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Seattle punk rock 'n rollers The Drowns are proud to present their brand new live album Live At Rebellion, on Pirates Press Records. This is the band's first foray into recording a live performance, but it has been an idea on the table from very early on. While the band are rightfully acclaimed for their studio albums, the first thing anyone in the know talks about is their electrifying live shows. "Within the first year of starting the band, we saw the reactions we were getting from people live, and we had the idea to record a live album," says guitarist and singer Rev. "Almost a decade later now, we felt like the time was right." While a live album recorded during the first year may have captured the raw power of a hungry band kicking off their momentum, Live at Rebellion is the sound of a seasoned band playing in front of a veritable army of international fans on their largest festival stage at Rebellion Festival in Blackpool, UK - fans that they have earned one by one, sweating it out with relentless transcontinental touring. "Rebellion has always been a highlight of our year, and we love the performances there because the energy from the crowd is raw and visceral," explains Rev. "That's why we made the choice to do it there in Blackpool." While far from a "Greatest Hits Live" preserved in amber, the setlist features selections from every era of the band's career and was determined by the band's knowledge of what songs get their audiences fired up - all killer, no filler, as the saying goes! The gritty attack of "Them Rats" exemplifies the band's streetpunk influences and lyrical calls to unite against abusive authoritarian power. Meanwhile, the vital ass-shaking boogie of "Live Like Yer Dyin'" was a direct result of the band fully embracing their collective appreciation of the energetic joys of both 70s glam and original 50s rock 'n roll! Their choice of cover song - "Ballroom Blitz," - truly hits the Sweet spot, if you'll pardon the pun, as one of the foremost glam-proto-punk-bovver rock masterpieces. It is executed here in masterful hands by The Drowns. The band acknowledges Daz Russell & Daryl Smith, the organizers at Rebellion, for backing the making of the record. David Casey (Success, One Step Beyond) helmed the boards to capture the recording, mixing and engineering was done by Evan Douglas Foster (The Sonics, Boss Martians), and the final master was produced by Seattle legend Jack Endino (Nirvana, Mudhoney, Soundgarden), who also recently oversaw the re-master of The Drowns' debut album View From the Bottom. "This album was a cumulative effort between people who still believe in rock 'n' roll," sums up Rev. "We couldn't be more proud."

For five decades, Harold Budd stood on the forefront of the West Coast avant-garde. Born in Los Angeles, he studied with Schoenberg-pupil Gerald Strang and began teaching at CalArts in 1970. While searching for his own voice, he was influenced as much by abstract expressionist painters as by John Cage and Morton Feldman. In his work, Budd brought delicate, slowing-moving melodies to the foreground – creating a new musical language based on “eternally pretty music” and smooth surfaces.

In the early ’70s, Budd started an extended cycle of compositions that would comprise The Pavilion Of Dreams. For Budd, the album was a signpost for a new direction in thinking about music: “The Pavilion Of Dreams erased my past. I consider that to be the birth of myself as a serious artist. It was like my Magna Carta.”

Produced by Brian Eno in 1978, The Pavilion Of Dreams stands toe-to-toe with another minimalist masterpiece also released that year, Steve Reich’s Music For 18 Musicians. Budd’s gorgeous pieces reveal a lightness of touch that draws the listener in, while sublime voices float in and out as if in a recurring dream. Featuring saxophonist Marion Brown and multi-instrumentalists Gavin Bryars and Michael Nyman, The Pavilion Of Dreams remains a master class in exquisite timbre and shimmering texture.

The Pavilion Of Dreams was both the final release on Eno’s Obscure imprint and a transition point towards his seminal ambient series. This first-time reissue is recommended for fans of Ryuichi Sakamoto, Jon Hassell and Mark Hollis.

Scowl is a band that sounds exactly like their name implies. Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), Scowl is aiming to funnel all that aggression through a more expansive version of themselves.Much of Are We All Angels grapples with Scowl's newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single "Not Hell, Not Heaven" outright rejects the narratives cast onto them by outsiders. "It's about feeling victimized and being a victim, but not wanting to identify with being a victim," explains vocalist Kat Moss. "It's trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain't working for me." The band breaks from a sense of disassociation to seek deeper connections on "Fantasy." "It's incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated," Moss says. "`Fantasy' is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard." The album ends in a philosophical place on the closing, titular track, "Are We All Angels," asking questions like, "Is this all there is?" and ultimately putting it on the listener to decide. "It's about the personal struggle between good and evil. It doesn't matter how `good' or `bad' you are, there are systems that will try to rewrite your narrative no matter what you actually do," explains Moss, noting that punctuation on "Are We All Angels" has been deliberately omitted in an attempt to leave the statement open-ended. Are We All Angels is the highly anticipated follow-up to Scowl's debut, 2021's How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record's sonic outlier, a cleaner interlude called "Seeds to Sow," that, true to its name, planted the seed for what was to come for the band. "It kind of laid out this destiny for us, and I feel like now we're fulfilling that," says drummer Cole Gilbert. The band continued to expand their sound on 2023's widely acclaimed Psychic Dance Routine EP, incorporating more pop hooks and favoring gentler singing over heavy screaming, paving the way for what would come next.Scowl's growth got a huge boost from producer Will Yip (Turnstile, Title Fight, Code Orange, Balance and Composure), who broadened the band's scope. "Will would say, `Everything you have here is correct, but it's in the wrong place,'" says Gilbert. Moss adds: "Will really helped restructure a lot of the material. Some songs he tore apart to make more space for the really good hooks and choruses." But even through this more eclectic approach, Scowl loses none of their edge, and still manages to convey the anger and frustration that lies underneath. They are deeply committed to carrying the ethos of punk and its sense of community. "Hardcore and punk have sculpted how we operate, what we want to do as a band, and how we participate," says guitarist Malachi Greene. "At our core, we are a punk and a hardcore band, regardless of how the song shifts and changes."

Riding high on a prolific wave of output, Kloke returns to Mindgames with Lucidity — an album that confirms his position at the forefront of modern jungle.

Andy Donnelly has been actively releasing a broad swathe of electronic music since the late 00s, but it's his sharpened focus on jungle and drum & bass over the past 10 years that has cemented his reputation. As well as working closely with fellow scene leaders like Tim Reaper, the Australian artist has hit a flow state with his productions where the quality and quantity seems limitless. Since Mindgames started as a Samurai Music sub-label, Kloke has been a core part of the imprint's identity. Having already dropped the Mindgame 8 EP earlier this year, Donnelly is back with a full-length salvo of advanced jungle heavy on the technicalities and even heavier on the vibes.

Lucidity makes its mark from the very first blast of breakbeat science that opens up the title track. From that point on Donnelly works at full tilt, edging gritty textures into his sampling and capturing classic jungle's melancholic mystery through an expansive palette of re-pitched hooks. This is carefully crafted soundsystem music in thrall to the tradition of jungle, but at no point does it sound tired or throwback. One key element is the dynamic intensity of Donnelly's arrangements, shifting gears with devastating poise whether darting through the starry-eyed arps and deft breaks of 'Mobius Strip' or chopping around the jagged angles and noirish licks of 'Goose Cuts'.

Donnelly folds many moods into his jungle tapestries. 'Paradiso' conjures a smoky, haunting atmosphere while 'Nightfall' leads on techy darkside stabs before unfurling shadowy jazz licks that flicker like ghosts through the dense forest of drums. At all times, the commitment to mind-bending configurations of compound breaks drives the album forwards. No two beats roll the same as Donnelly indulges his precise and profound instinct for next-level edits and heavyweight production.

Gritty, raw and true to the roots of the culture, Kloke stands tall on Lucidity. It's the kind of detailed, deep and deadly album that shows jungle at its absolute best — a sound that still feels like the future in the right hands.

Wombo’s third album, ‘Danger in Fives,’ isn’t a reintroduction; it’s a reminder. Throughout ‘Danger in Fives,’ Wombo — the Louisville-bred three-piece of Sydney Chadwick (bass/vocals), Cameron Lowe (guitar), and Joel Taylor (drums) — not only enhance their formula, but routinely perfect it. The 11 tracks on ‘Danger in Fives’ fine tune Wombo’s enchanting alchemy while firmly pushing the band into new territory.

Wombo first connected in Louisville in 2016 and have crafted a unique lane over the near-decade since forming, contorting post-punk structures into uncanny shapes. On ‘Danger in Fives’ they twist another knot into their belt, and come out creatively renewed. Throughout ‘Danger in Fives,’ it’s clear what has made Wombo one of the most respected bands in their class, and it’s thrilling to hear them command new terrain.

Wombo’s third album, ‘Danger in Fives,’ isn’t a reintroduction; it’s a reminder. Throughout ‘Danger in Fives,’ Wombo — the Louisville-bred three-piece of Sydney Chadwick (bass/vocals), Cameron Lowe (guitar), and Joel Taylor (drums) — not only enhance their formula, but routinely perfect it. The 11 tracks on ‘Danger in Fives’ fine tune Wombo’s enchanting alchemy while firmly pushing the band into new territory.

Wombo first connected in Louisville in 2016 and have crafted a unique lane over the near-decade since forming, contorting post-punk structures into uncanny shapes. On ‘Danger in Fives’ they twist another knot into their belt, and come out creatively renewed. Throughout ‘Danger in Fives,’ it’s clear what has made Wombo one of the most respected bands in their class, and it’s thrilling to hear them command new terrain.

'exclusive tour tapes' limited quantity available for distribution

Limited split tape collaboration between like-minded pranksters Lagoss & Babau. Co-released by Sucata tapes & Artetetra in July 2025.

‘’The chars were emerging as some chunk of makeshift swamp coolers blasted the soil surrounding our motorbikes. Sunburn vapours floating grey all around, licking our necks with heavy hazy tongues. Just oppressive and gross. Blah.

Someone says heat waves are among the most dangerous natural hazards. I guess that the magnetic tides did not help at all. For sure, recreational sleep deprivation aside, it was days of relentlessly documented tipsy headaches, thermometric cicada noises and weird-ass hallucinations. It is what it is. The age of earthquakes. We drink from our black plastic bags with a straw pushing a bit of oxygen thru our reptile brains. Just half a pack of synthetic tobacco for the ride. No internet. Whatever.

She looks at me behind the war metal glasses and the silicone frog mask high on desert dust. Sweaty pools on her shoulders. Eyes purple with adrenaline. Map on the scratched screen. “It says that at this point we should be hearing that fucking flute”. We stop amidst the geysers. We can see the monoliths and stone gods ready to eat up all the solar storms and the thunder. Towards the horizon, second moon is up. Damn. Water rises to our knees, green with bloating sounds. Just what we needed. We’re stuck. "Turn up the radio. Let’s hope it lasts five minutes." After trashing a bunch of fake subtropical signals, the radio plays a flute. She takes off the mask and explodes in a grin: “This is it man, we made it! No man’s land. The real fucking thing.” I light one up and let the sight get blurred: “You betcha.”’’

This studio collaboration between the French Dub pioneers and the famous Dub kids from Lyon seems to have been really prolific in terms of quality and quantity. All along these tracks, you can hear a successful hybridization between two major dub bands. The steppa rythms are mixing themselves with the ethnic ambiances of scratches, synths and drum rolls so precious for High Tone. Try to recognise which sound comes from which band on this album made of improvisations with electronic breaks and floating atmosphere.. To make it short, an awesome meeting displaying its devastating effects.

Formerly managed by DJ Ghost — a key figure of the hard trance scene and one half of the legendary Cherry Moon Traxx duo alongside Youri Parker — Ghoststyle has now joined the Diki Records family. The label remains a true reflection of the raw energy and hard-hitting sounds that define Ghost’s dynamic DJ sets.

With Traky 2025 Remixes, Ghoststyle brings new life to a cult classic: Traky, originally produced by the group People of Cactus, reimagined here in a series of explosive remixes made for the most demanding dancefloors. This release gathers a powerhouse lineup of Belgian artists: DJ Ghost & Danny Corten, DJ Furax & Sandy Warez, Lethal MG, Binum, Greg S, and the timeless 1998 version by DJ HS.

Each remix breathes fresh energy into this iconic track, blending rave power, acid lines, and intense build-ups. A selection that perfectly fuses raw drive, retro vibes, and modern edge — a must-have to ignite any set.

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Anciennement géré par DJ Ghost — figure emblématique de la scène hard trance et moitié du duo légendaire Cherry Moon Traxx avec Youri Parker — Ghoststyle rejoint désormais l'équipe de Diki Records, fidèle reflet de l'énergie brute et des sonorités percutantes qui résonnent dans les sets de son fondateur.

Avec Traky 2025 Remixes, Ghoststyle ressuscite un classique culte : Traky, signé par le groupe People of Cactus, dans une série de relectures explosives taillées pour les dancefloors les plus exigeants. Ce package réunit une sélection d’artistes phares de la scène belge : DJ Ghost en tandem avec Danny Corten, DJ Furax & Sandy Warez, Lethal MG, Binum, Greg S, et la version intemporelle de 1998 par DJ HS.

Chaque remix insuffle une nouvelle vie à ce titre mythique, oscillant entre puissance rave, lignes acid, et montées frénétiques. Une sélection qui mêle parfaitement énergie brute, ambiance rétro et modernité — un incontournable pour faire vibrer les platines.

Early support from Mark With A K, Anonymize, Manu Kenton, Franky Kloeck, Jan Vervloet, DJ Wout, Bestien, DJ Dinamyk, Don Diablo, Tom Leclercq, DJ Liberty, N.O.B.A, etc…

Cinematic funk visionaries The Diasonics drop a new disco-funk 45 vinyl with two killer tracks tailor made for DJs and cinematic funk fans. Only 500 copies pressed wordwide, instant collector's item. From the snowy streets of Moscow to the crates of vinyl diggers worldwide, cinematic instrumental combo The Diasonics unleash a new limited edition clear vinyl 45 with two killer tracks taken from the upcoming new album "Ornithology", set to drop worldwide on October 3 via Record Kicks. On the A side "Oriole" is a vintage disco-funk stormer taking inspiration both from the Soviet-era disco and jazz fusion records, as well as from 70s European library music and synth-funk movement. A minimalist synthesizer melody echoing the song of the oriole, paired with a steady disco-funk groove reminiscent of a train in motion ("Oriole" is also the name of a popular Russian electric train) lay the foundation of their most danceable track to date. The b-side holds the equally strong "Chickadee" a funk stomper with bold bassline and heavy b-boy breaks and percussions and a NY early 80 vibe able to set every dancefloor on fire. A peerless party-starter that you just don't want to miss it. Formed in 2019, this four-piece instrumental unit _ Daniil Lutsenko (electric guitar), Kamil Gazizov (keyboards), Maksim Brusov (bass), and Anton Moskvin (drums & percussion) _ quickly gained cult status through a series of sought-after 45s on Mocambo and Funk Night Records. Their critically acclaimed debut album "Origin of Forms" mixed by Henry Jenkins, producer of the Australian cult band Surprise Chef, came out on Record Kicks in 2022. The vinyl went sold out in few weeks and is now in-demand on the international cinematic funk scene.

Dreamy synths, crispy glitch, tight percs and smooth pads; a selection made from the digital release by global aphasia from last year. mindcolor have been selecting a few of these as they are too good to remain in the digital realm only, with more vinyl releases in the pipeline. Stay tuned!

Black vinyl lp with white center labels plus photographic insert including tracklist.

A city pop solo album released exclusively in Australia under the name "Hiroshi" by the renowned guitarist "Hiroshi Yasukawa (ex-DEW)" who has participated in works such as Jiro Inagaki and Soul Media's "Funky Stuff", Kingo Hamada's "Midnight Cruisin'" and Hatsumi Shibata's "Live/Entertainment Special". After about 41 years, this is the first reissue with obi and made in Japan!

Die Bewaffneten sind zurück und präsentieren "The Future Is Here and Everything Needs to Be Destroyed", dem Nachfolgewerk des von der Kritik hochgelobten Albums "Perfect Saviors" von 2023. The Armed sind Post Hardcore Non-Conceptual Alternative Metalpop! Nach der Fertigstellung der Alben-Triologie, die sich auf die Analyse der künstlerischen Authentizität im Informationszeitalter konzentrierte, begannen The Armed mit der Arbeit an neuem Material, ohne vorher festgelegte Regeln oder Konzepte, sondern nur mit neuem Druck und Dringlichkeit, um eine neue Ära für das Post-Hardcore-Kollektiv einzuläuten. Das Ergebnis ist ein wütendes und konfrontierendes Album, ein ungefilterter Ausdruck von Weltschmerz, ein deutscher Begriff, der den Schmerz über die Realität der Welt im Gegensatz zu unseren idealisierten Visionen von dem, was sie sein sollte, beschreibt. "Diese Platte ist eine Absage an sanierte, für den Geschmack der oberen Mittelschicht kuratierte Rebellion", erklärt Sänger Tony Wolski. "Es ist Musik für eine statistisch wohlhabende Bevölkerung, die sich irgendwie kein Essen oder keine Medikamente leisten kann und endlos durch Urlaubsfotos, Fitnessstudio-Selfies und Bilder von amputierten Kindern im selben Feed scrollt. Sie spiegelt die Abgrenzung wider, die man braucht, um in dieser Realität zu existieren." Die Waffen von The Armed sind weiterhin ihr Kanalisierung von Wut über die unfassbaren Umstände in ungewöhnliche Songs mit innovativen Sounddesign und ihr fester Glaube an das Miteinander, was sich im Gedanken des Kollektivs, aber auch an den vielen Kollaborateur*innen festmachen lässt. Mit Beiträgen von Ken Szymanski, Patrick Shiroishi, Urian Hackney, Kurt Ballou, Troy Van Leeuwen, Meghan O'Neil, Cara Drolshagen, Tony Wolski, Brian Wolski, Justin Meldal-Johnsen, Ben Chisholm, Prostitute, Zach Weeks, Mark Guiliana, Kayleigh Goldsworthy, and Derek Coburn. Inklusive der Singles "Well Made Play", "Kingbreaker" und "Sharp Teeth" LP & LP Ltd im Gatefold mit bedruckten Innenhüllen & 44seitigem Booklet, CD als 6-panel-digipak!

Limitiertes Cloudy clear with yellow, green and pink splatter Vinyl mit 44-Seiten-Booklet! Die Bewaffneten sind zurück und präsentieren "The Future Is Here and Everything Needs to Be Destroyed", dem Nachfolgewerk des von der Kritik hochgelobten Albums "Perfect Saviors" von 2023. The Armed sind Post Hardcore Non-Conceptual Alternative Metalpop! Nach der Fertigstellung der Alben-Triologie, die sich auf die Analyse der künstlerischen Authentizität im Informationszeitalter konzentrierte, begannen The Armed mit der Arbeit an neuem Material, ohne vorher festgelegte Regeln oder Konzepte, sondern nur mit neuem Druck und Dringlichkeit, um eine neue Ära für das Post-Hardcore-Kollektiv einzuläuten. Das Ergebnis ist ein wütendes und konfrontierendes Album, ein ungefilterter Ausdruck von Weltschmerz, ein deutscher Begriff, der den Schmerz über die Realität der Welt im Gegensatz zu unseren idealisierten Visionen von dem, was sie sein sollte, beschreibt. "Diese Platte ist eine Absage an sanierte, für den Geschmack der oberen Mittelschicht kuratierte Rebellion", erklärt Sänger Tony Wolski. "Es ist Musik für eine statistisch wohlhabende Bevölkerung, die sich irgendwie kein Essen oder keine Medikamente leisten kann und endlos durch Urlaubsfotos, Fitnessstudio-Selfies und Bilder von amputierten Kindern im selben Feed scrollt. Sie spiegelt die Abgrenzung wider, die man braucht, um in dieser Realität zu existieren." Die Waffen von The Armed sind weiterhin ihr Kanalisierung von Wut über die unfassbaren Umstände in ungewöhnliche Songs mit innovativen Sounddesign und ihr fester Glaube an das Miteinander, was sich im Gedanken des Kollektivs, aber auch an den vielen Kollaborateur*innen festmachen lässt. Mit Beiträgen von Ken Szymanski, Patrick Shiroishi, Urian Hackney, Kurt Ballou, Troy Van Leeuwen, Meghan O'Neil, Cara Drolshagen, Tony Wolski, Brian Wolski, Justin Meldal-Johnsen, Ben Chisholm, Prostitute, Zach Weeks, Mark Guiliana, Kayleigh Goldsworthy, and Derek Coburn. Inklusive der Singles "Well Made Play", "Kingbreaker" und "Sharp Teeth" LP & LP Ltd im Gatefold mit bedruckten Innenhüllen & 44seitigem Booklet, CD als 6-panel-digipak!

Wer ROME seit der 20-jährigen Bandgeschichte verfolgt, wird nicht bestreiten können: Jerome Reuter ist immer für eine Überraschung gut. Sicher ist der Folk Noir, die düstere Liedermacherkunst mit Akustikgitarre und melancholischen Vocals, seine kreative Basis und Kontinuität. Doch immer wieder finden sich auf seinen Alben atmosphärische Ambienttracks – filmmusikartige Collage und Vertonungen der Konzeptthemen, die ROMEs Ursprung in der Post-Industrial-Culture belegen. Und immer wieder überschreitet er souverän die Grenze zu anderen Genres wie dem Post Punk und dem dunklen Elektropop. Statt luziden Akustikakkorden treten dann noisige, kalte Elemente ins Zentrum, martialische Samples, analoge Synthieklänge und programmierte Beats, die auch auf dem Szenedancefloor nicht stören würden.

„Terres de Sang“ ist nun anlässlich des 20-jährigen Bandjubiläums eine Kollektion von Songs und Instrumentals, die in diesen Versionen noch nicht erhältlich sind, sei es live oder in Remixen. Dazu kommen jene typischen ROME-Klangkollagen, die man von den Intros der Livekonzerte kennt. „Terres de Sang“ ist ein Füllhorn der unterschiedlichen Stile, Themen und Stimmungen, die ROME seit zwei Dekaden kennzeichnen. Daraus ergibt sich kein eigenständiges neues Album, aber ein ebenso spannendes wie unterhaltsames Kaleidoskop der unerschöpflichen Kreativität Jerome Reuters, das dem ROME-Sammler aus dem Herzen spricht. Darunter finden sich auch alternative Liveversionen von beliebten ROME-Hits wie „Das Feuerordal“, „Blighter“ und „Secret Germany“.

Erhältlich als:
- 2CD Digipak
- Schwarzes, 180 Gramm schweres 12“ Doppel-Vinyl, Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung, Gatefold-Klappverpackung, Mehrfarbig bedruckte Innenhüllen, Limitiert auf 500 Exemplare

Vines, the solo project of New York-based multi-instrumentalist and composer Cassie Wieland, offers a window into her inner world through expansive swaths of sound. She pieces together a celestial mix of synths, percussion, strings, and vocoded voice, making music that is at once deeply personal and cinematic in scope. This diaristic approach first took shape with her 2023 EP Birthday Party, and is crystallized on her debut LP, I’ll be here. With the sweeping and vulnerable I’ll be here, Vines arrives fully formed as an artist who crafts deeply resonant and open music–the kind that invites listeners in to listen, reflect, and share in the journey of learning through living.

“It was through making music that I was able to meet myself,” Wieland said. “Anything I’m going through or feeling is something that somebody else out there can relate to, and that’s really special to me.”

I’ll be here is both a culmination of years spent creating gossamer soundscapes and an opening to a new journey for Wieland as an artist. The album grew out of her years as a composer and songwriter, and builds on the language she developed on Birthday Party, which transformed the tumultuous feelings of the passing of time into minimalist meditations. It was just a start, though–a prologue, a development of the kind of language and ideas she wanted to express. With I’ll be here, she digs deeper and writes music that feels more sprawling, further solidifying her singular voice.

Wieland’s musical composition process is similar to journaling, lending itself to the music’s honesty. When she writes, she makes room for all the ideas she has; in these sessions, there are no wrong ideas, and she allows the music to be attuned to the experiences she’s having at the time. With I’ll be here, Wieland zeroes in on themes of anxiety, loneliness, navigating human connection, and having to grow up from a young age, ultimately coming to a place of acceptance. And though it began as a journal written in solitude, her collaborators shape the music with her.

Working with friends, in fact, was a crucial part of bringing the record to life. “Everything that was supposed to happen came together so easily because of the people involved,” Wieland said. I’ll be here was co-produced and recorded with Wieland’s longtime collaborator Mike Tierney, a four time Grammy-nominated engineer who has worked with artists across the contemporary classical and experimental scene like minimalist pioneer Steve Reich, LA’s preeminent classical ensemble Wild Up, and various bands on Bang on a Can’s Cantaloupe Music label. Percussionist and composer Adam Holmes and violinist Adrianne Munden-Dixon are two other longtime collaborators who are frequent fixtures of her live show. Holmes plays synths, drums, and banjo; in live settings, his kit is loaded with elements of the songs that are then triggered by MIDI, making the music an interactive, evolving experience. The album’s gentle, filamented edges are colored by Munden-Dixon, whose poignant string melodies elevate Wieland’s introspective compositions, as well as cellist Helen Newby, saxophonists Julian Velasco and Jordan Lulloff, and bassist Pat Swoboda.

Wieland takes an economic approach to writing music, building the swirling and immersive landscapes of Vines through short melodies, lyrics, and phrases. As each element layers and interweaves, they grow into sprawling webs of ghostly sound. Prior to Vines, Wieland composed pieces for other people to play using a minimalist’s sensibility, writing slowly unfolding melodies for instruments like violin and saxophone. In recent years, she sharpened her solo style across a variety of singles and covers which have garnered significant attention on social media for their emotional resonance (“being loved isn't the same as being understood” in particular went massively viral on TikTok in 2024). Birthday Party, her debut as Vines, brought her writing to a much more intimate space, centering on her vocoded voice cloaked in feathery reverb. A series of recent singles, meanwhile, including “I am my home,” showcase the way that Wieland’s music is born from the story of her innermost feelings, extending far beyond just the self.

Though Wieland’s music often deals with dark themes, it unfolds with tender melancholy, the kind that feels like a warm embrace. On “Evicted,” Wieland wonders if she’s getting sick or moving on, if she’s lost or found. Her vocals expand with each lyrical repetition, as the instrumentals slowly encircle and the music’s rhythm grows and bursts into a heart-wrenching, yet radiant wave reminiscent of post-rock bands like Explosions in the Sky. “Tired” follows a similar trajectory, building from a looping, melancholy rhythm and floating lyrics into a solemn resignation. Elsewhere, Wieland takes a more ruminative approach: “Omw” begins with twinkling piano and melancholy strings that gradually transform into an undulating mass. It is a song born out of the warm feeling of reminiscence, the slight return of hope that comes with nostalgia.

With any searching journey, there is also a point of understanding. The title track closes the album with the freedom of acceptance. A marching drum beats steadily beneath Wieland’s open vocals, moving forward, ever onward as it flies into the ether. In Wieland’s delicately textured music, there is room to come into yourself, and learn to love whomever that is. I’ll be here is a special space that can be all your own, one in which to feel what needs to be felt. “This is music for your story,” Wieland said. “I want you to use it how you need it.”

Tough Love brings to vinyl for the first time April Magazine's Sunday Music For An Overpass, a nine track collection originally issued on cassette in vanishingly small number by Paisley Shirt in 2021. The kind of mythical recording you might have once needed to know the band to own. Alas, no longer... Can the universe have two centres? Because if it's not Gothenburg it's San Francisco... It's impossible for me to think about what's going on in that particular part of the west coast right now without immediately being drawn to April Magazine, a comparatively loosely assembled three (sometimes four) piece centred around artist/musician Peter Hurley, who seem to simultaneously operate at both the heart and the margins of the current Bay Area underground. On the one hand they share members with many other bands, their guitarist/singer runs a gallery that functions as some kind of focal point/social space, and Cindy even have a song named after them. On the other hand, their music is resolutely lo-fi and invariably couched in a mysterious haze, the live footage available online seems to suggest that they sound slightly different each time they play, and there are reports they have dozens of songs (possibly albums?) that have not and may never be released, hidden inside their own private universe. On its initial release, Sunday Music For An Overpass was an early attempt to drag the group a little closer into the light, yet inevitably made them feel as endearingly enigmatic as ever. Typically, this vinyl reissue some four years later only goes part way in clearing that alluring fog. April Magazine channel the greats - Spacemen 3, The Pastels, early B&S, Mary Chain, Rainy Day/Opal/Mazzy et al - but submerge their obvious melodic capabilities within seemingly infinite spray can hiss, as if the songs are being pulled backwards through some vortex to the past. Half of these tracks are instrumentals, and it's in those moments that the band are perhaps at their most expressive, suggesting a very inviting melancholy that can't quite be figured out. Though the LP remasters the original recordings and is a little cleaner sounding as a result, no secret is being given away. The appeal is that the more you hear from them, the less you really know, and all the better for it. Maybe, then, it's that April Magazine are here to show there is no centre to the universe, that instead it's always just off to the side...

Mainstays of the D.C. DIY scene, Pretty Bitter live up to their name. Masters of all kinds of dissonance, they juxtapose stories of haunting and heartbreak with dazzling pop-rock arrangements. Pretty Bitter makes music that gets the emo kids dancing. They’re unafraid to infuse their blistering breakdowns with hits of disco and synthpop—and that’s exactly what they’ve done on Pleaser, their sophomore album, co-produced by Evan Weiss (Into It. Over It., Pet Symmetry) and Simon Small (Strawberry Boy) and out July 25th, 2025 via cult favorite indie label Tiny Engines. Following a string of ethereal singles, their 2022 debut Hinges formally introduced Pretty Bitter and their dreampunk to a rapidly growing audience. Fearlessly led by Mel Bleker and sharing studio and touring members with D.C. punk all-stars Ekko Astral, Pretty Bitter has been embraced by DIY fans far and wide. On Pleaser, Pretty Bitter have amped up the drama of their lush arrangements—a match made in heaven for the emotional ferocity of Bleker’s lyricism. “If everything is out there, nothing’s embarrassing,” they sigh on “I Hope You Do,” expertly toeing the line between the personal and the universal over bright, bubbling synths. On the arresting closer “Outer Heaven,” Bleker sings “Time isn’t a lover in the way it likes to play / I’m getting older, every due I pay / Time isn’t a bandage in the way you always say / I won’t be abandoned by myself again this way.” Their observational, heart-on-sleeve songwriting is as effortless as their flittering between the jangly, dreamy inclinations of rock, pop, and folk. Pleaser is a triumph, an instantly lovable record that reveals just how bright Pretty Bitter’s future is.

The Making Of Five Leaves Left tells the story of how Nick Drake’s debut album ‘Five Leaves Left’ came to be released in 1969. This Nick Drake Estate authorised 4LP edition comprises over 30 previously unheard outtakes from the sessions, compiled across three discs. The final disc to complete the package is the original Joe Boyd produced album. The whole set has been mastered by John Wood. Accompanied by a 60 page book printed on special textured paper stock, written by Neil Storey in collaboration with Richard Morton-Jack, complete with full track recording details, charts and recording history. This Nick Drake Estate authorised 4CD edition comprises over 30 previously unheard outtakes from the sessions, compiled across three discs. The final disc to complete the package is the original Joe Boyd produced album. The whole set has been mastered by John Wood.
Accompanied by a 60 page book printed on special textured paper stock, written by Neil Storey in collaboration with Richard Morton-Jack, complete with full track recording details, charts and recording history.

An adversarial network of ideas, electronic post-punk trio The Wants welcome the possibility that embracing friction can give rise to something cathartic and unexpected. Formed by Madison Velding- VanDam and Jason Gates in 2017, and with the addition of Yasmeen Night in 2021, The Wants' sound is defined by the push and pull of its members' processes: floating rhythms upheaving grounded songwriting, pulsing synths overwhelming live instrumentation. Their new record, Bastard, is an evolution of many of the seeds planted in their debut record, Container (2020), with a refined sense of acerbic emotional urgency and sonic experimentation. Drawing from a deep well of influences across decades and genres, The Wants forge an unlikely alliance of sounds that feels both radical and inevitable. Velding- VanDam channels both the raw power and snark of Public Image Ltd. and The Smiths' romance, while Gates draws intensity from bands like Bauhaus and Throbbing Gristle, and inspiration from experimental techno. Night's sound bridges inspiration from '90s alternative rock like Smashing Pumpkins and Garbage between the nocturnal trip-hop atmosphere of Massive Attack. The result sits in its own category—too raw to be pure electronic music, too mechanised to be straight rock— drawing favorable comparisons to early PIL and contemporaries like Model/Actriz while remaining distinctly their own beast.

Another timeless classic makes it on to the Dynamite cuts 45 series "I wouldn't Change a thing" made famouns by Coke Escovado as an up tempo rare groove dancer. Here is the Orignal cut by Mr hang on in there baby him self soul don Johnny bristol. Both tracks are so perfect for a 7" reissue. on the flip "Lusty Lady" Another mid-tempo soul gem, nice drum break intro and great groove.

Experience the Double-Platinum 1996 Album in Audiophile Sound for the First Time
Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set Is Sourced from the Original Analogue Tapes
1/2” / 30 IPS analogue master to DSD 256 to analogue console to lathe

If great art, as many believe, is inherently polarizing, then the Stone Temple Pilots’ Tiny Music… Songs from the Vatican Gift Shop easily ranks as the California-based band’s finest album. Simultaneously celebrated and castigated upon release in spring 1996, the group’s third full-length finds vocalist Scott Weiland and company expanding their “grunge” palette with a smart blend of glam rock, psychedelia, jangle pop, and other related styles. Having benefited from long-view reassessments that shed the biases and meanness of initial criticisms, the double-platinum effort is now largely and rightly seen as a creative masterwork. All the more reason why it deserves reference-grade production.

Overseen by producer Brendan O’Brien, Stone Temple Pilots used bedrooms, hallways, bathrooms, and the lawn to capture a broad blend of textures, spaciousness, and ambience that helped underline the group’s obvious (and somewhat unexpected) leap from normal “alternative” status to an artist whose aspirations went beyond that of many of its contemporaries. You can hear the multitude of details and tonalities with previously unattained clarity, presence, and scope on this fantastic reissue, which also delivers the impact and punch every rock record deserves. Another tremendous asset: The depth, grain, and pitch of Weiland’s voice.

For all the contagious choruses and glossy melodies that help make Tiny Music… Songs from the Vatican Gift Shop sparkle, the vocal performances of the late singer arguably rank as the best that the much-missed Weiland committed to tape. None other than the Smashing Pumpkins’ Billy Corgan — who, like many peers and critics, felt a pressing need to reevaluate the record as both time marched on and the self-importance attached to the “alternative” scene faded — praised Weiland’s efforts by noting: “Like Bowie can and does, it was Scott's phrasing that pushed his music into a unique, and hard to pin down, aesthetic sonicsphere.”

Smooth and diverse, those traits are everywhere on Tiny Music… Songs from the Vatican Gift Shop. From the clever combination of emotional closeness and distance he brings to the catchy albeit ultimately melancholic “Lady Picture Show”; to the lounge-fly balladeering that causes “And So I Know” to lightly swing akin to a bleary-eyed house band’s final number at a 4 A.M. bar; to the effortless cool and laissez-faire casualness he articulates on the grinding “Pop’s Love Suicide”; to the dimensional raspiness, defiant energy, and let-loose wail that sail through the crunchy “Big Bang Baby.”

The latter tune, the record’s first single and per Weiland a conscious attempt by the band to deconstruct its prior approaches, clearly borrows from the Rolling Stones’ “Jumpin’ Jack Flash.” Because of it, the song drew all kinds of barbs from naysayers. Their disdain extended to most material on Tiny Music… Songs from the Vatican Gift Shop, which indirectly references other prized acts such as the Beatles, Cheap Trick, T. Rex, and Lush. Those cynics failed to grasp that Stone Temple Pilots were paying homage and having a blast, with even Weiland, then battling serious substance-abuse and legal issues, getting in on the action.

Stone Temple Pilots’ skeptics also turned a deaf ear to the records’ stellar pop craftsmanship, sticky hooks, and sly commentary on music-industry machinations and fame. Not to mention the band’s intent, made clear from the outset. In an interview conducted in 1994, guitarist Robert DeLeo stated: “The last thing I wanted to do with this band was make everybody believe we invented something.”

Seen through that lens and the hindsight afforded history, and appreciated independent of the self-righteous authenticity standards of the day, Tiny Music… Songs from the Vatican Gift Shop sounds borderline fearless while authoritatively checking all the right boxes for fun, flavor, and finesse. Part winking send-up, part tribute to the glitter rock age, and part middle finger towards the hip crowd that didn’t know what they were missing, this mid-90s classic repeatedly invites you to drop the needle and press play.

Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP Set Plays with Authoritative Tonality, Airiness, and Clarity:
Pressed on MoFi SuperVinyl and Strictly Limited to
3,000 Numbered Copies
1/4” / 15 IPS Dolby A analogue master to DSD 256 to analogue console to lathe

Joni Mitchell is the only artist who could’ve made Hejira. The legendary singer-songwriter said as much when discussing the album decades after its release. Yet that fact seemed obvious from the moment the gold-certified effort streeted in fall 1976. An adventurous travelogue, probing narrative, and offbeat homage to freedom, Hejira remains an inimitable entry in the catalog of recorded music — a spare, gorgeous, meditative series of sonic vignettes comprised of floating harmonic pop, cool jazz, soft rock, and sensitive vocal elements that beckon feelings of motion, discovery, and self-examination.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set presents the record ranked the 133rd Greatest of All Time by Rolling Stone with definitive detail, richness, accuracy, and directness. Marking the first time the revered LP has received audiophile treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD.

Playing with a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible reissue reproduces in enveloping fashion the tones, textures, and craftsmanship that help Hejira function as the equivalent of a liberating trip down an open road with nothing but blue sky, natural landscape, and fresh air in the immediate vicinity. Passages bloom, carry, decay as they do amid an acoustically optimized environment. Soundstages extend far, wide, and deep, with black backgrounds and pinpoint images adding to the realism.

The reference-grade immediacy, airiness, and presence put in transparent perspective Mitchell’s dense strings of words, stream-of-conscious-like phrasing, and unhurried albeit forward momentum. Likewise, the instrumental contributions of her A-list support musicians — a cast that includes L.A. Express members John Guerin, Max Bennett and Tom Scott, plus Neil Young, Victor Feldman, and Abe Most — emerges with breathtaking clarity and dimensionality.

While Mitchell, whose intimate vocals and abstract guitar parts center everything, Mobile Fidelity's restoration of Hejira further reveals the visionary breadth of guitarist Larry Carlton and bassist Jaco Pastorius. Though heard on only four tracks, Pastorius' fretless bass epitomizes the fluid, subtle, flexible, roomy, and shape-shifting characteristics of songs that often appear to transpire out of nowhere akin to the formation of a puffy cumulus cloud overhead. In sync with Mitchell’s voice, Pastorius’ fusion hovers and floats, suspended in a fog you want to deeply inhale. The "grace notes" Mitchell desired on Hejira can now be heard in full. Ditto the luxurious tapestries of alinear lines, fills, and supplements unreeled on Carlton’s six-string.

Visually, the packaging of this UD1S set complements its identity as the copy to own. Housed in a deluxe slipcase, the LPs come in foil-stamped jackets with faithful-to-the-original graphics. This version is for listeners who desire to become immersed in everything about Hejira, including the unforgettable album cover — a pastiche of 14 different photos Mitchell used a Camera Lucida to assemble into one image that’s anchored by a portrait of her in a stoic pose — and the interior shots of Mitchell skating on a frozen Wisconsin lake wearing a pair of black skates, black shirt, and fur cape.

The notion of skating, feeling an awakening wind whipping against your face, and losing yourself to the surroundings are extremely apt for Hejira, which Mitchell wrote after a sequence of trips and relationships prompted her to reflect on the complicated conflicts between independence and marriage, success and satisfaction, duty and desire — and, more specifically, “the cost of being a woman.” The Canadian native delved into such themes before. But never as she does on Hejira, whose liberating, running-away aura doubles as another of Mitchell’s rejections of tradition as well as a suggestion of a better alternative.

At once observational and personal, expansive and insular, cheerful and poignant, Hejira spans a sea of human conditions, emotions, and circumstances. It addresses drifting, isolation, pleasure, place, time, and surroundings with strikingly poetic discourse matched with music that, save for the crooned ballad “Blue Motel Room,” forgoes conventional structures and choruses.

The jazz-based arrangements, marked by scaled-down percussion and all manner of bent, rounded, and unsettled notes, hint that Mitchell has no exact destination in mind. Excursions such as the moody “Furry Sings the Blues,” funky “Coyote” and edgy “Black Crow” throw open previously locked doors to possibility and journey. They signal it’s time for a welcome departure from norms and the past, one that leads to a heightened sense of clarity and perspective. Or, as Mitchell said upon choosing the album title, it’s time for “leaving the dream, no blame.”

Zum 40. Jubiläum von Modern Talking überrascht Sänger Thomas Anders mit einem ganz speziellen Album-Projekt: Eine Hommage an Modern Talking!

Zum 40. Jubiläum von Modern Talking überrascht der Sänger mit Neuaufnahmen der ersten sechs Modern-Talking-Alben und ist somit der erste deutsche Künstler überhaupt, der sein komplettes Frühwerk neu interpretiert! Seit 2003 geht das erfolgreichste Duo der deutschen Popgeschichte bekanntlich getrennte Wege, doch die Modern Talking Songs, zu denen man bis heute in aller Welt tanzt, bleiben nach wie vor weltweit unsterblich.

Die Neuaufnahmen der ersten Modern-Talking-Alben sind mit seiner unverwechselbaren Stimme eine Hommage an das einzigartige Erfolgsduo und an die glorreiche, vermeintlich bunte und sorgenfreie Zeit Mitte der Achtzigerjahre. Die einst vom pulsierenden Italo-Disco-Sound inspirierten Songs sind alle auf Anhieb zu erkennen, klingen jetzt aber dank modernerer Drums und Synths zeitgemäßer. Zusätzlich erscheint das 6-Album-Paket erstmals im Dolby-Atmos Sound, also 3D-Audio. Auf jedem Album überrascht Thomas Anders außerdem mit zwei bislang unveröffentlichten Songs, etwa “Don’t Fly Too High“ oder “Hold Me Tight In The Night“ auf dem ersten Album. Versierte Studiomusiker haben alle Stücke zusammen mit Thomas Anders unter der Ägide von Christian Geller komplett neu eingespielt, begleitet wird Anders dabei übrigens von denselben Chorsängerinnen und Sängern, die schon damals auf den Originalaufnahmen zu hören waren. Bei der Produktion wurden Spuren aus der Originalproduktion so detailgetreu wie möglich neu produziert und den neuen Versionen hinzugemischt.

Die sechs Alben – “The 1st Album“, “Let's Talk About Love“, “Ready For Romance“, “In The Middle Of Nowhere“, “Romantic Warriors“ und “In The Garden Of Venus“, auf denen alle großen Modern-Talking-Hits der 80er vertreten sind – erscheinen ab März 2025 in regelmäßigen Abständen bis Ende des Jahres beim Label Stars by Edel. Zum 40. Jubiläum von Modern Talking kommt es jetzt also einmal ganz Anders ...

After its first ever test press on Crack Records in 1999, already both sides was produced by Dj inc aka Alien5ive in the end of 1997 for the UK Based Record Label "No Smoking Records". In December 2024, Dj inc has made some effective arrangements on the original Tracks and the Repress is now scheduled for July 2025.

This Release is one of the very rare "No Smoking Records" Sounds those were high covieted in the Drum and Bass scene back in the days. The EP smashed the Dancefloor. Now you can preorder the official Repress of the Darkside E.P. fresh and straight outta the Studio. Both sides represent the fresh Club Sound from the mid to the late ninties Drum and Bass Jump Up era

Analogue Productions' UHQR, the pinnacle of high-quality vinyl! 45 RPM Ultra High Quality Record release limited to 5,000 copies Mastered from the original tapes by Ryan K. Smith at Sterling Sound Pressed at Quality Record Pressings using Clarity Vinyl® Purest possible pressing and most visually stunning presentation and packaging!

By the time Bob Marley died, he was one of the world's first global superstars, famous and lauded from Europe through Africa and the Americas. Some even saw him as not just a reggae singer but as a folk hero, a sort of freedom fighter, and to this day his enduring image feels greater than the music he made, writes Pitchfork. In the 21st century, Bob Marley is a global cultural icon and the first Jamaican inducted into the Rock & Roll Hall of Fame. 1977's Exodus — recorded in London exile after a failed attempt on his life — turned out to be Marley's biggest-selling studio album.

Time magazine named it the greatest LP of the 20th century. Other Marley discs had bigger hits and still others had better album tracks, but the balance Marley strikes between politics, religion, and romance on Exodus — compare and contrast the urgent title track and the laid-back "Jamming" — shows a pop star at the peak of his powers.

Now, Analogue Productions presents perfection — Exodus in UHQR 45 RPM format on Clarity Vinyl. This Ultra High Quality Record release will be limited to 4,500 copies, with gold foil individually numbered jackets. After the success of 1974's Natty Dread and 1976's Rastaman Vibration, Bob Marley was not only the most successful reggae musician in the world, he was one of the most powerful men in Jamaica. Powerful enough, in fact, that he was shot by gunmen who broke into his home in December 1976, days before he was to play a massive free concert intended to ease tensions days before a contentious election for Jamaican Prime Minister.

In the wake of the assassination attempt, Marley and his band left Jamaica and settled in London for two years, where he recorded Exodus. Exodus represented a subtle but significant shift for Marley; while he continued to speak out against political corruption and for freedom and equality for Third World people, his skill as a songwriter was as strong as ever, and Exodus boasted more than a few classics, "including the title song, 'Three Little Birds,' 'Waiting in Vain,' and 'Turn Your Lights Down Low,' tunes that defined Marley's gift for sounding laid-back and incisive at once," writes AllMusic. This UHQR is remastered at 45 RPM by Sterling Sound's Ryan K. Smith from the original analog master tapes. Each UHQR will be pressed on 180-gram vinyl at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a custom clamshell box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

"tilt your back
pay respect
hand on heart

we were raised without table,
without manners,

where is it we gather this time?


In ‘Of No Fixed Abode,’ Saint Abdullah and Eomac extend their experimentation with genre dissolution to press upon the tensions that exist between culture, place, and migration. This fourth collaborative LP addresses the inherent fluidity of cultural memory, accepting our inability to remain fixed in the past, and explores how best to carry its spirit forward into an ambiguous future.

Through extensive research into 50 years of Persian pop, they meticulously reinterpret the legacies of artists like Andy, Hayedeh, and Fereydoun Farrokhzad, refracting samples by way of gritty beat work-outs akin to more contemporary musicians like Rezzett and Madlib. Through extensive archival research and sampling, they recontextualise these iconic melodies, placing reverie and frenetic drum programming in conversation with one another in a fashion that seeks to express a sense of two disparate tendencies cohabiting together, all while refusing homogenization. This reimagining extends beyond mere homage, serving as a conduit for exploring the narratives of migrant experiences, both in the UK and globally.

Sonically ‘Of No Fixed Abode’ plays with new sampling techniques, utilising the quick-fire intensity of the Roland SP404 with the cool precision of digital DAWs, and features collaborations with drummer Jason Nazary, sound artist Aria Rostami (both New York based), New Zealand-based mHz, and a vocal collaboration with London-based artist and musician Raheel Khan."

GASTEROPODES KILLERS présente Poison Ideas son nouvel album aux sonorités punk-rock-ska. Nos Escargots Tueurs se sont formés il y a 33 ans en Seine St Denis, avant de ramper, lentement mais sûre-ment, jusqu’en Charente sans bave ni lé-zard !
Amateurs de punk-rock, de hardcore et de ska, ils revendiquent haut et fort leurs influences : Clash, Parabellum, Mano Negra, Bérurier Noir, Garçons Bouchers, Wampas, La Souris Déglinguée, Madness, Bad Manners, Specials, Total Chaos, Exploited, Agnostic Front et autres Poison Idea.
Ces Assassins à Coquille se composent de Nath (chant & basse), de Droopy (chant & guitare), de Drunk (choeurs & guitare) et de Boul (batterie & chant). Chacun puise dans l’actualité, son quotidien, ses expériences personnelles ou dans le cinéma pour produire chansons et musiques tranchantes. Et puis, si le dessinateur Chester assure la pochette, alors l’humour est aussi de mise.
Attention, nos Colimaçons Criminels n’en sont pas à leur première sortie discographique et connaissent le « Do It Yourself » sur le bout de la langue. Maîtres dans l’art de la reptation et en totale indépendance, les GASTEROPODES KILLERS ont enregistré et mixé ce neuvième album dans leur studio La Coquille 2.

C’est le retour des Mollusques Terrestres Meurtriers, il est temps de relever vos antennes et de prendre la coquille en marche !!!

Madlib’s WLIB AM: King of the Wigflip Returns on Double Vinyl via BBE Music BBE Music is thrilled to announce the long-awaited rerelease of WLIB AM: King of the Wigflip, the final installment in the legendary Beat Generation series from none other than Madlib. Originally released in 2008, this masterful collage of dusty loops, raw beats, and left-field soundscapes remains a high-water mark in the Stones Throw producer’s sprawling discography.

Now, for the first time in years, fans can experience the album in all its analog glory with this deluxe double vinyl edition, carefully remastered to preserve Madlib’s signature warmth and grit. A tribute to pirate radio culture and late-night airwaves, WLIB AM weaves together a rich tapestry of hip-hop, jazz, and soul, featuring an all-star cas t of collaborators, including Talib Kweli, Guilty Simpson, MED, and Oh No. Each track showcases Madlib’s uncanny ability to blur the lines between genres, effortlessly flipping obscure samples into hypnotic, off-kilter rhythms. From the hypnotic bounce of “Blow the Horns on ‘Em” to the smoked-out groove of “The Plan Pt. 1,” this is Madlib at his most playful, unpredictable, and inspired.

This special double vinyl edition, released exclusively via BBE Music, brings one of the Beat Generation series’ most celebrated albums back into circulation for crate-diggers and collectors alike. With original artwork and a high-quality pressing, this rerelease is a must-have for Madlib aficionados and vinyl lovers who appreciate raw, unfiltered beat craftsmanship. Don’t miss your chance to own a piece of hip-hop history—WLIB AM: King of the Wigflip is back and sounding better than ever.

Between The Seed And The Timber is a cycle of six songs exploring ritual and mystical aspects of the modern era. At times both noir and psychedelic, they evoke a strong sense of nostalgia for a disappearing age. In contrast to industrial music’s dystopian semiotics, Jas Shaw challenges us to hear sounds inspired by machinery, electricity and mechanisation in a new light.

“I made the synth parts for a Swans gig,” says Shaw. “As SMD we’d supported Swans. James was away doing some production but I didn’t want to pass it up, so I offered to open solo. It turned out the gig was sooner than expected so I made all these synth things to do live.”

Shaw put the tracks to one side and forgot about them, only returning to them years later. “You know when you’ve changed as a person and you listen back to something from a different angle? I suddenly could hear what I had been after. It reminded me of experiences I’d had at Swans gigs. I wanted to achieve that energy and charge.”

Dubbing techniques are crucial to the sound of the record. “I set up a few synths on a table and had my mixer running loads of auxes back into the desk so it was all on the edge of feeding back. Then I realised that if I put a mic into the desk I’d have an extra feedback route. I found a setting where I could get it to build when I pointed the mic at the monitors but then turning it away you could put the brakes on the regen.”

Between The Seed And The Timber is Jas Shaw’s inaugural release for the London based, Kindred-affiliated TEETH label. TEETH is rooted in a reverence for texture, space, and sonic decay - amplifying experimental sounds that blend dreamlike melodies with weathered landscapes. Each release informs the next, with every track as vital as the last to complete the whole set.

Orchestrated by Jojo Mathiszig-Lee, founder of London’s Kindred, the label celebrates like-minded talent from the community, providing a platform for transgressing music.

Artworks are made by Scarlet Griffiths.

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

D.S.A. and Night School Records are once more teaming up to release a limited edition 7”: Certe Notti by Molly Nilsson. The
record contains the two new songs Un Po’ Più Vicino al Cielo and Il Peggior Bar di Caracas.
The songs were written and recorded in August 2024 in San Giorgio del Sannio, Benevento, during a month long artist
residency, made possible thanks to the kind invitation and hospitality of AUNA a.p.s.
A whole moon spent between local festivities, sagras and late nights in the best of worst bars, making new friends
forever and life-long memories (including an unforgettable Inti-Illimani concert), all infused with sweet drinks and ancient
lore of local witches.
The cover art depicts the view from the window on one of those nights, the rising moon, Liquore Strega yellow, and the
inlay hints at Nilsson's favourite crosswords magazine. With all these distractions it’s really a wonder any music was
made at all. But thanks in large part to endless espressi and ginseng, two new songs came to be. The first is Nilsson’s
first opus in the Italian language! The second, a hommage to her favourite joint and hang out, The Worst
Bar in Caracas.

Subconsciousology is a full reworking of Dot Allison's 2023's Consciousology, by producer Lomond Campbell, who, as the title suggests, has made it deeper, darker and dancier. Whereas the original album was all ornate avant-garde folk and psychedelic explorations, this new take is as hard-hitting as it is heavenly, as beat-driven as it is beautiful, and crucially it finds Dot re-embracing the electronic music with which she first made her name in One Dove. "I love that Lomond has brought a rich musicality and has created wild universes around the elements he has chosen to retain in the various songs," adds Dot. "It reminds me of working with Andrew Weatherall in a way, where the mixes were bold and reinventive departures. "The whole concept of the original record is about interconnectivity and the electromagnetic aspects to consciousness, so the remixed version is like a rainbow diffracted from a beam of light." Everything in this pot of gold sounds and feels at once familiar but different - from the chugg This vinyl LP is of Pollination Splatter colour

Strut present a new single vinyl reissue of Vambe"s sought-after privately pressed album from 1982, Drumland Dreamland. A self-taught drummer, inventor, and sonic experimentalist, Vambe holds a unique place in British music. The creator of his own instrument, the drumgita (pronounced "drumguitar") or string-drum, he aimed to create music that had never been previously made to pursue access to the fourth dimension and forge a radical new musical language - intuitive, polyrhythmic and metaphysical. Drumland Dreamland is deep and haunting; a dense tapestry of layered percussion, time-warped tape loops, and spiralling drumgita figures, all underpinned by hypnotic improvisations from Brazilian pianist Rafael Dos Santos. It is both ecstatic and unsettling, a landmark recording in black British experimental music.

This is a tribute & was made during a place of sadness & grief for two amazing humans we lost last years, Rob Maguire on 18 december 2023 & Lea-Rose Besson aka Radical Softness on 15 February 2024.

They were the most unconditional loving persons I ever met, sharing love, breathing love, teaching us so much about being better everyday, leaving us as their mission on Earth were completed.

Still, the ones who stay, stand still. With only our memories to remember their souls, being infused by their aura of life forever. Its from those people when you feel instantly good around, making you feel comfortable, loving yourself more, accepting yourself & being vulnerable while powerful.

From all over the world and especially in Berlin, many of us where impacted so much by their kindness and souls, offering us a space to be heard & seen, when so many of us couldn't. We all know that it was such a privilege to knew them & shared wisdom with and timeless experiences, being kids around old souls, teaching us how to love beyond time & space.

Its from this place that most of the tracks of this EP were created, fighting for resilience through dark times. I felt the need to make them this tribute while healing from pain to find love in myself and others. Being grateful for everything that happens in life even if it never last.

Gaman, from the Japanese means, perseverance. That illustrate never giving up on ourselves, our dreams, our life, keep shining one day after the other, because being alive is the most unique privilege we will ever have.

While everything is temporary, music still belong, making them heard a little bit longer through vibrations.

My dear Rob, my dear Lea, may you rest in peace, may we see us again in another realm. We love you.

Strut now present a new single vinyl reissue of Vambe"s privately pressed original album from 1982, Drumgita Solo. A self-taught drummer, inventor, and sonic experimentalist, Vambe is a unique figure in British music. The creator of his own instrument, the drumgita (pronounced "drum-guitar") or string-drum, Vambe intended to create a kind of music that had never been made in order to pursue access to the fourth dimension. The album plays with time, mixing hypnotic, trance-like drumgita pieces with the same segments played backwards. You can hear echoes of African drumming traditions, minimalist repetition, and tape-manipulated musique concrète - but ultimately, the album defies genre. It is a solitary voyage, spiritual and futuristic.

Best of 2Pac is a posthumous greatest hits compilation series from Tupac Shakur released in two parts: Thug and Life. Both albums were released on December 4, 2007 in the United States and December 3, 2007 in the United Kingdom. Both compilations consists mostly of songs released before his death.

Pink Butter’s debut EP is a bold fusion of jazz, R&B, hip-hop, and indie, blending structured composition with raw improvisation. Rooted in deep grooves and spontaneous creativity, the project channels influences like J Dilla, D’Angelo, and Robert Glasper while carving out a sound uniquely their own.

With live instrumentation at its core, the band brings an organic, dynamic energy that bridges classic and contemporary influences. Collaborations with legendary artists like T3 of Slum Village and Jermaine Holmes (D’Angelo) add an undeniable depth, reinforcing their vision of modern soul-jazz innovation. This release isn’t just a collection of songs—it’s an experience where musical chemistry and fearless creativity take centre stage.
Pink Butter is a Scandinavian collective of four musicians—Oskar Bettinsoli (guitar), Björn Lehnert (keys), Malte Bergman (bass), and John Bjurström (drums)—dedicated to the art of live performance and improvisation. Merging jazz’s freeform energy with the rhythmic pulse of hip-hop and the soulful depth of R&B, the band’s sound is both timeless and forward-thinking. Their approach embraces the rawness of live musicianship, creating a fresh sonic landscape that resonates with the essence of legends like J Dilla and D’Angelo. With a deep respect for both classic and modern influences, Pink Butter is not just making music—they’re redefining the space where jazz, soul, and hip-hop converge.

Pink Butter’s debut EP is a bold fusion of jazz, R&B, hip-hop, and indie, blending structured composition with raw improvisation. Rooted in deep grooves and spontaneous creativity, the project channels influences like J Dilla, D’Angelo, and Robert Glasper while carving out a sound uniquely their own.

With live instrumentation at its core, the band brings an organic, dynamic energy that bridges classic and contemporary influences. Collaborations with legendary artists like T3 of Slum Village and Jermaine Holmes (D’Angelo) add an undeniable depth, reinforcing their vision of modern soul-jazz innovation. This release isn’t just a collection of songs—it’s an experience where musical chemistry and fearless creativity take centre stage.
Pink Butter is a Scandinavian collective of four musicians—Oskar Bettinsoli (guitar), Björn Lehnert (keys), Malte Bergman (bass), and John Bjurström (drums)—dedicated to the art of live performance and improvisation. Merging jazz’s freeform energy with the rhythmic pulse of hip-hop and the soulful depth of R&B, the band’s sound is both timeless and forward-thinking. Their approach embraces the rawness of live musicianship, creating a fresh sonic landscape that resonates with the essence of legends like J Dilla and D’Angelo. With a deep respect for both classic and modern influences, Pink Butter is not just making music—they’re redefining the space where jazz, soul, and hip-hop converge.

The Mighty Rootsmen features the unparalleled talents of Reggae superstars
Toots Hibbert, Luciano, Gregory Isaacs, Michael Rose, and the rhythmic prowess of Sly & Robbie, Mikey Chung, Robbie Lyn, and Sticky Thompson, alongside Zap Pow Horns members David Madden, Calvin ‘Bubbles’ Cameron, and Glen DaCosta. A groundbreaking collaboration – it is a celebration of reggae’s iconic artists, seamlessly blending the genre’s rich rhythms with rock and soul classics.

Brought together by producer Ralph Spall (Paul McCartney, Billy Joel, Cat Stevens) and recorded at the famous Anchor Studios in Jamaica. The album’s unique sound comes from the decision to let the musicians’ instincts drive the creative process, striking a balance between homage and innovation. Featuring classic tracks from the likes of Tom Petty, The Steve Miller band, The Eagles and Fleetwood Mac. It is produced with a reverence for authenticity and musical mastery. This once-in-a-lifetime project brings together a dream team of Jamaican legends, paying tribute to their artistry and the art of collaboration.

This is Timeless classics with a reggae supergroup. Tracks like “Fly Like an Eagle” showcase Steve Miller’s unexpected, soulful guitar work layered over a reggae groove. Meanwhile, Mike Campbell’s guitar on “I Won’t Back Down” deepen the album’s connections to rock royalty. Yet, the project remains firmly rooted in reggae. "My intention was to try to do something that hadn’t been done in reggae before by putting these giants of the genre together to make a record that leaves you with good feelings, they’re very recognisable as the songs they are but have a distinct reggae feel and stamp.” reflects Ralph.

The Mighty Rootsmen stands as a tribute to the enduring power of reggae music—an album that brings joy, good vibes, and a profound connection to musical history.