes their first original singles, "I Wanna Go" and "My Baby," plus the unreleased "Girl You Won't Succeed" and a fast, distinctly Uruguayan take on "Paint It Black." Side B focuses on the reunion era recordings made in Valencia, Spain, where the band revisited their legacy with renewed strength and craftsmanship. Tracks like " Need Some Time," "40 Years Ago," and "The Chain" show a seasoned group still driven by authentic rock & roll spirit, while "25 Watts" pays tribute to filmmaker Juan Pablo Rebella. The album closes with a powerful 2012 live version of "Tell Me Something New."

Their follow up to the acclaimed ‘Anda Jaleo’. A document of Josephine Foster's magical partnership with Victor Herrero breathing new life into timeless traditional melodies, drawing from the Spanish-folk traditions of Castile, the Basque, Santander and the Costa Brava. ‘Perlas’ is debonair, contemporary and redolent of that old seductive charge.” The Wire. Elemental themes of love bind the collection together, with a melancholy joy that casts a shadow of desire and loss. “The alt-folk fixture returns to more traditional material.” Pitchfork.

The second chapter of The Third Room's curator-led series is shaped by D.Dan, one of the defining voices of a new generation pushing techno into sharper, more forward-leaning territory. Through his productions, DJ sets and close ties to an emerging network of artists, he has helped shape a sound defined by precision, intensity and subtle experimentation. For his curation, the focus lies on collaboration and alignment. Rather than presenting a wide spectrum, the release draws a tight circle around a shared sound: one defined by contrast and a strong sense of aesthetic cohesion. D.Dan's Bound sets the tone: reduced, warm and controlled, balancing sharp accents with a steady, grounding low-end. On Dynamic, Rene Wise delivers a record's standout moment: a fluid, rolling tool shaped by subtle disruptions and evolving tension. Slither by Connor Wall expands into a more trippy, forward-facing space, while Gensou by Sunju Hargun & DJ MARIA. closes on a fresh, detailed take on acid - understated but effective. Across all four tracks, the release feels tightly unified - less like a compilation, more like a single body of work shaped from a shared sonic language. Contrast plays a central role: between tension and warmth, control and surprise, functionality and detail. Cohesive and focused, the record feels carved from a single aesthetic, where contrast and small, unexpected shifts drive its momentum. Copyright 2026 The Third Room A1 Written and Produced by Theodore Su-Ahn Shin | A2 Written and Produced by Andrew Shobeiri | B1 Written and Produced by Connor Wall | B2 Written and Produced by Sunju Hargun & DJ MARIA. Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Thieves is a document of Kelly Doyle’s 30 years as a musician steeped in country, jazz and ‘50s exotica. Marked by freedom and restraint, he showcases his ability to unreel, flex, tease, cajole, inundate, and revel within the bounds of a single work. Composed for saxophone and guitar, Thieves offers an interplay of timbres that brings delicacy to complex melodies—tethered by unflinching bass and drums.

following the success of his previous release matter, swedish newcomer martinou returns with his second single on mule musiq.

expanding on the sound of his last record, martinou delivers a more refined and expansive take on dreamy deep house.

the lead track, a1 “through you,” is a driving, balearic-tinged piece of dreamy deep house, highlighted by the synth work that can truly be called one of his signature strengths.

a2 “unfold” and b2 “continuum” are melodic breakbeat cuts that update the spirit of 90s ambient techno for the present day.

on b1 “multitudes,” martinou moves into after-hours house territory, deeper and more introspective, yet still carrying a strong sense of openness.

a dreamlike four-track release that marks the full bloom of martinou’s talent.

don’t miss it!

Originally released on the Escape From South Warren LP via Motech Records in 2015, “We Get Down” was born from a hypnotic Turkish loop sample twisted into a raw modern dance weapon — driven by Gary Martin’s preacher-style spoken vocals and underground Detroit energy.

The story behind the youANDme remix runs even deeper. He first delivered a version back in 2015, but it never made it to the two 12” releases. The track refused to die. He later released it as “Swell,” and stripping away the original GM elements and releasing it with a massive remix from Kenny Larkin that went on to make serious waves. This latest version includes originals samples.

After asking Franki to release it on Teknotika, he came back wanting to make a much better version than 10 years ago. And he definitely delivered! This version includes much more elements of the original version with the fire fire of his sound.

Now “We Get Down” returns with the strongest remixes the track has ever seen — alongside the original cut that started it all. Detroit pressure, rebuilt for a new era.

Exxûl emerges as a massive, brooding monument to the tradition of high-stakes Epic Doom. Founded by Phil Tougas (Zeicrydeus, Chthe’ilist, Atramentus), the project serves as a vital expansion of his established conceptual multiverse, carrying forward the intricate lore of his previous works into a new realm of tragedy and weight. However, Exxûl is a formidable collective in its own right, featuring a lineup of elite musicians from across the extreme metal spectrum. Their debut album, 'Sealed Into None', eschews the frantic pace of the modern world for a deliberate, regal march toward oblivion. Their debut album is a regal march, drawing inspiration from the technical majesty of early Fates Warning, the thundering conviction of Manowar, and the frost-bitten heroics of Scald and Solitude Aeturnus. It is an uncompromising work of architectural doom, serving as the definitive companion to the Zeicrydeus mythos and a new pillar in a vast, dark narrative.

For fans of: Solitude Aeturnus, Fates Warning (Early), Scald, Manowar, and Zeicrydeus.

White Scar returns with its fourth instalment, drawing together four producers from across South America and Eastern Europe for a peak-time statement built for the club.

Uruguayan artist Alejo opens the A-side with Pain or Pleasure, a driving cut that sets the tone early — tense, purposeful, and locked in. Romanian talent Mar.c follows with Tears Aside, carrying emotional weight without losing momentum on the floor.

Flipping to the B-side, we return to Uruguay with Muten delivers Osiris — a club banger with the kind of mythic, expansive feel its name suggests. Paraguay's R.E.S.S closes out the record with Necromancy, a suitably melodic and hypnotic finale that leaves a lasting impression.

Four producers, one cohesive vision. The Squeeze EP is peak-time techno at its most focused.

Ike Quebec’s Bossa Nova Soul Samba put the saxophonist’s unique spin on the bossa nova craze sweeping the jazz world in 1962. Ike’s sensual tone imbues the breezy Brazilian vibe with a soulful dose of the blues to create a masterpiece featuring Kenny Burrell, Wendell Marshall, Willie Bobo, and Garvin Masseaux.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on gatefold jacket.

Primarily drawn from a dynamic 1963 quintet session, Vertigo features Jackie McLeanacross a dizzying array of styles from hard bop and slow blues to sophisticated funk and bristling post-bop. Joining the alto saxophonist are Donald Byrd, Herbie Hancock, Butch Warren, and Tony Williams.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on gatefold jacket.

Rowena Wise is a Naarm/Melbourne-based singer-songwriter whose work balances beauty and mess with rare emotional precision. Hailed as a “lyrical assassin” by the Australian triple j community, Wise writes songs that feel like intimate conversations — ruminations on love, alienation, longing, and selfhood delivered with quiet courage and disarming honesty. Drawing from the storytelling lineage of ’60s folk while grounded in indie rock, garage pop, and alt-folk, she finds truth in fiction and humanity in contradiction.

Raised in the surf town of Margaret River, Western Australia, Wise was immersed in music from the outset. Her father, a luthier, built her guitars by hand, and her mother — a Chicago-born folk musician — instilled a deep reverence for songcraft and storytelling. After touring as part of a family band in her youth, she moved to Melbourne at 18 to forge her own artistic path.

Rowena Wise is a Naarm/Melbourne-based singer-songwriter whose work balances beauty and mess with rare emotional precision. Hailed as a “lyrical assassin” by the Australian triple j community, Wise writes songs that feel like intimate conversations — ruminations on love, alienation, longing, and selfhood delivered with quiet courage and disarming honesty. Drawing from the storytelling lineage of ’60s folk while grounded in indie rock, garage pop, and alt-folk, she finds truth in fiction and humanity in contradiction.

Raised in the surf town of Margaret River, Western Australia, Wise was immersed in music from the outset. Her father, a luthier, built her guitars by hand, and her mother — a Chicago-born folk musician — instilled a deep reverence for songcraft and storytelling. After touring as part of a family band in her youth, she moved to Melbourne at 18 to forge her own artistic path.

Nothing have always been rule-breakers. Shoegaze renegades who've rebuilt the stereotypically lightweight genre in their own bloodyknuckled American image. Outlaw poets spilling existential dread on mile-wide canvasses of fuzz and reverb. Beginning as a Philly-born bedroom solo project in 2010, Nothing's music has always captured the full scale of the human condition, both the blaring anger and the whispering sadness. a short history of decay, Nothing's fifth solo album and first for Run For Cover Records, widens that aperture even further, providing the most hi-def rendering of Nothing to date. The band have never sounded this colossal, never felt this intimate, never been this honest. With the strongest arsenal in Nothing's ever-shifting lineup locked in -- guitarist Doyle Martin (Cloakroom), bassist Bobb Bruno (Best Coast), drummer Zachary Jones (MSC, Manslaughter 777), and third guitarist Cam Smith (Ladder To God, also of Cloakroom) -- singer-songwriter Domenic "Nicky" Palermo knew he had the manpower to make the band's most ambitious record yet. Co-written and produced with Whirr guitarist Nicholas Bassett, and with additional production and mixing work from Sonny Diperri (DIIV, Julie), a short history of decay, is the most evolved musical statement in Nothing's catalog. Songs like "Cannibal World" and "Toothless Coal" are cataclysmic lashings of mechanized industrial-gaze that sound like My Bloody Valentine -- except more extreme. On the other end of the spectrum, the ornately morose "Purple Strings" boasts a beautiful string arrangement that includes harpist -- and two-time Nothing contributor -- Mary Lattimore. That baroque delicacy permeates other a short history of decay, highlights, particularly "The Rain Don't Care," a lilting ballad that channels the worn-down elegance of Mojave 3, and also "Nerve Scales," a pattering bop that resembles Radiohead in its marriage of otherworldly atmosphere and mortal precision. Palermo calls the new record "a final chapter." Not the end of Nothing, but the conclusion of a story that began with Nothing's 2014 debut, Guilty of Everything -- another album about time, regret, and confronting uncomfortable truths -- and now resolves with a short history of decay,. As much a snapshot of Palermo's past as it is a leap into Nothing's future.

Jetzt mit Fettfleck Records (Loikaemie) unterwegz! SOKO LINX melden sich zurück! Mit einem Knall? Mit einem Konzept für Weltfrieden? Nicht ganz, aber immerhin mit Album #3! Dieses entstand in einer Zeit der masziven Veränderung und des Umbruchs. 2024 verstarb völlig unerwartet ein enger Freund und wichtiger Wegbegleiter der Band. Drummer und Gründungsmitglied NiXS KOOL verliesz nach einer Zeit der Ungewiszheit die Band. Die Aufnahmen fanden nicht wie zuvor innerhalb von zwei Wochen in Leipzig statt, sondern in unterschiedlichen Sessions in zwei Berliner Studios auf zwei Jahre verteilt. ACEY AVALON unterstützte bei den Gitarren- und Schlagzeugaufnahmen. Er spielte aus Ermangelung eines Schlagzeugers auch die Drums ein. Aus diesen Gründen bedeutet PUNK FÜR LEUTE, DIE PUNK HASZEN sowohl Abschlusz als auch Neuanfang. Abschlusz, auch weil dieses Album eine Trilogie vervollständigen wird. Neuanfang, auch weil mit dem nun gefundenen neuen Drummer ONLi KOXS frische Einflüsze und Impulse SOKO LiNX bereichern werden. Mit Features von THE DEAD END KIDS & WIZO! Nach den schon reichlich gefeierten Singelz "Jetzt bitte keine Neiddebatte!", "Kleiner Demokrat, was nun?" und "Gewaltenteilung" kommt vorab noch "Zeitmanagement" mit WIZO als Gast dabei. Und kurz danach kann mensch alle 15 neuen SOKO LINX-Trackz komplett haszen! Oder lieben! Schwarzes Vinyl im Gatefold-Sleeve mit 8seitigem 12"-Booklet und bedruckter Innenhülle oder farbiges Vinyl (Marbled Lilac-Violet-White) genauso plus als Deluxe Edition mit Patch, SOKO LINX-Poster & welterstes Analog-Meme inklusive persönlichen Grusz!

Jetzt mit Fettfleck Records (Loikaemie) unterwegz! SOKO LINX melden sich zurück! Mit einem Knall? Mit einem Konzept für Weltfrieden? Nicht ganz, aber immerhin mit Album #3! Dieses entstand in einer Zeit der masziven Veränderung und des Umbruchs. 2024 verstarb völlig unerwartet ein enger Freund und wichtiger Wegbegleiter der Band. Drummer und Gründungsmitglied NiXS KOOL verliesz nach einer Zeit der Ungewiszheit die Band. Die Aufnahmen fanden nicht wie zuvor innerhalb von zwei Wochen in Leipzig statt, sondern in unterschiedlichen Sessions in zwei Berliner Studios auf zwei Jahre verteilt. ACEY AVALON unterstützte bei den Gitarren- und Schlagzeugaufnahmen. Er spielte aus Ermangelung eines Schlagzeugers auch die Drums ein. Aus diesen Gründen bedeutet PUNK FÜR LEUTE, DIE PUNK HASZEN sowohl Abschlusz als auch Neuanfang. Abschlusz, auch weil dieses Album eine Trilogie vervollständigen wird. Neuanfang, auch weil mit dem nun gefundenen neuen Drummer ONLi KOXS frische Einflüsze und Impulse SOKO LiNX bereichern werden. Mit Features von THE DEAD END KIDS & WIZO! Nach den schon reichlich gefeierten Singelz "Jetzt bitte keine Neiddebatte!", "Kleiner Demokrat, was nun?" und "Gewaltenteilung" kommt vorab noch "Zeitmanagement" mit WIZO als Gast dabei. Und kurz danach kann mensch alle 15 neuen SOKO LINX-Trackz komplett haszen! Oder lieben! Schwarzes Vinyl im Gatefold-Sleeve mit 8seitigem 12"-Booklet und bedruckter Innenhülle oder farbiges Vinyl (Marbled Lilac-Violet-White) genauso plus als Deluxe Edition mit Patch, SOKO LINX-Poster & welterstes Analog-Meme inklusive persönlichen Grusz!

Within the broad church of metal and its many offshoots – rock, doom, stoner and all the rest – it remains a minor thrill to stumble across a group who seem to exist at a slight tangent to everything else. Crumbling Ghost is one such anomaly. Crumbling Ghost are not newcomers. They've been operating for some time, releasing records sporadically, Four' is in fact their fourth release. Along the way they've accumulated a fervent coterie of followers, not to mention the occasional nod of approval from tastemakers such as Stuart Maconie, Stewart Lee and Tom Ravenscroft. And though they've appeared at Roadburn, shared stages with Hawkwind and even Damo Suzuki, they remain (possibly by design) curiously under the radar.
The group's core idea is deceptively simple: traditional folk material refracted through the haze and heft of heavy, fuzzy stoner rock with a chunk of psyche and a smattering of doom. But crucially, this is done without the costumery and theatrical tics that often accompany such collisions. No mock pagan pageantry, no graveyard cosplay, no cartoon Satanism.
What Crumbling Ghost latch onto is not folk as a museum piece, but as a lived experience, the dramas rooted in the culture, stories, and daily lives of ordinary people, the folklore, the tales of love and death, murder and adultery, freedom and oppression. Singer Katie Harnett says. "Doting mothers, possessive, violent partners, vulnerable women, seasonal workers and Royal scandals this album is our representation of the trials and tribulations of human existence and universal experiences that still feel relevant today.

Guitarist John adds. "Themes of murder, betrayal, loss, jealousy, and love are found across the record. In particular, the songs of Martin Carthy have been a particular source of inspiration".
The result is a set of murder ballads, supernatural reckonings and cautionary tales, all wrapped in slabs of heavy, thumping fuzz and atmospheric sonics. Harnett's voice sits at the centre: unmistakably folk rooted, but shorn of prettification, melodic yet capable of real bite.

The album opener 'Bows Of London' is a murder ballad of sisterly hatred and grim sibling rivalry, centred on a haunted fiddle fashioned from a dead sister's bones. The loping relentless, hypnotic backing chillingly and perfectly accompanies the narrative. Of course, the story doesn't end well. 'Bill Norrie' follows, a hooky melody propelled by an insistent bassline and a haunting psych tinged haze punctured with sheets of noise.. The story of young Bill Norrie who sends a token to a married woman, whose jealous husband beheads him, without knowing he was his wife's son from an earlier affair. An instrumental palate cleanser arrives in the shape of 'Valtz Efter Tor Lohne' a Norwegian traditional the band jokingly describe as a "banger".
Then we have 'Lovely Joan' which offers a rare note of sly triumph: a quick witted woman outmanoeuvres a predatory nobleman, escaping with his ring and his horse. Muscular riffs give this tale of empowerment a welcome sense of teeth. 'Gower Wassail' is a traditional Welsh folk tune that captures the raucous spirit of communal ritual, noise making and drink fuelled hope for a good harvest. Captured perfectly here by CG complete with wah wah guitar and a drunken groove catching the song's celebratory chaos. Then we have a little gem in 'Last Of All Sleep' , an original band composition and a genuine highlight: a heavy lidded, shoegaze tinged folk reverie, equal parts distortion and delicacy. It's a drop-dead gorgeous shoegaze-tastic psychedelic grunge mini epic. The album closer 'The Unquiet Grave' is a very apt place to finish. It's about a young man whose constant grief at the death of his true love disturbs her eternal sleep so she cannot rest. Even though the playout on this track, complete with a demonic repeated riff and feedback feels suitably bleak, even this song allows a glimmer of release ... we think.
And there we have it, 7 songs, 7 worlds, all honed to perfection by producer Wayne Adams (Green Lung/Big Lad) that will reward every repeated listen.

Folk and metal/heavy rock do have a connection of course, just look at Green Lung and their 'folk horror' infused musical universe, but Crumbling Ghost are a very different beast.
'Four' amply and beautifully demonstrates that when it comes to 'folk horror' there's nothing quite as horrible as folk ... Here, the horror such as it is, and it must be said, the moments of light, comes not from theatrics, but from the songs themselves – which, after all, is where it's always lived.
Crumbling Ghost are John Mosley – Guitar / Donny Hopkins – Guitar / Ruth O’Loughlin – Bass / Katie Harnett – Vocals / Matthew Atkins- Drums.

Fij makes a vibrant return with his new single "Don't Bring Me Sunshine," a bittersweet, high-speed ode to independence and renewal. Described by Fij as an "anti-love song," "Don't Bring Me Sunshine" flips the script on romance. Its sardonic, bah-humbug lyrics are set against a rush of euphoric energy - inspired by the simple thrill of driving fast with the windows down, music blaring, and summer stretching endlessly ahead. As Fij puts it: "Who needs love when you've got a full tank of petrol... and the whole of Summer lying ahead on the heat-hazed open road?" The track is the latest preview of his long- awaited debut solo album, due this September via Tip Top Records. It signals a clear shift in tone and tempo. After years marked by introspection - shaped by personal upheaval, frontline work during the pandemic, and his role as a funeral celebrant - Fij has hit reset.

Re- embracing the electric guitar, raising the BPMs, and rediscovering joy, his new material blends the fuzzed edges of dream-pop with elements of pop and electronica, all delivered with his signature wit and melodic finesse. Fij first emerged in the early 90s with Adorable, whose debut album Against Perfection (Creation Records) became a cult favourite, earning multiple NME accolades and topping the Indie charts. The band's legacy continues to resonate, with artists citing their influence and figures like Noel Gallagher famously calling their label's decision to drop them a major mistake. Following Adorable, Fij explored new sonic territory with Polak and later collaborated with Terry Bickers of The House of Love, producing critically acclaimed releases that reaffirmed his reputation as one of Britain's most distinctive voices. His baritone - often compared to Lee Hazlewood, Lou Reed, and Richard Hawley - remains as rich and compelling as ever, now carrying a renewed urgency.

A heartfelt band from Small Town, Texas, with a penchant for pop melodies and medieval harmonies, Tele Novella write songs the old-fashioned way and perform them in a minimal style filled with delicate arrangements. Influences include Connie Converse, Lee Hazlewood, Pentangle, Marty Robbins, The Magnetic Fields, and PRAM. Merlyn Belle is a homespun creative bricolage that pulls from influences as diverse as cowboy troubadours and folk baroque to tell stories that are at once cinematic and deeply personal. Painstakingly assembled using a blend of hi-fi and lo-fi recording gear, Tele Novella have crafted a cohesive pop record that feels equal parts mysterious, evocative, heartfelt, and sincere.

The legends of the golden era of Italian soundtracks and library music go by many names, but the backbone of that era’s definitive sonic identity is most often identified as I Marc 4 (also known as Marc 4 or I Marc Quattro). While the moniker might be less familiar to the uninitiated, it is a simple acronym derived from its founding members: Maurizio Majorana (bass), Antonello Vannucchi (organ), Roberto Podio (drums and percussion), and Carlo Pes (guitar). The number "4" serves to highlight the core synergy of these four master musicians. Their journey began in Rome’s vibrant jazz scene of the 1950s and early 1960s, where they honed their craft as members of the RAI national orchestra and collaborated with the most prominent jazz and pop icons of the day. However, it was their pivotal role in defining the Italian cinematic sound of the 1960s and 1970s that secured their legacy. Their unmistakable style was an eclectic fusion of beat, jazz, classical, and Latin influences—textured with early synthesizers, experimental sound effects, and a blend of electronic and baroque instrumentation. Consequently, their initials are etched into the credits of countless landmark recordings by legendary composers such as Nino Rota, Armando Trovajoli, Gianni Ferrio, Alessandro Alessandroni, Piero Umiliani, and Ennio Morricone.

Beyond their work as session luminaries, they produced a vast body of library music under their own name at the legendary Telecinesound Studios in Rome. These recordings were released through prestigious library labels like Sermi, Ricordi, and Fonit Cetra, as well as through their own imprints: Nelson Records, Silver Men, and Silver Music, spanning a definitive series of sixteen albums. Ten of these volumes were issued on Nelson Records during the 1970s, featuring the now-iconic military stencil design. Each release was color-coded: red (G.L.P. 1001), dark blue (G.L.P. 1002), gold (G.L.P. 1003), light green (G.L.P. 1004), brown (G.L.P. 1005), black (G.L.P.1006), light blue (G.L.P. 1007), yellow (G.L.P. 1008), orange (G.L.P.1009), and cool green (G.L.P. 1010). The series was completed by two elusive companion releases: S.M. 2001 on Silver Music and S.M. 2002 on Silver Men, both presented in the same distinctive brown sleeve. Rediscovered in the 1990s and 2000s, these Nelson releases have since achieved cult status among collectors, producers, and DJs worldwide. The final two installments, S.M. 2001 and S.M. 2002, remain the rarest and most enigmatic of the set.

Often overlooked, they contain some of the most profound "hidden gems" in the group’s catalog. The tracklist traverses a wide stylistic spectrum: from the rare groove and proto-hip hop energy of "Trama Nella Metropoli", "Beat Morbido", and "Candy", to the lush cinematic atmospheres featuring the ethereal vocals of Edda Dell'Orso on "Summer In Love", "On The Rain", and "Arcobaleno". The collection is rounded out by sophisticated jazz pieces like "Flauti Ensemble", "Passeggiata", and "Atmosfere Dolci”. Sonor Music Editions has meticulously curated the finest moments from these two rare albums for this first-ever dedicated reissue. Bringing together the best of Silver Music (S.M. 2001) and Silver Men (S.M. 2002), this release retains the iconic stencil artwork but introduces a striking silver finish. This design choice honors the original ten-album sequence while shedding new light on these outstanding recordings—works that remain, in every sense, golden.

Following the success of its debut vinyl release, So W'Happy Festival returns with the So W'Happy – Vinyl Sampler 2026, once again in collaboration with Babaorum Records.

Bringing together an explosive selection of artists from across the harder styles spectrum, this new edition perfectly captures the intensity and diversity that define the festival. Featuring tracks by The Dark Horror, Chicago Zone, Binum, K-Style, Jumpkiller, DJ HS, DJ Adolphe, DJ Furax, Pat B, G Sayz and many more, the sampler delivers everything from hardstyle and jump to hardcore and uptempo.

The release also includes The Dark Horror's Official So W'Happy Festival Anthem 2025, alongside exclusive reinterpretations and festival favourites, including Hysta's explosive remix of the timeless classic The Age Of Love.

Powerful kicks, unforgettable melodies and uncompromising energy make this vinyl a true reflection of the So W'Happy experience. Whether you're reliving unforgettable moments from the festival or discovering its unique atmosphere for the first time, the So W'Happy – Vinyl Sampler 2026 brings the spirit of the harder styles straight to your turntable.

French

Après le succès de son premier vinyle, le So W'Happy Festival poursuit l'aventure avec le So W'Happy – Vinyl Sampler 2026, une nouvelle fois réalisé en partenariat avec Babaorum Records.

Cette nouvelle édition rassemble une sélection explosive d'artistes emblématiques des harder styles et reflète toute la richesse musicale du festival. Avec des titres de The Dark Horror, Chicago Zone, Binum, K-Style, Jumpkiller, DJ HS, DJ Adolphe, DJ Furax, Pat B, G Sayz et bien d'autres, cette compilation navigue entre hardstyle, jump, hardcore et uptempo avec la même énergie qui anime les scènes du So W'Happy.

Le vinyle comprend notamment l'Official So W'Happy Festival Anthem signé The Dark Horror, ainsi que plusieurs morceaux incontournables et des relectures marquantes, dont le puissant remix de The Age Of Love par Hysta, véritable rencontre entre un classique intemporel et la nouvelle génération des harder styles.

Entre kicks ravageurs, mélodies fédératrices et énergie sans compromis, ce nouveau sampler retranscrit toute la puissance et l'atmosphère du So W'Happy Festival. Une sortie incontournable pour prolonger l'expérience du festival et retrouver chez soi l'esprit unique du So W'Happy.

10 years after the original, The Devil Wears Prada 2 picks up in a new era of fashion, ambition, and shifting power—where old rivalries resurface and the runway is fiercer than ever. The soundtrack matches every moment with Lady Gaga, Doechii, Dua Lipa, Miley Cyrus, SZA, RAYE, Laufey, Olivia Dean, and more, delivering the perfect mix of glamour, edge, and reinvention

ABOUT THE FILM

20th Century Studios’ The Devil Wears Prada 2:

Twenty years after making their iconic turns as Miranda, Andy, Emily and Nigel—Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci return to the fashionable streets of New York City and the sleek offices of Runway Magazine in 20th Century Studios’ The Devil Wears Prada 2, the eagerly awaited sequel to the 2006 phenomenon that defined a generation. The film is directed by David Frankel, written by Aline Brosh McKenna, produced by Wendy Finerman, and executive produced by Michael Bederman, Karen Rosenfelt and Aline Brosh McKenna.

Terence Fixmer Reimagines Chris Liebing & Luke Slater's 'Double Split' for CLR. Fixmer's remixes of Liebing/Slater's collaboration from the former's 'Evolver' LP release on 31st July.

Terence Fixmer has delivered two remixes of Chris Liebing and Luke Slater's 'Double Split' track, one of a handful of collaborations on Liebing's first-ever solo LP, 'Evolver', which was released in March this year. Having contributed to the LP as a member of The Alte Stuben Modular Ensemble, a super-group featuring Liebing, Daniel Miller, and Pascal Gabriel, Fixmer is a fitting choice to remix 'Double Split'.

Fixmer has been evolving his sound for more than 25 years. From deep and mind-bending to experimental and soulful, he is a visionary who has been hugely prolific, with many standout LPs and EPs on labels such as Mute Records, Novamute, Ostgut Ton, and Planete Rouge Records.

Fixmer's first 'Double Split' remix is inspired by the energy of the original, but focused on dubbier, hypnotic vibes. Strident drums and clattering percussion are stark by design, but smoky vocals and eerie synths hang in the air, bringing a bleak human futurism over all-consuming bass. Then comes the Melting Mind rework, which is boiled down to a handful of key elements, not least the original's penetrating acid line. It's an immersive, late-night dive that locks you in a state of constant motion and unrelenting pressure. The original from Chris Liebing and Luke Slater, a dark and futuristic roller with automated drums and layers of rusty synths encircled by acidic gurgles, completes the package.

Iconic return with “II”, a second album that doesn’t just continue the band’s journey — it defines it. Where their debut introduced the chemistry between five world-class musicians, II sharpens that vision into a clearer, heavier, and more confident sonic identity, delivering a sound that is more powerful, more direct, and unmistakably rock. At the heart of the album lies the electrifying guitar partnership of Joel Hoekstra and Michael Sweet, delivering a masterclass in soaring melodies, blazing solos, and muscular riffs that perfectly balance technical brilliance with pure hard-rock attitude. Beneath them, the rhythm section of Tommy Aldridge and Marco Mendoza drives the record with thunderous authority, creating a groove that is both massive and relentless. The album kicks off with “Cry No More”, a high-octane opener that immediately sets the tone — an energetic slice of hard rock packed with driving riffs, explosive drums, and a chorus built to stick. On the other side of the emotional spectrum, “Tears Keep On Falling” showcases the band’s dynamic range, unfolding as an electrifying power ballad where melody, atmosphere, and intensity come together in dramatic fashion. Towering above it all is Nathan James, whose performance on II is nothing short of extraordinary — powerful, soulful, and commanding, elevating every track with unmistakable presence. With bigger riffs, deeper grooves, and a stronger sense of identity, II captures Iconic at full force: a band no longer introducing itself but fully owning its sound.

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla