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ReVINYL Random Color Edition. Concrete is a bracing jolt of a song, racing forward on a tightly wound post-punk riff, its call-and-response vocals capturing the turmoil and schizophrenic internal dialogue of the song's subject matter."It's about someone who's trapped in a relationship and they're being pummelled into surrender," says singer and lyricist Charlie Steen. "It's not about a physically abusive relationship - more an emotionally and psychologically draining one. The call-and-response vocals between Steen and bassist Josh Finerty is the central figure's own internal dialogue. They are dealing with two different things that they don't want to address."The band cite The Fall, Country Teasers, Television Personalities and Wire among their biggest influences, and the icily claustrophobic sound of Concrete sets it in a lineage with Magazine, Joy Division. As a lyricist, Steen is a modern flâneur, forensically observing the lives of others around him as they unspool and fracture, with Hubert Selby Jr and Irvine Welsh his primary literary influences. "That graphic and harsh style of writing always interested me," he explains. "It's not about the shock factor; it's about the fact they are talking about these things in such great detail without stripping anything back."The London five piece have swiftly earned a reputation as one of the most visceral and exhilarating live bands in the UK, their combustible shows being honed through a heavy touring schedule in the UK and across Europe. Cutting their teeth on the squat-punk scene in the Queen's Head in Brixton in 2015, where they were taken under the wing of Fat White Family, the white heat of their gigs quickly landed them support slots with Slaves and Warpaint. They were also personally invited by Billy Bragg to play the Left Field stage at Glastonbury this year.Following two singles - the AA single The Lick/Gold Hole and Tasteless on Fnord Communications as well as the digital-only Theresa May-baiting Visa Vulture (described by Steen as "the worst love song ever") - Concrete is the first track to be released as part of their record deal with Dead Oceans."We started this band as a joke that went too far," deadpans Steen. "What we do is quite strange and quite weird, but I get to meet a lot of people and I get to hear a lot of things. I am interested in the surrealism of reality."

he all-time house music legend Roger Sanchez drops his brand new studio album ‘Spectrum’ - his first in twenty years. Previewed by three high-energy bangers - ‘Grinnin’ (with Fedde LeGrand), ‘Come My Way’ and ‘Temptation’ (with Low Steppa, featuring Ragdoll) - the record features the new focus track ‘How Do We Say Goodbye’, a collab with Karen Harding.

The globally celebrated and Grammy-winning DJ, producer and label head has been working on the album for years, much of it during his time in Shoreditch which has informed its euphoric UK summer sonic influences. But its diverse tracks reflect a spectrum of sounds, from pulsating club tracks to dancefloor fillers, through to more emotional moments and atmospheric elements. Lyrically it’s also the result of translating his personal experiences into song.

Roger says, “I’ve been working on this for the past six years, so it’s definitely a labour of love. During that time I got the chance to travel around the world and work with some amazing vocalists and songwriters to help me bring this project to life. I’ve got flavours from the UK, Spain, the US - all of this is part of the spectrum for. This project is about music and frequencies and light: so everything from the light to the soulful to the club-ready infrared, the emotionally-weighted ultraviolet. That’s what ‘Spectrum’ is all about for me.”

The new focus track ‘How Do We Say Goodbye’ was created with the topline extraordinaire and always in-demand collaborator Karen Harding, whose all-star credits include work with MNEK, Armand Van Helden, Rudimental, Wilkinson and many more. It’s a massive highlight of the album, with Karen’s soaring vocal class bringing both an irresistible hook and a touching sense of nostalgia, while Roger’s dynamic production ascends from a trance-like ambience into an electrifying drop.

Beyond the singles, ‘Spectrum’ also features a diverse array of other talents spanning multiple genres and nationalities. These include Melanic C, Kele Le Roc, Chico Castillo, Kelli-Leigh, Carnao Beats, Donae’O and more. It’s a guestlist which lives up to the anticipation for the record.

‘SPECTRUM’ is available as a special 3LP limited-edition pressed on red transparent vinyl.

After finding their feet with a couple of remixes for Before I Die, Talking Drums ditch their sea legs and swap the pirate booty of their cult edit series for a five-track EP of original productions, each swimming in LinnDrums, digital chimes and synth-vox sunshine. Summer sounds abound as the crew refract house, disco, ambient and dub through shimmering sea glass, bringing the beach to the bar, club, garden or grotto.

Inspired equally by tropical Sceneries (but Not Songs), Ecco the Dolphin and Echoes of Wally, as well as a few tall tales about trendy whales, this 16-bit caper makes a splash from wave top to bikini bottom. Written and produced as a cohesive EP over three sun-baked weeks in 2025, and stitched together with field recordings and found sounds from Sicily, rural France, Japan and Singapore, Pier Pressure sees each track flow into the next: distinct seas that make up one larger ocean.

Opener ‘Fashionable Whale’ surfaces with mystic motifs and dreamy pads arcing above the spray before a purring low end and drum-box shuffle plunge us into Balearic house depths. A rippling breakdown, bookended by insistent arps, provides respite from the rhythm before the low-tempo pulse returns to take us home. Sticking with Zone 2 cardio, ‘Salmon Hats’ serves wonky disco at Valium pace, its beatific vox and glittering sequences underpinned by a hip-swivelling bassline and topped with a future-primitive melody. After drifting into dream house for a sunset lull, it’s back to the beat and the enduring question of how best to dance on a lilo.

‘Mangrove’ offers an intertidal intermission as tuned percussion finds a place among the cicadas and lapping waves, gently unfolding into an RPGambient ode to humid languor. Refreshed, albeit ailed by a sunstroke haze, we’re back on the dance floor with the optimistic motifs and jolly polyrhythms of ‘Flutti Di Mare’, an uptempo, Afro-adjacent house workout designed to inspire mile-wide smiles. Then the EP sails off into the sunset with the fathoms-deep delight of ‘Squid Dub’, a Cousteau-coded cod-reggae stepper with digi-dub bass, pound-shop marimba and all manner of THCtinged FX. Don’t be deceived by the loose and limber opening: a solid sequencer emerging at the midpoint sees the Squid squeeze every bit of bump out of the finale.

Forget ATOL protection - Talking Drums deliver your summer holiday directly to your stereo.

This is the 12" already immortalized by Gilles Peterson! Dub Souljah, with its classic Roots Reggae/Dub-styled horns and brilliant lead and backing vocals, comes in two versions when Ekowmania meets DJ Sotofett. The first version, in 1970s tradition, is a rocking dancefloor Disco Dub with extended and highlighted percussion parts. Then there's the Ultra Dub – a severely deep and reduced dub where horns and vocals surface only intermittently through constant echoed kicks, minimal hi-hats, and a two-tone bassline. The title track is from Ekowmania's Dr. Afrodub album, produced by Jimi Tenor, but this 12" also includes two non-album cuts: the psychedelic Afro twist of Afrolistic Rock & Roll, and the cosmic Latin-styled Kuusikasi Funk, featuring beautiful saxophone and flute by Jimi Tenor. THIS 12" IS CUT WITH LOUD VOLUME FOR EXCELLENT CLUB USE!

„Future Quiet“ markiert ein neues, bemerkenswertes Kapitel für einen der einflussreichsten und visionärsten
Künstler der elektronischen Musik. Auf vierzehn Tracks, die modernen Klavierminimalismus, immersive
Ambient-Klanglandschaften und einige Gesangskollaborationen umfassen, reflektiert Moby die Spannung
zwischen dem hypervernetzten modernen Leben und dem tiefen menschlichen Bedürfnis nach Stille.

Roberta Flack: The Montreux Years präsentiert Live-Auftritte aus fast vier Jahrzehnten, von ihrem Debüt
beim Montreux Jazz Festival 1971 bis 2008. Diese neue Sammlung zeigt ihre stille Intensität als LivePerformerin, die ihr meisterhaftes Klavierspiel mit ihrer unverwechselbaren Stimme verbindet. Sie enthält
herausragende Versionen ihrer beliebtesten Klassiker sowie kraftvolle Interpretationen von Liedern anderer
namhafter Songwriter. Alle Aufnahmen dieser Sammlung sind bisher unveröffentlicht. Die Veröffentlichung
erscheint als 1 CD und 2 LP in audiophilem Vinyl und beinhaltet ein beeindruckendes neues Artwork, seltene
und bisher unveröffentlichte Fotos sowie exklusive Liner Notes ihrer langjährigen Managerin und Freundin
Suzanne Koga.

Die Alt-Rock-Legenden Switchfoot melden sich mit ihrem neuen Album „Forever Now“ zurück – eine
epische Rückkehr zu den gitarrenlastigen Wurzeln der Band. Das Album wirkt weniger wie eine Sammlung
von Songs, sondern eher wie ein Defibrillator für den Zeitgeist unserer Tage. Es ist eine Rückkehr zu alter
Stärke, die zeigt, warum sie schon immer von Bedeutung waren und warum sie es auch heute noch absolut
sind.

Der weltweite Popstar Dua Lipa kündigt „Dua Lipa (Live From Mexico)“ an, ein brandneues Live-Album,
das während ihrer drei ausverkauften Konzerte im Estadio GNP Seguros in Mexiko-Stadt aufgenommen
wurde. „Dua Lipa (Live From Mexico)“ entstand beim grandiosen Abschluss der „The Radical Optimism
Tour“ und enthält ein Duett mit Fher Olvera von der Band Maná. Dieser Auftritt war Teil der Show, in der
Dua für jede Stadt, die sie besuchte, eigens zusammengestellte Coverversionen präsentierte. Die „Radical
Optimism Tour“ gipfelte in 92 Shows auf fünf Kontinenten, darunter zwei aufeinanderfolgende ausverkaufte
Termine im Wembley-Stadion, wobei während der weltweiten Tour insgesamt über 1,75 Millionen Tickets
verkauft wurden.

heartcore ist das Debütalbum der Alt-Pop-Visionärin Au/Ra.
Aufgenommen zwischen London und Los Angeles, verbindet es ätherischen Pop, Electronica, 8-Bit-Hyperpop
und Alt-Rock. Au/Ra beschreibt das 16 Tracks umfassende Werk als „ein Konzeptalbum, in dem ich das
Verlies meines Geistes öffne, damit die Hörer hineinklettern können. Ich habe eine Figur erschaffen, die
mir hilft, das reale Trauma meiner Mädchenzeit zu verarbeiten und zu verstehen, wie ich davon geheilt bin,
meinen gesamten Selbstwert an mein Künstlerdasein zu knüpfen.“
Mit den Singles „KILLSWITCH“, „CRACK!“, „HIGH FANTASY“ und „SWAMP“ ist jeder Song ein weiterer Schritt in ein sich wandelndes Labyrinth – ein erhellendes Portal in den Abstieg der Figur und ihre
letztendliche Heilung.
Au/Ras Debütalbum ”heartcore” erscheint auf Vinyl und CD

Seit Jahrzehnten zählt Sting zu den prägendsten Künstlern der internationalen Musikszene. Als 17-facher
Grammy Preisträger, gefeierter Solokünstler und ehemalige Stimme von The Police begeistert er nun mit
The Night Watch (Live At The Rijksmuseum), das am 26.06. auf Vinyl und CD erscheint. Entstanden
im Rahmen der ARTE Reihe Sounds Like Art, zeigt die Aufnahme eine Performance im Amsterdamer Rijksmuseum inmitten von Kunstwerken von Rembrandt, Vermeer und Judith Leyster. Für diesen besonderen
Anlass spielt Sting unter anderem eine seltene Gitarre aus dem 17. Jahrhundert, die ursprünglich für den
Hof Ludwigs XIV., des Sonnenkönigs, angefertigt wurde. Gemeinsam mit seinem langjährigen Gitarristen
Dominic Miller und gemanagt von Martin Kierszenbaum und der Cherrytree Music Company, präsentiert
Sting Songs aus seinem TONY nominierten Musical The Last Ship sowie ausgewählte Klassiker aus seinem
Solo Repertoire und von The Police.

Chico Buarque - ”Vida” (1980): Der Sänger und Songwriter offenbart auf seinem bereits elften Album
eine neue künstlerische Reife, die bei Kritikern und Fans großen Anklang fand. Er begann, in seinen
Kompositionen, die mit zeitgenössischer brasilianischer Popmusik flirteten, persönlichere und poetischere
Themen zu behandeln. Limitierte Auflage in grünem Vinyl

Nachdem es Produzent Norman Granz 1956 gelungen war, die Sängerin Ella Fitzgerald aus ihrem Plattenvertrag mit Decca loszueisen, hob er eigens für seinen neuen Star das Label Verve Records aus der Taufe.
Das erste Album, das noch im selben Jahr dort erschien, war “Ella Fitzgerald Sings the Cole Porter Song
Book”. Es markierte einen wichtigen Wendepunkt in Ellas Karriere und war zugleich der Auftakt zu ihrer
bahnbrechenden “Song Book”-Reihe, die viele andere Künstler inspirierte. Für das Doppelalbum sang sie,
begleitet von einem Orchester unter der Leitung von Buddy Bregman, auf ihre einzigartig swingende Weise
32 zeitlose Klassiker aus der Feder von Cole Porter ein.

Black Vinyl:
Chris Cornells zweites Solo-Studioalbum erscheint zum ersten Mal auf Vinyl. Die brandneue Vinyl-Edition,
die von Levi Seitz bei Blackbelt Mastering neu gemastert und auf 180-Gramm-Schwarzvinyl gepresst wurde,
enthält zwei Bonustracks – „Today“ und „Roads We Choose“ – sowie ein bisher unveröffentlichtes, verlängertes Intro zu „Billie Jean“, dem Cover des legendären Michael-Jackson-Songs. Das Album enthält
außerdem den Titelsong „You Know My Name“ aus dem James-Bond-Film „Casino Royale“ von 2006.

STARDUB VA series continues with number 10. This time we have the honor to present a 6 track EP with Dub Techno's finest musicmakers Dreist, Habben, RuMa, Ohm & Lentza, Marco Cassanelli and DIB.
From Dub With Love! Limited to 250 copies.

Erlebe die mitreißende Musik aus Disney Channels Camp Rock 2: The Final Jam! Mit unvergesslichen Hits
wie „Wouldn’t Change a Thing“, „It’s On“, „Heart and Soul“ und vielen mehr.
Dieses Album fängt die Energie von Sommer, Freundschaft und Musik perfekt ein. Erhältlich als SammlerVinyl in Forest Pine Green und Sunburst Yellow.

Veinyl returns with Decant Vol 1, the fourth release and the label's first Various Artists compilation. Rooted in the label’s philosophy of connecting sound, atmosphere, and the social ritual surrounding a good bottle of wine, this record unites producers from the deeper edges of house and tech-house. Much like wine, which brings people together and reveals different notes with every sip, Veinyl seeks to curate music that encourages listeners to savour the moment and discover new layers with each play.

Diego Krause opens the bottle with “Currents,” setting the tone with controlled momentum. Punchy kick and bass sync with swinging hats and airy pads as crystalline synths gradually expand in colour, culminating in sparse, darker echoes and an understated atmosphere in its final moments. Lescano’s “Illusion” uses a stripped-back tech-house palette of resonant dubby chords, vocal echoes, and funky bass stabs, all thrown into motion, ready for the dancefloor. On the flip, NVNDO & Until6’s “Donkey Long” brings a playful shift: bongo-driven percussion, rubbery grooves, and 90s-tinted house basslines and synthwork give it a hint of Balearic flavour without losing club weight. Skotsch closes with “Blood,” a dark, jacking tune where acidic basslines, razor-sharp drum programming, and teasing vocal fragments close the V.A. out with punch and style.

With Decant Vol. I, Veinyl distils its approach into four tracks that move between minimal house atmosphere and tech-house mechanics without losing focus on groove. It’s a compilation that highlights the label’s ear for subtle detail and functional design, pointing toward a catalogue shaped less by trends than by carefully curated underground talent and special dancefloor moments.

Warehouse Find!

Time to welcome Soul 223 to the label with his debut Delusions EP entitled Fear Of Stopping. Something of a complete legend in our eyes and ears, Steve Pickton has been releasing top drawer tuneage for over two decades both as Stasis on influential labels such as B12 and Peacefrog and more recently as Soul 223 on equally well regarded imprints like Delsin, Soul Jazz and Neroli. Always one to shy away from any limelight or self promotion it's true to say that this underrated British producer remains something of an anomaly, staying true to his underground roots where faceless, shadowy and obscure reigns supreme over the latest over-exposed cover star. This ethos naturally carries through into his music where you will always find both expansive beauty and unrefined rawness in equal measures ensuring his tracks always sound fresh rather than over produced or contrived.

Fear Of Stopping opens the EP with a low-slung disco groove providing the backbone for intermittent pad washes and reversing stabs. The focus here is firmly on the drums and simple conga riff with thankfully very little else to deter you from this sublime slice of abstract dance music.

Next up we have a remix from another ridiculously talented producer who chooses quality over quantity, having only ever had one release under his own name, albeit for one of the most respected labels in the world; Rush Hour. Maxi Mill came to our attention having released one of the tracks of 2011 namely To The Next. On this, his first ever solo remix he brings a brilliant bump to the EP with a raw, warehousey and bass-heavy workout. Just the right amount of strings and pads keep the deep vibe intact but the filtering bass and jacking drums definitely take this one to the floor.

Flipping over we have Walberswick in it's Hoist Covert Mix incarnation. Almost thirteen minutes of spaced out, deep Detroit house music awaits you, ready to lure you in and cocoon you with it's warm and hypnotizing machine funk. Lovely to hear the old Stasis influence working it's way into this one sounding both decidedly old-school and completely futuristic and otherworldly as only the best tracks ever do.

Closing the EP we have Birdbrook Rain dropping the BPM's for a beautifully sparse track that brings with it an almost desolate and disconnected feeling, echoing synths providing a naive melody while a dusty pad shifts simply beneath. A little slice of magic concluding a fresh and interesting EP, we hope you agree.

Single-Sided 12 inch with etched B Side, cut and remastered from the original tapes and housed in a new foil sleeve printed on 300gsm card with gold Stardust is Thomas Bangalter, Alan Braxe and vocalist Benjamin Diamond. Twenty one years since its original release in 1998, their iconic track "Music Sounds Better With You" is now available again on vinyl and digitally for the first time.