Suche:dru

With four albums already behind them, Sababa 5 have earned global support, from Songlines magazine and BBC Radio 6 Music tastemakers including Gilles Peterson, Jamz Supernova and Iggy Pop to France’s FIP Radio and Radio Nova, for their unique blend of traditional Middle Eastern celebration music with psychedelic grooves, funk, jazz, rock, and international vocal collaborations spanning Japan to India. The Paris-based group have taken this sound to stages across Europe, including Reeperbahn Festival and Dresden’s Super Fest.

Ça Va Ça Va is the band’s hafla album – a return to the wedding and event celebration music that first shaped Sababa 5. Recorded in Paris, it draws directly from the sounds of hafla – the joyful, communal music heard at Middle Eastern weddings, parties and festive gatherings – with a sprinkling of influences from the wider Mediterranean. The group utilise their classic combination of electric guitar, bass, drums, organ, and synths to transform these ideas into vibrant melodies, dance-ready rhythms, and a spirit of abundance and
togetherness.
Opening track “Bienvenue” sets the tone with a mysterious, longing guitar solo before bursting into an irresistible rhythm and jubilant guitar motif. It flows seamlessly into “Allô”, straight into wedding-riot territory – a fast-rising instrumental that showers the dancefloor with energy as it builds around a hypnotic, arpeggio-driven riff. The album is almost entirely original material, with two key exceptions: “Ypárcho” (I Exist), a beautiful instrumental journey inspired by a classic Greek song traditionally performed by Stelios Kazantzidis, and “Asunsan”, an instrumental flip of the much-loved Sababa 5 collaboration “Nasnusa” with Yurika Hanashima. Another impressive step in the Sababa 5 story, Ça Va Ça Va captures both joy and longing – the unmistakable warmth of Eastern Mediterranean celebration and the band’s surf-rock edge – sounding more confident, spirited and deeply rooted than ever.

Antibalas established themselves in the late 1990s as a burning, tough, horn, bass and drum driven Afrobeat ensemble cut from the Fela Kuti mold, who were politically savvy and socially conscious. Their live shows have been incendiary events where rhythm and perspiration from completely crazy, booty-shaking audience members shared something deeper and wider than the music itself. Security is Antibalas' fourth album. It was co-produced by the band with John McEntire from Tortoise.

The group, whose name means "bulletproof" in Spanish, has indeed proved they possess the mettle to not only survive but also thrive by employing a musical arsenal that has become known worldwide. Initially using the revolutionary blueprint of afrobeat as a launching pad, the dozen-strong members of Antibalas weave a rich tapestry of latin, jazz, classical, funk and soul into their horn-driven mix. Words fail in trying to describe the result: simultaneously polyrhythmic and political, independent and contagious, and the reason why many have credited the band for introducing afrobeat's framework to a new generation.

Security is available as a numbered limited edition of 500 copies on white vinyl and is packaged in a gatefold sleeve.

Three musicians, three worlds: raga, jazz, and their own imagination. East, West, and the fusion in between. Rhythm, melody, and harmony. Past, present, and future.With 3, Ragini Trio experiences a rebirth - after years of deep exploration into long-form ragas, South Indian Carnatic traditions, konnakkol, and Western jazz.Thirteen years after their debut, this album stands as an homage to both worlds. By refusing to play things "as they should be played," Ragini Trio finds the in-between space - that magnetic tension where jazz and Indian classical music meet and transform each other.



Inspired by the traditional Indian trio of tabla, flute, and tanpura, Ragini offers its mirrored jazz response: drums, saxophone, and double bass. The result unites jazz, which seeks freedom within structure, with raga, which seeks structure within freedom. Far from purism or imitation, Ragini Trio crafts a living dialogue between rhythm, melody, and tone colour.



And it's a statement. Bursting with energy, depth, and self-irony, 3 is a vibrant antidote to the algorithmic recycle-music of today and tomorrow - born from the chemistry of three exceptional artists: saxophonist Nathan Daems, drummer Lander Gyselinck, and double bassist Marco Bardoscia.

Candiria’s classic album 300 Percent Density reissued on vinyl in February Hailing from Brooklyn, New York, Candiria is one of the precursors of the mathcore genre. Formed in 1992 by vocalist Carley Coma, guitarists Chris Puma and Eric Matthews, and drummer/bassist/keyboardist/trumpeter Kenneth Schalk, the band was part of the second wave of New York hardcore, but subsequently expanded its performance to also play jazz, hip hop and progressive rock. 300 Percent Density is Candiria’s fourth studio album, originally released by Century Media in 2001. Critically praised for its experimental mix of metal, jazz, hip-hop, and hardcore, the album’s intricate arrangements and adventurous sound have made it a classic, stated by fans and critics as the band’s best work to date. The 25-year-old album is available on wax again in February 2026 via Svart Records. “Candiria have always been—and remain—a favorite among the group’s peers, because musicians already possess the vocabulary to understand the intricacy of the band’s arrangements and the tireless care and craft that went into perfecting them. Like the Dillinger Escape Plan and Converge, Candiria pressed hard to break through the monoculture of metal’s awkward transitional years and pave the way for similarly experimental bands.” -Decibel Magazine

Candiria’s classic album 300 Percent Density reissued on vinyl in February Hailing from Brooklyn, New York, Candiria is one of the precursors of the mathcore genre. Formed in 1992 by vocalist Carley Coma, guitarists Chris Puma and Eric Matthews, and drummer/bassist/keyboardist/trumpeter Kenneth Schalk, the band was part of the second wave of New York hardcore, but subsequently expanded its performance to also play jazz, hip hop and progressive rock. 300 Percent Density is Candiria’s fourth studio album, originally released by Century Media in 2001. Critically praised for its experimental mix of metal, jazz, hip-hop, and hardcore, the album’s intricate arrangements and adventurous sound have made it a classic, stated by fans and critics as the band’s best work to date. The 25-year-old album is available on wax again in February 2026 via Svart Records. “Candiria have always been—and remain—a favorite among the group’s peers, because musicians already possess the vocabulary to understand the intricacy of the band’s arrangements and the tireless care and craft that went into perfecting them. Like the Dillinger Escape Plan and Converge, Candiria pressed hard to break through the monoculture of metal’s awkward transitional years and pave the way for similarly experimental bands.” -Decibel Magazine

Denmark s forward forward-thinking trio Human Being Human return with a luminous new collaboration featuring acclaimed American saxophonist Chris Cheek. Rooted in lyricism, groove, and connection, Being captures the essence of what it means to create music as a shared act of humanity. Formed by bassist Torben Bjornskov, pianist Esben Tjalve, and drummer Frederik Bülow, Human Being Human have quickly earned a reputation as one of Europe s most distinctive piano trios. Their blend of Nordic lyricism and modern rhythmic vitality has drawn international acclaim for its compositional voice and cohesive ensemble sound. On Being , the trio expand their world through the unmistakable voice of Chris Cheek - a player known for his warm tone and intuitive lyricism, whose credits include work with Paul Motian, Brad Mehldau, and Charlie Haden. A long long-time admirer of Cheek s work and humility, Bjornskov reached out and invited him to Denmark to collaborate with the trio. In the studio, the chemistry was undeniable, as most of the album s tracks were captured in just one or two takes, preserving a sense of immediacy and spontaneity. Reflecting on what it means to be human, our capacity to make decisions and shape the world around us, as well as the damage our species has done to our planet, the quartet channels a spirit of contemplation and rediscovery through elegant, organic compositions. Tracks like Human Rights showcase the group s deft interplay and melodic clarity, while the tender ballad Being highlights Cheek s burnished tone and Tjalve s spacious harmonic sense. On Filia , a duo between bass and saxophone, the music unfolds in weightless dialogue and pure musical empathy. True to the group s name, Being reflects on what it means to live, connect, and create as humans in a complex world. The essence of music is working together, being open, being positive, and wanting to experience new things, things," says Bjornskov. That s essentially what jazz is - it s influenced by any and every culture in the world, every kind of music and race, and every person is part of it.

21 songs are barely enough to show the "Many Faces of Memphis Electronic"! From less than a minute twisted psych pop and heartbreaking ballads to two minutes something fuzzy rockers, electronic r'n'r and sexy glam, you'll find all you need and much more in this incredible album! It takes at least 21 songs - and 30 Polaroids on the cover! - to show the "Many Faces of Memphis Electronic"! On the XYZ, Dum Dum Boys and NON! guitar player third solo album, entirely home recorded, you will find plenty of fuzzy bangers, trashy rockers, electronic r'n'r, lo fi disköpunk, sexy glam, twisted psych pop and heartbreaking ballads, 21 different faces on just 2 album sides! With the help of 60s fuzz pedals, analog synths, a wild organ, an out-of-space Theremin, raw drum machines and tons of delay, reverb and strange noises, all used to maximize the minimalism of the tracks, Memphis Electronic manages to create an orgy of arousing sounds, an overdose of aural pleasure, an irresistible avalanche of exciting songs, all ranging from 49 seconds snapshots to 2 minutes something instant classics!

Slow Process welcomes D3070 with ‘Crossing The Unknown’, a brisk six track collection of contemporary, inventive electro.

Track by track:

Opener ‘Interceptor’ is a concentrated blast of overdriven, swaggering energy, setting the tone for an immersive and hard- hitting joyride of a release. A pacy electro assault follows in the form of ‘CBRN’, before pulling the tempo back for the title track, an eight-minute swathe of dark acidic sequences and classic drums. ‘Aim High’ strikes a similar, albeit less dark chord, with some sweeter melodies on display. The introduction of ‘Quantum Leap’ is suggestive of a straightforward four to the floor workout, before evolving into something altogether more off-the-wall. Finisher ‘Our Galaxy’ is a slightly more subdued, minimal affair comprised of lucid melodic motifs, percussive zaps and sub basses.

Includes download codes.

The Cabildos remain one of the most enigmatic names to emerge from the 1970s library music scene. Little is known about the group, except that their name was inspired by Johnny Cabildo, an Italian keyboardist and composer who had relocated to Florida. Their recorded legacy is strikingly concise: just three albums—Yuxtaposición (1972, released under the name Cabildo's Three), Cross Fire (1974), and the later Where Is the Cat? (1979).

Entirely instrumental, the Cabildos' music is driven by deep grooves and a vibrant blend of Latin influences, funk, and jazz fusion, often enhanced by Afro-tribal percussion. Conceived primarily for use in films, documentaries, and advertising, their work naturally belongs to the world of synchronization music.

Cross Fire stands out as a particularly compelling chapter in their catalog, distinguished by an impressive range of textures and moods achieved through the minimalist interplay of bass, drums, and keyboards alone.

Now reissued by Redi Edizioni on clear red vinyl, this excellent record returns with a faithful reproduction of the original artwork, offering a renewed opportunity to appreciate one of library music's most elusive gems.

Sonor Music Editions proudly presents an absolute Italian mood music grail and one of the best Library Music recordings ever - A.ALESSANDRONI's RITMO DELL'INDUSTRIA n.2, a true legend in the field. This is the maestro most prized and sought-after album, produced in 1969 on the small Grand Prix label, part of the Leonardi publishing group. A mindmelting record featuring some of the most killer driven beats ever! - dark vibes and haunting atmospheres with constant and moody Industrial rhythms, filled with tons of drum breaks, trippy Scat vocals and eastern inspired obsessive grooves. Music has been remastered from the original stereo master tape and the back sleeve will feature deluxe liner notes written by Mr. Jonny Trunk. HOLY GRAIL ALERT!

Back on vinyl for the first time since 2015! New remastered version with alternative cover art. Unlike all DJ Yoda’s artist albums, ‘Breakfast Of Champions’ features the same collaborators on every track effectively putting together a band. The genesis of the project was in Manchester, where the legendary Band On The Wall venue asked him to host an artistic residency. He put a call out for local musicians, did auditions, and selected three rappers. Two were local to Manchester - Truthos Mufasa and Sparkz. They were local legends making up parts of The Mouse Outfit and LVLZ. And the third was Rex Domino from down south, who was a British MC who Yoda thought would gel well with the other guys. They wrote, rehearsed and recorded intensively in Manchester - performed a memorable series of live shows (including an epic Glastonbury show), and Yoda put the finishing touches to the album back in London after the fact. “It was such an enjoyable experience” says Yoda. “Lifelong friendships were made, and most excitingly two of the band members got together (James Breen, drummer, and Claire Northey, violinist) and had two kids! So there are Breakfast of Champions humans out there too!”

This new pressing features alternative artwork that was never used at the time of the album’s original release.

A high-energy dance music genre that blends elements of pop, electro, hip-hop, and Latin rhythms, freestyle creates an irresistible urge to dance. It's characterized by fast tempos, complex drum machine patterns, and prominent synthesizers and often explores themes of love, heartbreak, and relationships. On this brand- new compilation, we celebrate the best of Tommy Boy and Easy Street's contributions to freestyle culture. This collection brings together hits from TKA, Jocelyn Enriquez, Information Society, K7, Jasmine and more.

The Gun were a late 1960s British rock guitar trio who had a single British Top Ten hit, “Race with the Devil”. Brothers Adrian (guitar) and Paul (bass) Gurvitz teamed up with drummer Louis Farrell to create some energetic music. They founded a crossroads between blues rock, progressive and metal. The power trio created one of the best kept secrets from the sixties.

Based on an unbelievable true story, Roofman follows Jeffrey Manchester (Tatum), an Army veteran and struggling father who turns to robbing McDonald's restaurants by cutting holes in their roofs, earning him the nickname: Roofman. The film's score was composed by Grizzly Bear multi-instrumentalist Christopher Bear, with contributions from The War on Drugs' Jon Natchez. Christopher Bear is a drummer and multi- instrumentalist member of the Brooklynbased indie-rock group Grizzly Bear. He continues developing his independent career, most recently working on arranging soundtracks for the HBO series High Maintenance, and scoring the 2023 film Past Lives alongside his bandmate Daniel Rossen.

Six years after his Grammy-nominated LP5, Sascha Ring - aka Apparat - takes a bold dive into the complexities of life with his sixth studio album.



A Hum Of Maybe is detailed, finely crafted, and wonderfully unpredictable. At its core, the record is about love - for himself, his wife, and his daughter - and holding onto it, protecting it, and constantly recalibrating as it is in a constant state of flux. As the title suggests, the songs explore being stuck in between: not a clear yes or no, but A Hum Of Maybe.



Ring elegantly combines the perspectives of an electronic producer and a classical composer, working closely with long-time collaborators Philipp Johann Thimm (cello, piano, guitar) - who also co-wrote and co-produced the record - Christoph “Mäckie” Hamann (violin, keyboard, bass), Jörg Wähner (drums), and Christian Kohlhaas (trombone). The album also features Armenian-American artist KÁRYYN - Apparat’s Mute labelmate - on ‘Tilth’, and Berlin-and Rome-based musician Jan-Philipp Lorenz (aka Bi Disc) on ‘Pieces, Falling’.



A Hum Of Maybe is complex, deeply personal, and embraces a state of limbo, marking an exciting new chapter for Apparat.

Rough Signal Records steps into 2026 with a fresh release, featuring Bristol’s young lion KaiDub, following their link-up on last year’s “Osaka to Bristol” release.

Built together in Kai Dub’s Bristol studio, this record is a straight-up expression of their shared love forUK Dub. Militant UK stepper drums and powered by Dub Kazman’s signature synth lines, forming a heavy, sound system–minded steppers tune.

Every track comes, Dub Mixed by Dub Kazman, including the ruf and tuf cut he dropped as the final tune at NO LOGO FESTIVAL last year. No frills, just heavyweight, pressure, and sound system vibes

After the last release ‘Innocence’ with Nathan Cable gaining support from John Digweed on his renowned Apple Music Compiled & Mix Series, we bring forth one of the remixers for his own single release ‘Snake Altar’.

Richie Blacker Northern Ireland’s progressive house & breaks prodigy who’s seen releases on Sasha’s Last Night On Earth, Scream’s Of Unsound Mind, Franky Wah’s Shen, Armada, Anjuna Deep and so many more including his own imprint Mess Express. We were super excited to sign the original breaks mix of ‘Snake Altar’, an amazing ethereal & euphoric progressive breaks track with its haunting ethnic vocals we just knew who could step up as the originator (this time) to remix the third Break-The-Future project.

Ray Keith delivered his signature sound system Jungle / Drum & Bass sound to which we think you’ll absolutely love, just oozing in class. The way it flows from euphoric to his heavy hitting signature darkness to deep jungle roots and back is exactly what we wanted from the big man himself and absolutely buzzing to have Ray on the label for our third release.

To finalise the package Richie Blacker delivered a 4x4 mix, now the lead track and to close off the release a beatless mix & acapella giving you some serious tools to work with… THIS IS ESSENTIAL!

Like a crusader, Apollo Noir relentlessly pursues his noble cause: pushing modular and analog experimentation ever further while remaining irresistibly accessible. Here is CORE, his 4th studio album, fusing post rave techno Detroit à la Drexciya and Manchester early Autechre (Spiral), OPN’s most epic era (Nobody On The Floor), futuristic UK jungle (A Good Brainwash), letfield amen-breaked ambient (ça va), a mega massive cadaver exquis song (CORE) featuring Remi Sauzedde’s very close friends (Janis, Ley, Claude Violante, Silly Boy Blue, S Diamah, Serguei Spoutnik and Fly HQ), diving deeper - as a true obsessive lover of drum machines (TR909, TR808 and TR606) - in the raw deconstruction of techno rhythms (Déconstruire), unleashing a dark and heavy Bassline at 145 bpm with grime vocal samples (Patternity), heavy modular beats blending perfectly with soft and voicy Korg M1 pads (Shame)... Apollo Noir knows his classics and contemporaries inside out, forging his own path with deranged yet beautiful twists (Thedral, Arco Arca).

Finlay Shakespeare is an electronic musician working from the UK and across Europe. A childhood obsession with his parents’ record collection led him to both create his own music and build his own synthesizer equipment throughout his teenage years. After studying audio engineering, he was invited to become in-house engineer for the Moog Sound Lab UK, leading to collaborations with acts as diverse as Suicide, Charlemagne Palestine, The Grid and Mica Levi & Eliza McCarthy, both in live and studio environments. In 2017, Finlay began recording a series of monthly “Housediet'' releases - all improvised and captured at home utilising drum machines, modular synthesis and processed vocals. After several encounters with Peter Rehberg of Editions Mego, a compilation of the Housediet tracks was drawn up by Rehberg and Shakespeare, culminating in the release of “Domestic Economy” in early 2019. “Solemnities' ', a second album for Editions Mego appeared the following year. In the period since Rehberg’s untimely passing, Finlay has recorded for Superpang, Modulisme and his own GOTO Records imprint. “Illusion + Memory”, meanwhile, continues on from where “Solemnities” left off, with Finlay once again aiming to work at the fringes of electronic pop. Alter is proud to present “Illusion + Memory”, the third full length physical LP of Shakespeare’s utterly unique and sophisticated output. Shakespeare’s obsession and knowledge of late 70’s and early 80’s electronic pop music is once again at the forefront of this intense and dynamic release. Alas, this is not some retro throwback. Shakespeare’s deep understanding of his machines breathes new life into a genre of music once defunct. Supporting the likes of Blancmange bolstered his reputation for sublime synth hooks and dark lyrical content. Building on his previous work in the field “Illusion + Memory” is an unabashed pop record, as joyous as it is intense, moving from the brooding opening ballad “Your Side of the River” through the punchy “Theresa” which could be read as a love song to Throbbing Gristle’s United. Elsewhere “Climb” unleashes the opportunity to the dancefloor as wild electronics snake into all manner of schizophrenic shapes. There is a romantic side to this music. In its homage to electronic pop of the late 70’s and early 80’s but also in the emotional punch Shakespeare injects into every second of every track. Shakespeare’s reboot of these musical forms is technically impressive, one rich in feeling and deep in emotion, atmospherically and vocally. The two come together to create a unique visceral sonic experience… today!

5 track EP including 2 remixes.

Embracing a rich Italo-heavy sound infused with global music elements, 'Ritmomento' firmly positions the duo as modern-day producers carrying on the legacy of both the late '80s Italo wave and the cosmic, tribal, and Afro-influenced Italian 90's electronic scene. In addition to the EP's three original tracks, London-based South African DJ/Producer Esa and Amsterdam’s Masalo both contribute stellar remixes and re-interpretations that transport the originals to new dimensions.

The EP kicks off with 'Luna Manga', where a strong Italo synth bassline and a catchy, Mory Kante-inspired vocal hook set the tone for the journey ahead. Following this is 'Echo Danza', with mid-tempo grooving rhythms and captivating vocals that highlight the duo's unique interpretation of the diverse influences that defined the late '90s Italian electronic scene - also showcased in 'Nakarap', a track featuring infectious synth stabs that delivers a classic cosmic vibe, paying homage to the genre's rich roots.

With Esa's live band version of 'Nakarap' things are taken up a notch, introducing a lively bassline and dynamic drums that weave throughout the track. Lastly, Masalo adds his unique touch to 'Luna Manga', transforming for the peak-time dancefloor with hypnotic arpeggios and an ecstatic build-up.

Visionary producer Ilija Rudman confidently lands into the Black Jukebox catalogue with a truly mesmeric 2-tracker.

Based in Zagreb, Ilija has carved a legacy over more than two decades in the game throughout which he's released over 100 vinyl EPs and 8 studio albums, collaborating with the likes of Robert Owens, Greg Wilson, Faze Action and Ron Trent.

'Euphonia' opens up with a suave slice that melds deep Detroit shades with the flexible Electro funk of Morgan Geist and Clatterbox. A sawtooth bass climbs steps in the low end while gorgeous synths bend and glide at the groove's core. Crisp, delicate drums kick, snap and shuffle as they guide a low-slung, retro-futuristic trip to the moon.

'Late Checkout' draws for a similar sound palette as rich analogue pads form a magic carpet for Prelude-era synth phrases and another sneaking bass line. The tone is elegant and nothing feels forced as Ilija Rudman traverses the vast sonic territory between Salsoul-era Disco and modern Electro-funk in the most fluent and stylish manner.

Stonie Blue and Stephen Carmona come from house music's true school and combine here for a set of timeless, tough, but emotive jams steeped in Midwest magic. 'Joyful Noise' is a playful tease that rides mid-tempo kicks but is buzzing with little synth details that want you to go faster. 'Embrace The Night' is moody, smoky late-night house swing, 'Max Potential' has analogue drums coated in dust with plenty of room left for the sparse chords to make an impact way beyond their minimal design. 'Stone' ramps up a gear with more dense grooves and 'About Time' is all about pinging kicks and fuzzy pads as conscious spoken words bring the mental heat.

If you’ve been following the wanderings of prolific psychedelic magicians Elkhorn, you might be surprised that Elkhorn guitarist Drew Gardner’s solo LP Wave Field is the most out and out “rock” record on VHF in many years. Working here in a small group with excellent players Tom Malach (guitar), Andy Cush (bass), and Ryan Jewel (drums), Gardner cuts loose on a set of propulsive and swinging material that allows him to greatly expand his sound into unexpected areas. “Rhizoid” starts with a sneaky groove riding the nimble bass and drums of Cush and Jewel before a leap into the ripping Sonic Youth/NEU! hybrid of “Space Ray.” “Shadow Casting Grass” brings things back down to end the side with some Elkhorn-adjacent gentle guitar weave backed again by the sly rhythm section. “Wave Field” kicks off side 2 with an extended buzzy guitar raga with Cush’s melodic and fat bass providing jammy counterpoint. The epic “Mayan Bees” closes the LP with an extended workout on another extremely fine drum and bass ostinato, a hypnotic minor key riff that slow builds over 10+ minutes.

Uno Loop presents the first-ever licensed reissue of Phil Yost's Bent City (1967), a rare Takoma Records title and a landmark of jazz-folk-psych experimentation. Long out of print and previously unavailable digitally, Bent City has gained strong early support with airplay on BBC Radio, Worldwide FM, KCRW, and WFMU, alongside praise from Bandcamp Daily and Aquarium Drunkard. Yost's cult following - particularly within spiritual jazz, American Primitive, and experimental ambient and folk communities -positions this reissue as a high-interest archival title with strong cross-genre appeal.

This edition is fully authorized by the Phil Yost Estate and Concord Records and pressed in a limited run, packaged with an 8-page archival booklet featuring previously unseen photographs, biographical notes, and original research on the enigmatic Bay Area musician. Bent City is the first release in a broader, multi-title restoration of Yost's catalog, with three additional albums to follow (at minimum), including Fog-Hat Ramble (1968), Touchwood's Dream (1970) and Yost's unreleased Sunflower Sojourn - creating a sustained narrative for continued retail engagement. With growing press attention, renewed visibility among collectors, and its unique place in Takoma and outsider jazz-adjacent history, Bent City is a standout catalog builder for stores specializing in jazz, experimental, ambient, and private-press reissues.

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’

Bunny ‘Striker’ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby
purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home-made mixing console, and his impressive collection of jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Reggae music in many ways reminds us of America’s Motown records. The music comes out of its stable fast and furious we tend to know the songs, the artists, the
studio but who? are the players. The unsung heroes that in many cases, cut most of our favourite tracks One such band this applies to in the Reggae field is the Soul Syndicate Band.

Each Jamaican record producer would have their favourite set of musicians they would use, availability permitting. Although several musicians crossed over into different named bands. For example, a set of players working with Producer Bunny 'Striker' Lee would go under the guise of The Aggrovators. The same group working with Producer Joe Gibbs would work under the name The Professionals. Soul Syndicate were the band of choice for Producer Niney the Observer, who used them for his own recordings and when you put that aside the other artists Niney produced, Dennis Brown, Max Romeo, Michael Rose, I Roy, The Ethiopians, Barry Brown, Gregory Issacs and Freddie McGregor.  To name a few and not necessary all, you begin to see the amount of material this set of musicians played on.

Built around the rhythm section of Calton 'Santa' Davis and George 'Fully' Fullwood, drums and bass respectfully. They were usually accompanied by Earl 'Chinna' Smith, Tony Chin on guitars, Keith Sterling, Gladstone 'Gladdy' Anderstone, Bernard 'Touter' Harvey, organ/keyboards and Noel 'Skully' Simms, percussion. Niney's tracks tended to be rhythm heavy and thus Sound System favourites.But when brass was needed/called for ,this was provided by the likes of Tommy McCook, Bobby Ellis, Felix ' Deadley Headley' Bennett. Niney not having a studio of his own at the time used most of Kingston's studios, again availability and money providing. But most of these cuts
selected for this release were cut at Channel 1 and a few exceptions at Randy's Studio 17 and at Joe Gibbs studio at Burns Avenue.

Niney also worked closely with King Tubby on his dub plates, so tracks after the recording sessions were taken to King Tubbys for reconstruction and sometimes
re-voicing over an existing rhythm. These were then used as version sides to the vocal cuts, but most importantly used to nice up the dances, being played out on King Tubbys Hometown Hi-Fi Sound System. We have pulled together a selection of such dub plate specials cut by the Soul Syndicate band for this release. Dub sides that emphasise how well the band worked together, and with Niney at the reigns and the added bonus of some Tubby magic sprinkled on top. Please see our Niney the Observer at King Tubbys 1973-1975 (JRO11) for further examples of this work.

We at Jamaican Recordings hope we are not alone in saluting the musicians, that played such a big part in producing many of our favourite Reggae Sounds. Having released titles by The Revolutionaries (JR003), The Aggrovators (JR005), Sly and Robbie (JR006), we are now pleased to release a selection of rare Dub cuts by another one of Jamaica's finest, the Soul Syndicate band to our catalogue...

Respect Jah Floyd.

2026 Limited Repress

Twisted Utopia is jeku’s first solo release on Harmony. The EP is a funky and eclectic synthesis dedicated to rhythm lovers. Twister Utopia’s progressive roller weaves high-energy elements with a splash of sonic psychedelic textures.

Side A kicks off with “Rhythm Circuit” galactic, drum-driven tunes, followed by “Frantic Antics,” whose rich chord progression is paired with airy vocals and wiggly basslines.

On the B-side, “The Future” delivers prog-infused euphoria beat-matched to perfection. The EP is wrapped up with “Borealia,” a multi-layered symphony of transcendence and tempo shifts.

This one already has created a nice little stir with the soul crowd, and rightly so.

The A side "Is It Still Good For You" is a wonderful Modern soul chugger that oozes that late night club feel. Simple in its melody and production but bounces along so soulfully. Great vocals but the late Johnny Kemp with the group on some killer backing harmonies.

Kinky Foxx could be described as an ever changing funk machine with nuts and bolts that remained strong over time. This band planted its roots in the Bahamas where the name "Kinky" was given to Joseph Foxx and teaming up with his Brother Donny Foxx formed the musical group named, "DER KINKY FOXX"!!! The two Foxx Brothers added members Kevin Bassett-Guitar, Johnny Kemp-Vocals, and Burnis Stubbs-percussion performing clubs and concerts in the Bahamas. Moving to New York City Kinky Foxx changed members to compete with the major funk venue during the early 80s. Acquiring Dan Atherton Sr. AKA "The Slammin 'Drummer", Larry Robinson-Keyboardist, Timmy Allen-Bass, Kevin Robinson-Guitar these musicians combined forces with Johnny Kemp, Kevin Bassett, and Burnis Stubbs to form the New York City based "Original" Kinky Foxx from '79 to '81, burning up the famous Cellar Club in NYC, the mecca for Black Funk entertainment. With a front line of top musical talent some members moved on to follow solo recording and production careers and contracts. To fill lead gutiarist and Bass guitarist vacancies Jerry Powell was added on guitar,and Leslie Booker was added on bass. In 1982 Kinky Foxx added Vincent Lilly on lead vocals and Curtis Styles on Keyboards.The Foxx released the hit song "So Different" on Sound of New York records in '83 and embarked on a Canadian experiment leaving the US to play briefly in Montreal, Quebec at Club Checkers. The rest is history as the band became so popular in Quebec and Ontario they could have been called Canadian residents, usually working 6 nights a week and 11 months out of the year from '83-'91 . Dan Atherton moved on in '83 to pursue a career as The "Slammin Drummer" for hire, and was sought after by a barrage of major artists,touring with Bobby Brown,New Edition,Levert,Teddy Riley and Guy,Cameo,and Atlantic Starr. Tyrone Govan aka "King" moved in as the Foxx Drummer in '83 and remained with the group until the band went their separate ways in the mid 90's. The Foxx's last performance in the States was in North Carolina on tour and backing Prince's sister Tyka Nelson in the 90's. Currently the band has sparked interest once again writing and recording new material and is forming a reunion show which will eventually lead to additional performances with other recording acts and headline shows.

repressed !

Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.

Rewind to 1995. Kevorkian's 'Wave Music' imprint has come into existence with a handful of releases. No-one could imagine that his self-produced 'FK EP' - the next release on the label - would be a stone cold classic. Easily one of the most consistent, exciting and solid EP's to come out of NYC during this golden era of dance music. Across 4 tracks we are taken on a sound journey through a world that is undoubtedly informed by FK's time as an engineer, DJ and most importantly, a music lover.

EP opener 'Hypnodelic' brings us into this world, a deep, driving cut that fuses the dubbed out vocals of Freddie Turner against FK's keyboards and immaculate drum programming, oozing cosmic electronic soul, this track was destined to be a future classic. 'Mindspeak' also boasts some tough drums and with a respectful nod to Chicago is an incredibly mixed and arranged peak-time cut that will drive your dancefloor into deep space again and again. 'Edge Of Time' welcomes us to the flipside of the EP, wild Latin percussions, tablas and old school horn stabs drive this monstrous cut, not to mention cavernous dub FX and that huge bassline that just doesn't let up. Essential. 'Moov' rounds things out on a more subdued, stripped back vibe. Reversed percussions and spaced-out synth chords lace this beautifully understated and warm track, one that builds into a crescendo of melodies and hypnotic rhythms and the perfect way to close what has been a truly special musical journey.

This essential reissue of the 'FK EP' has been fully licensed, sanctioned and remastered in conjunction with FK from the original master sources by Optimum Mastering, Bristol UK, repressed onto high quality vinyl and packaged as the 1995 release was. A truly classic record indeed, available again for 2018. Welcome back Wave Music!

Mint Condition - A brand new record label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
The word 'classic' get's bandied around a lot when talking about certain records, artists, labels etc but rarely is it truly justified. In the case of the monumental slab of NYC deepness that is 'I'll Be Your Friend' we feel the tag is genuinely justified. Originally released in 1991 on the RCA label the track has been one of house music's most enduring anthems. Literally one of the deepest tracks out there, it's combination of Owen's vocals paired with the stellar production techniques of Def Mix's David Morales (and THOSE drums) is such a heady combination that the record crossed over so many scenes and to this day remains an evergreen staple in DJ's of all persuasions bags. Featured here we have all the original mixes (with the exception of the shorter radio edit) in their original forms. The record sounds as fresh as it ever did, the sort of track that never dates and will always fit into a set, the very definition of a classic.
Legitimately re-released with the full involvement of RCA records for 2017 and remastered from the original sources specially for Mint Condition by London's very own Curvepusher. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your new favourite reissue label - Mint Condition!.

You don’t need to be Freud to regard teeth as a delicate issue. They can make joy look joyous and pain look painful, and on the cover of the new múm album they do both at the same time. As »Yesterday Was Dramatic – Today Is Okay« (2001), »Finally We Are No One« (2002) and »Sing Along To Songs You Don’t Know« (2009) »Smilewound« is another example of the band’s art of juxtaposing two conflicting meanings and taking advantage of the energy created through the tension between both.

Sparser in sound than many of its predecessors, »Smilewound« is an airy, relaxed record. The múm-core-duo of Örvar and Gunni doesn’t make you laugh out loud (except maybe for the quirky vintage Arcade-sound-start of »When Girls Collide«), but it will make you smile often - despite the heavenly voices singing about violence in one form or another in most songs. Musically, múm’s capability to build playful electronic sound-ornaments around simple melodies is in full bloom. And these days they know that trimming the ornamentation can strengthen the melody. Take »The Colorful Stabwound«: an aguish drum’n’bass piece and »Smilewound« gets close to a straight pop-song. Even that isn’t very close, but it combines its rhythmic strength with a simple yet effective piano-line and the soothing lushness of a female voice to something compelling that follows you like the smell of a delicate eau de toilette. Or »Candlestick« which started out as a little ditty strummed on an acoustic guitar many years ago and has grown into this bouncy piece of synth-pop that changes its musical colours every couple of beats until you feel comfortably dizzy. Perfect pop in very fancy clothes. No wonder that antipodean pop-princess Kylie Minogue wanted to collaborate with múm on the »Whistle«, the main song in 2012-movie »Jack & Diane«.

Recorded in, among other places, the band’s practice-space, an old baltic farmhouse and on the kitchen-table after dinner, the album was produced by múm themselves. And being the revolving collective they are, it comes as no surprise that we see the return of former member Gyda. Defining satellites as part of the core fits nicely with the band’s penchant for ambivalence - in fact that's part of the album's charm.

In 1999, on December 23 to be precise, the electronic music landscape changed forever. On that day, the now legendary Icelandic band múm released their debut album “Yesterday Was Dramatic – Today Is OK”. The thing is though, back in the day, hardly anybody realized. It was Christmas after all, people were busy with potentially more important things and didn’t pay attention to some kids selling records on Reykjavík’s high street. Little did those shoppers know.

Thankfully, those 10 tracks weren’t overlooked for long. On the contrary: the album went on to become one of the most influential building blocks of what back then was called electronica and today is considered an art form playing a crucial and important role in shaping and defining the rich electronic music culture of the 21st century. Now, 20 years after the record dropped onto planet Earth, Morr Music is re-issuing the remastered album with its original artwork, adding newly commissioned re-works: A note-for-note representation of “Smell Memory“ by Kronos Quartet (with additional drums by múm’s Samuli Kosminen), a gentle reinterpretation of “Random Summer” by acclaimed pianist and composer Hauschka and an otherworldly new version of “Ballad Of The Broken String” recorded by label mate Sóley. Additionally, four remixes produced in the early 2000s are made available for the first time ever on vinyl here.

In 1999, electronic music was in full bloom. The dance floors were thriving worldwide.Yet the concept of using electronic sounds in acoustic-based productions (or vice versa) was still in its infancy. Many producers were trying, most of them failed. The results felt often forced, fabricated, unimaginative, random and forgettable. New ideas require new mindsets after all. With “Yesterday Was Dramatic – Today Is OK”, múm established a new approach in music production. Instead of setting a fixed agenda and working with a distinct hierarchy for their sonic palette, Gyða Valtýsdóttir, Kristín Anna Valtýsdóttir, Gunnar Örn Tynes and Örvar Smárason let each instrument and sound source be true to itself, creating an ever-evolving universe of sonic bliss. Listening to the album in 2019 still makes every music lover’s heart jump. Combining Drill-and-Bass-inspired beat-chopping, future-informed DSP-programming, ethereal vocal work, indie rock’s boominess, folk music’s soulful brittleness and a lofty feeling for melody and arrangement, the album is a rare example of musical transcendence and remains impossible to categorize.

Many of the ideas formulated and recorded for the album quickly became an integral part of the canonical self-conception musicians around the world were and still are aspiring to. How these ideas really came about, though, is not known – the dynamics, the struggles, the qualms, the sudden realization of having achieved something which might actually stick. Maybe that is a good thing. Örvar Smárason remembers that most of the album “was recorded in a tiny, sweaty room in the summer of 1999 with carpenters banging nails around us, but sometimes we put on headphones so we couldn’t hear them.” It is a good thing they did. As is often the case with classics, all one can do is listen closely and let the magic sink in – again and again.

cLOUDDEAD's debut album, compiling six 10" EPs that appeared between 2000-2001, is aurally dense and obscured. A sprawling mass of miniature beat-suites and Dadaist lyrics, this strange and beautiful 3xLP would influence a myriad of sub-genres (cloud rap, hauntology, lo-fi hip-hop, etc.) in the two decades since its initial release.

Only the three members of cLOUDDEAD – Why?, Doseone and Odd Nosdam – can speak to the group's origins, but in the context of underground hip-hop towards the end of the 20th century, their arrival makes perfect sense. Cincinnati had a vital scene; home to Scribble Jam, an annual confluence of MCs, DJs, B-boys and graffiti artists. While the trio soon relocated to the Bay Area where they co-founded the Anticon collective, their Midwestern roots – in ramshackle basements of off-campus hovels, as the "cerberus of Southern Ohio" – would remain the atomic heart of their early recordings.

As Chris Martins writes in the liner notes, "The only reason we know their names today is because of how loudly and curiously they aired their insularity. They rewrote the entire world as they knew it through their own fucked perspective, and when those mysterious 10-inches started popping up in record shops, it wasn't just a puzzle to investigate: there seemed to be a whole cosmology hidden in those grooves."

Each side of the album represents one of those elusive 10-inches, each embodying a universe unto itself. Opening salvo "Apt. A" and "And All You Can Do Is Laugh" are perhaps most emblematic of the cLOUDDEAD experience. Why? and Dose create a new language through boundless non-sequiturs, sing-song non-choruses and call-and-response hooks, while Nosdam's dexterous production shifts from crackling ambience of Flying Saucer Attack to tight Ohio Players drum breaks and oblique film samples.

Taken all together, cLOUDDEAD is an original interpretation of hip-hop in the surreal Y2K glow – a bizarre meeting point between William Basinski's Disintegration Loops and MF DOOM's Operation: Doomsday. All it took was a Dr. Sample SP-202, Tascam cassette eight-track and cheap RadioShack mic. There's truly nothing like it.

This edition has been faithfully restored by Nosdam. European exclusive version comes on clear vinyl, incl. fold-out poster and liner notes insert.

A house is something that is so deeply temporary, yet it can hold so much energy. How do we carry or leave behind those energies while transitioning into new spaces? How does each space we occupy for some time shape us and how do we tear ourselves away from it and its influence once it’s time to go? These are some of the core questions behind CC Sorensen’s new album for mappa, ‘Phantom Rooms’ – it’s a record about movement, change, transformation, family, juxtapositions… but most of all, home.

CC Sorensen was reflecting a lot on their childhood home in rural Kansas, USA while working on this music. The album could be characterised by a familial, chamber feel and both of CC Sorensen’s brothers, Ryan and Nyal Ruehlen, make an appearance on ‘Phantom Rooms’, among other instrumentalists. Using a wide palette of sounds – CC Sorensen alone in charge of keyboards, software instruments, voice, electronics, percussion, trumpet, guitar and field recordings, in addition to guests on pedal steel, voice, chimes, saxophone and drumset – the American musician crafts music as mysterious as it is inviting. The idea behind it would be almost surrealist – ghostly rooms in houses where we live – if we all didn’t know exactly what CC Sorensen means. Home isn’t something concrete, but it’s also not just an abstract concept. It’s a space beyond space; home in itself is a phantom room we enter. And what enables us to enter is the object of exploration here.

CC Sorensen’s approach is playful – tracks like “Beat Bot” and “Plastic Portals” are almost fun – but also contemplative. They make thoughtful, meandering chamber music intertwined with field recordings and electronics. Reeds, strings and percussion often set the atmosphere – sometimes airy, gentle, at other points more insistent – as the music grapples with departure, instability, deep reflection and imagined future spaces. Especially in the closing “Bexar” there’s a tangible yearning for a stable home, a longing to rekindle and keep ablaze this beautiful familial connection to a physical place. It’s both music that invites to reflect and music that in itself reflects; desires, hopes and dreams.

Smoove returns with two unstoppable dancefloor heaters on this explosive new 45!

On the A-side, Push It Good delivers a brilliant rework of the iconic Push It, powered by heavy breakbeat drums and infused with vintage ’60s soul flavor — a guaranteed crowd-mover.

Flip it over and Smoove keeps the momentum going with Scandalized Lifetime — a masterful fusion that rebuilds sampled layers from Sugar Bear’s 1989 classic, interwoven with multitrack elements from Talking Heads. The result? Pure dancefloor gold — a certified champion!

The House OG comes thru with 5 brand new cuts of slippery 303 acid. These seriously infectous ear worm acid lines will have listeners bleep-blooping along, while hard hitting 909 drums make their feet and necks work.

Mutable Ground is an album created through an exchange of recordings between Anna and Yannis. The project is rooted in the idea of sudden shifts in current events and the ever-growing emotions tied to loss, change, and tension. Each track title is inspired by unstable phenomena and objects, reflecting the potential for unexpected movement and the transitions of both nature and humanity. Repetitive, chaotic drum patterns, vocals that echo sounds of wounded or lost animals, hollow soundscapes reveal a sonic world where creation and destruction coexist—where people dance around fires, caught between fragility and resilience.

A long-overdue vinyl reissue for this underground gem from the Bronx! Originally released in the late ’90s, Ghetto Chronicle Daily stands as a timeless snapshot of New York street rap in its rawest form — a true reflection of the city’s golden era grit and lyrical craftsmanship.

The Money Boss Players — made up of Big Ah (RIP), Lord Tariq, Tre Bag, Eddie Cheeba, C-Dubb, and legendary producer Minnesota — were key figures in shaping that unmistakable Bronx sound. Their chemistry was electric: sharp lyricism, vivid street storytelling, and cinematic beats that carried the DNA of hip-hop’s golden age.

This first-ever vinyl reissue brings this underground classic back to the masses in its full glory and goes a step further with bonus tracks previously unreleased on vinyl, including “Drug War Rages” and “Same Shit” — raw, unfiltered cuts that capture the crew at their most authentic. Also included is “White Chalk Pt. 2”, featuring none other than The Notorious B.I.G., a rare collaboration that cements the group’s deep roots in the East Coast rap lineage.

Since the original release, members of Money Boss Players have continued to carve their own lanes — with Eddie Cheeba and Tray Bag evolving into Boss Money, and Lord Tariq making his mark as a solo artist. In recent years, Bronx rapper Yung JB has joined the fold, carrying the Boss legacy into a new generation.

Now, more than two decades later, Ghetto Chronicle Daily returns to turntables worldwide — remastered and pressed with care for true heads and collectors alike. A must-have piece of hip-hop history, finally on wax where it belongs.

Collecting Orders For 2026 Repress

As Soul Capsule, Baby Ford and Thomas Melchior made some of minimal techno's most accomplished records. It has been many years since they stopped turning out new material - sadly - but their archive tracks are still in hot demand and undeniably relevant. While 1999's 'Lady Science' might be their most famous offering, this EP from 2001 on Aspect Music is no less vital and it will currently cost you well over L250 on second-hand markets. It is Ford's Trelik label who reissues it here in all its glory: the entirety of the a-side is taken up with 'Law Of Grace,' a delightfully deep and breezy minimal dub house roller with pensive chords draped over the frictionless drums. 'Meltdown' has a more experimental feel with brushed metal drums beneath a wordless vocal musing. The cult 'Lady Science' (Tek Mix) is also inched with the whole package being remastered by D&M to make this one utterly essential.

“The blueprint was simple: Hot Chocolate rhythms, George Murray bass lines, classical music instruments with pop sensibilities. We, the architects, however, were complicated.” Paul Simpson, 2025 Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of the much-mythologised ‘lost’ album by CARE – the group made up of IAN BROUDIE and PAUL SIMPSON Prior to forming Care, Ian and Paul had been very active in the Liverpool post-punk scene. Ian played alongside Holly Johnson, Jayne Casey, Budgie and Bill Drummond in Big In Japan, before joining the Original Mirrors. He also produced several early records by Echo and the Bunnymen, most notably the albums Crocodiles and Porcupine. Paul had played with school friend and future Bunnyman Will Sergeant in Industrial Domestic and the founding line-up of The Teardrop Explodes, before going on to form The Wild Swans. CARE were brought together late in 1982 by mutual friend Will Sergeant, when Paul was looking for someone to play a guitar part for a new song he had written. Ian obliged and asked him to return the favour by singing on one of his songs Tall Ships. When Bunnymen manager Bill Drummond heard the result, now retitled My Boyish Days (Drink To Me), he secured the pair a deal with Arista on the back of it. Care would go on to release three acclaimed singles over the course of a twelve-month period between 1983 and 1984 – My Boyish Days (Drink To Me), Flaming Sword and Whatever Possessed You – before Simpson, still struggling to come to terms with the break-up of his previous band decided not to continue. Although top 40 success eluded Care in the UK, the group quickly found an adoring fanbase in the Philippines, where all three singles became huge hits. Love Crowns and Crucifies marks the first vinyl release of the previously unheard songs gathered together on 1997’s Diamonds and Emeralds CD. Working closely with Paul Simpson and with the approval of Ian Broudie, Needle Mythology has been given access to the original quarter-inch tapes which housed everything that Broudie and Simpson recorded together.

“The blueprint was simple: Hot Chocolate rhythms, George Murray bass lines, classical music instruments with pop sensibilities. We, the architects, however, were complicated.” Paul Simpson, 2025 Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of the much-mythologised ‘lost’ album by CARE – the group made up of IAN BROUDIE and PAUL SIMPSON Prior to forming Care, Ian and Paul had been very active in the Liverpool post-punk scene. Ian played alongside Holly Johnson, Jayne Casey, Budgie and Bill Drummond in Big In Japan, before joining the Original Mirrors. He also produced several early records by Echo and the Bunnymen, most notably the albums Crocodiles and Porcupine. Paul had played with school friend and future Bunnyman Will Sergeant in Industrial Domestic and the founding line-up of The Teardrop Explodes, before going on to form The Wild Swans. CARE were brought together late in 1982 by mutual friend Will Sergeant, when Paul was looking for someone to play a guitar part for a new song he had written. Ian obliged and asked him to return the favour by singing on one of his songs Tall Ships. When Bunnymen manager Bill Drummond heard the result, now retitled My Boyish Days (Drink To Me), he secured the pair a deal with Arista on the back of it. Care would go on to release three acclaimed singles over the course of a twelve-month period between 1983 and 1984 – My Boyish Days (Drink To Me), Flaming Sword and Whatever Possessed You – before Simpson, still struggling to come to terms with the break-up of his previous band decided not to continue. Although top 40 success eluded Care in the UK, the group quickly found an adoring fanbase in the Philippines, where all three singles became huge hits. Love Crowns and Crucifies marks the first vinyl release of the previously unheard songs gathered together on 1997’s Diamonds and Emeralds CD. Working closely with Paul Simpson and with the approval of Ian Broudie, Needle Mythology has been given access to the original quarter-inch tapes which housed everything that Broudie and Simpson recorded together.

Portland, Oregon dark rock trio HOAXED return with their stunning new album Death Knocks. Three years in the making, the group—featuring vocalist/guitarist Kat Keo, drummer Kim Coffel, and new bassist/vocalist April Dimmick—have honed their stygian craft to perfection. "We've added another element to the writing and collaboration process," says the band. "April comes from a classic heavy metal background, and her influence is in these songs. We've also had experiences on tour that have helped shape these songs. You can hear influence from the bands we toured with and learned from. We played together for three years as we wrote this album, and we learned a lot about our styles, and our sound evolved naturally together on stage. So, when we sat down to write this album, it didn't feel like a departure or a change." Anchored by the witchy spell of opener "Where the Seas Fall Silent," the rock-hardened groove of "Kill Switch," and the dimly lit power pop of "The Family," HOAXED upped the tempo, sawed the edges (Dimmick's raspy menace intimidates), and strengthened their ties to the golden gods of heavy metal. Indeed, cyclical riffs, dynamic rhythms, and bottom-heavy bass propel Death Knocks through its filmic, hard-nosed gloom, but Keo's sorcerous vocal hooks seal the deal. Often smartly paired with Dimmick's angels' n' demons, her performance effuses fragility and potency across the album's alluring expanse. HOAXED recorded Death Knocks at Falcon Recording Studios with producer/engineer Gabe Johnston (Unto Others, Vintersea) and enlisted Arthur Rizk (Power Trip, Kreator, and more,) for mixing and mastering. In total, the group spent eight days in February and March tracking Death Knocks. While most bands spend months ironing their metallic mettle, Hoaxed's expeditious time at Falcon engendered a polished, big-sounding force befitting their larger-than-life songs. Short: Portland, Oregon dark rock trio HOAXED return with their stunning new album Death Knocks. Three years in the making, the group—featuring vocalist/guitarist Kat Keo, drummer Kim Coffel, and new bassist/vocalist April Dimmick—have honed their stygian craft to perfection. FFO: Ghost, Tribulation, Bloody Hammers, Khemmis, Unto Others, GGGOLDDD, Katatonia. Pallbearer

With Spam Vol.2, KVR - Niels Broos, Dries Laheye & Lander Gyselinck - delivers its second statement.



Recorded in a beautiful studio tucked beneath a bridge in Rotterdam, the album distills a week of free improvisation into vivid, shape-shifting pieces. A beautiful chaos of bass guitars, synths stacked on clavs, drums and machines to get lost in, in between coincidence and intention. Jungle rhythms, elastic time, open structures and organic textures come together in a lively sound that feels playful as well as restless and deeply intuitive.



KVR is Niels Broos (Jameszoo, Binkbeats) on keys, Dries Laheye (STUFF., Selah Sue) on bass and Lander Gyselinck (STUFF., Lander & Adriaan, BeraadGeslagen) on drums.



For fans of Thundercat, Hudson Mohawke, The Comet Is Coming, Jameszoo, etc.

The late pedal-steel guitarist Susan Alcorn leaves a final surprise hinting at new directions left underexplored on her collaboration with Nomad War Machine, the improvising metal duo of drummer Julius Masri and guitarist James Reichard. Their death-metal-influenced pummel adds new fire to her molten flow across a suite of improvised tracks that show off the vast range and simpatico of the trio. Julius Masri and James Reichard of Nomad War Machine: “An unexpected opportunity arose out of a catching-up conversation where Susan had revealed a recent fascination with death metal, confessing, ‘I’m 70 years old—I think about death!’ She had learned a couple of Arch Enemy songs on her pedal steel, particularly compelled by their frontwoman’s intensity and vigor as a performer. Voicing an appreciation for the hook-oriented sound of Swedish death metal made sense for a melodic thinker whose roots as veteran pedal steel player reached into the Texan Western swing circuit in the ’60s and ’70s. For her, ever the explorer, metal was a new, appealing point of departure into fresh musical territory. When she expressed an interest in playing with Nomad War Machine, it felt like there was a whole world of shared or complementary interests to explore.” Though known for her fluency in jazz, country, and free improvisation, Alcorn had also studied Arabic, the oud, and maqam, with all holding a deep curiosity for her. Pre-’70s country & western music had also been a lifelong presence for both members Nomad War Machine. Masri, a Lebanese free-jazz and metal drummer, and devoted fan of Texas swing legends like Speedy West, Jimmy Bryant, Leon Rhodes, and Joe Maphis, was also steeped in Arabic music traditions. James Reichard, before coming to “freely” improvised metal, xenharmonic music, and non-Western tuning systems, had grown up being subjected to countless singalongs to numerous pre-’70s country records, entranced by the pedal steel.

For the first time, all the 1978 recording sessions of Lino Capra Vaccina's legendary Antico Adagio - including Frammenti da Antico Adagio and Echi Armonici da Antico Adagio - collected in one definitive deluxe edition. Minimalism, and so much more. Sheets of resonance, stunning harmonic interplay, intricate rhythms rising as one. Sidelong works of pulsing, hypnotic, ritualistic drone built from vibraphones, marimbas, gongs, bells, and cymbals, threaded by the sustained vocal tones of Juri Camisasca and Dana Matus. A trance-inducing, meditative, cosmic world of sonic interplay - the world beyond, joined with that which lays within.

Before an aberrant idea of progress ludicrously sped up our daily lives, even in hectic Milan it was possible to "play slowly" - with no pressure, simply following the path your art was showing you. This music moves between modal fascinations, ritual evocations, and states of hypnotic trance, evoking the acoustic environment of Tibetan and Zen Buddhist ceremonies and the temporal structures of Noh theatre, from which Vaccina took the name of his original label, Nō. Now, fittingly, this complete collection appears on Ubi Kū, the label of the Italian Buddhist Union.

Lino Vaccina (1953) first gained note as a member of Aktuala, creating a hybrid of rock, avant-garde, and ancient musics while incorporating sonic traditions from across the globe. After leaving in 1974, he studied at Milano's Civica Scuola di Musica, collaborating with Franco Battiato and Juri Camisasca, and forming Telaio Magnetico in 1975. In 1978 he self-released Antico Adagio in a tiny edition and wouldn't be heard from again until 1992. From 1979 to 1985 he was percussionist with the Orchestra of Teatro alla Scala under maestros such as Abbado and Ozawa. His career has been marked by an incredibly high bar of quality and a tragically slim recorded output - a rigorous and sensual language fusing Oriental, Mediterranean, and African influences with ritual elements and a cosmic sense of time.

As Massimo Torrigiani writes: "Lino Vaccina's music captivates through its internal coherence and its ability to generate states of suspension and deep listening - through undulations, small melodic fragments, dialogues between acoustic instruments and resonances that seem to evoke a phantom orchestra. An example of personal exploration, discipline and openness that speaks across time to anyone willing to be drawn into its sound."

Frammenti da Antico Adagio and Echi Armonici da Antico Adagio contain material from the original sessions, restored and issued by Die Schachtel in 2014 and 2017. The new masters, prepared by Giuseppe Ielasi, are based on those restorations and the original material. The package includes previously unpublished photographs from the May 1978 sessions and liner notes by Mauro Radice in Italian, English, and French. Cover art by Dana Matus. Printed by Legno, Milano & Mother Tongue, Verona.

Personnel: Lino Capra Vaccina (vibraphone, marimba, tablas, wooden drums, darbuka, cymbals, gong, metal sheets, bells, bass drum, tom, snare drum, piano, voice), Dana Matus (voice, percussion, cetra), Juri Camisasca (voice), Mario Garuti (violin), Roberto Mazza (oboe). Original production by Massimo Villa & Lino Vaccina with Piero Cannizzaro. Recorded May 1978 at Circle Studios, Milano.

The heights of the Italian avant-garde, at their very best.

The Italian music scene is enriched by an intriguing new jazz trio: Chromogen.
Led by bassist and composer Matteo Magnaterra, the project features three members: tenor saxophone, bass, and drums. Using an unconventional lineup, they pursue a well-defined exploration of sound and timbre, creating ample space for dialogue and experimentation. They
pave the way for a new, holistic jazz style, clearly defined in their first album, "Chromogen."
The name is inspired by a parallel passion of the artist-composer: analog photography.
Chromogen is, in fact, the English name for the chemical compound capable of transforming a negative image, dyeing it with color. Those
same colors will then animate the artist's songs, developing imagery tied to his way of observing, portraying the world around him in vivid
colors.
CREDITS
Matteo Magnaterra: compositions, electric bass
Matteo Diego Scarcella: tenor saxophone
Vincenzo Messina: drums
Jacopo Trapani: recording, mixing
Francesco Brini: mastering

Pablo Bozzi returns to Jennifer Cardini's Dischi Autunno with a follow up record to the 'Last Moscow Mule' EP from 2020. The six track EP 'Ghost Of Chance' marks a deepening from the previous forays into the Italo Disco & Synthwave influenced sound Bozzi has previously explored. With a heavy hand in the realm of nostalgia Bozzi expertly weaves melody through drum machine loops, the track comes to a climax with longing vocals reminiscent of 80s new wave and goth dance clubs. Although steeped in the nostalgia of time gone he manages to lend a modern production, a cleanness of sound that never stays too long in the past.

2026 Repress

Shep' is a new project from respected UK veteran Jay Shepheard. He debuted it with the inaugural release on his People Pleasers label last year and backs it up with more heady fusions of dub, minimal and house. 'Smiling Beaver' has tight drum patterns and dusty hi-hats but nice woozy vocal smears and jangling synths that keep things organic. 'Honey By The Pound' is a perfectly aged tech house cut that throws it back to the 90s and hits like Fresh & Low, while 'Fur Burger' gets a little more direct but keeps a playful charm with tin-pot percussion, cheeky whirring motifs, bleeps and balmy vocals. The closer, 'Good Schit,' is another colourfully infused late-night tech house sound that balances motion and emotion perfectly.

Bass: Sam Jones
Cello, Bass: Isao Suzuki
Drums: Billy Higgins
Electric Guitar: Kazumi Watanabe, Kazumasa Akiyama
Recording & Remix Engineer: Yoshikane Okada
Executive Producer: Toshinari Koinuma
Piano, Electric Piano, Fender Rhodes: Cedar Walton

A gem of a crossover album from Isao Suzuki, who has continued to lead the Japanese jazz scene as a bassist.
Capturing the vibrant energy of the 1970s, this record has been rediscovered by club music aficionados and rare groove collectors alike.
The album fuses Van Morrison–like bluesy grooves with deep funk and jazz sensibilities, along with a uniquely Japanese melodic sense.

Acoustic Bass: Nobuyoshi Ino
Acoustic Piccolo Bass: Isao Suzuki
Alto Saxophone: Sadao Watanabe
Arranged, Conducted, and Piano: Masahiko Satoh
Drums: Motohiko Hino
Guitar: Sadanori Nakamure

The beautiful new world that master bassist Isao Suzuki built with the support of a diverse group of musicians finally returns to life after nearly 50 years!

With his deep musical insight and collaboration among some of Japan’s finest jazz artists, Isao Suzuki created a work of timeless beauty that now resonates
once again in the modern era.

Bass: Takashi Mizuhashi, Teruo Nakamura
Drums: Bruno Carr
Piano, Electric Piano: Herbie Hancock

Recorded on February 22, 1977, in New York, this rare session captures Japan’s proud bassist Takashi Mizuhashi performing alongside Herbie Hancock.
Throughout the album, Mizuhashi’s deeply resonant bass tone and melodious phrasing shine, making this a quintessential “international” Japanese jazz classic.

Stoop Kid is the jangly indie rock project of Diest-born Jens Rubens. After Camp Careful (2021) and Mount Cope (2023), Stoop Kid returns with his third full-length album Office Overdue, a ten-song collection that captures the quiet fatigue, flickering humor, and
fragile hope of keeping it together in a world that won't slow down.

'Office Overdue' is a collection of songs Jens made at home in his modest home studio. For this album, he wanted to let go of pressure and expectations more than ever, and only work on music when he genuinely felt like it.No fancy studio, no producer, just walking upstairs and messing around. The result doesn't always sound perfectly polished: the drums are sometimes clumsily programmed and more than a few wrong notes made it onto the record. The guitars were allowed to hit a bit harder this time, with the '90s slacker vibes coming through more prominently. The result is a record that feels raw and honest, and above all, was made purely out of enthusiasm.

Office Overdue explores the attempt to keep functioning in everyday life while the world around us feels on the verge of collapse. The songs move between mental exhaustion and self-reflection, carried by a dry, sometimes bitter humour that helps lighten the weight. The album focuses on repetition and routine, and on the tension between wanting to care for others and being trapped inside one's own head. Themes of anxiety, guilt and dissociation recur throughout, but are always accompanied by small moments of connection, gentle resistance and acceptance. Office Overdue embraces the mess, the doubt and the false notes, without drawing grand conclusions. Not everything is resolved, but the persistence remains.

On Hungry Animal, Luke Temple continues to trace the invisible lines between the personal and the cosmic _ between what we feel, what we observe, and what we inherit simply by being alive. The album reunites Temple with Doug Stuart (bass) and Kosta Galanopoulos (drums), the core of his Cascading Moms ensemble, whose instinctive chemistry anchors the record's balance of rhythmic precision and melodic drift. Together they shape a sound that feels handmade and fluid, delivering sharp observations in soft focus. The album opens with "Clean Living," a tenderly libidinous groove, unraveling purity myths and self-discipline _ less a confession than a celebration of the futility of striving for perfection in a flawed world. From there, "Echo Park Donut" shifts into the memory of an unsettling vignette drawn from a violent incident outside Temple's Los Angeles home. The band moves with a quiet pulse beneath the story, suggesting both detachment and the surreal intimacy of fear. The title track, "Hungry Animal," grounds the album's broader questions: how well can we really know one another, or ourselves? Temple's lyrics circle around the idea that we are animals among animals, driven by instinct and affection alike. It's both playful and philosophical, one of the record's emotional centers. Temple's bandmates bring an understated mastery to these pieces. Stuart's melodic, infectious grooves converse fluidly with Galanopoulos's drumming, which breathes life into each song even as it gently propels them forward. The trio's interplay feels both weightless and deeply rooted _ commanding the listener's attention and empathy without ever forcing it. With Hungry Animal, Luke Temple and the Cascading Moms create a world where reflection becomes rhythm and consciousness gains texture _ a record of quiet revelations and deliberate grace.

KIK is the new project of two core strategists of sonic enigma HHY & The Macumbas: Jonathan Uliel Saldanha & João Pais Filipe. Ditching acoustic instruments in favour of drum synthetics & tightly controlled sound design, the duo's debut album NIGHTSHIFT focuses on off-kilter club tracks that thwart 4-on-the-floor flavours whilst maintaining trance-inducing extended cycles. If the devil is in the details, this is all about the spectromophology of the details.
Beginning with moving morse code blips in an odd time signature We Can't Dance announces the characteristic unlife of the album's pulse. Once the kick enters, syncopations progressively accumulate into a weave of interacting rhythmic lines. Smoke Machine's groove is reminiscent of the riddims Saldanha explores in his HHY & The Kampala Unit, adding scintillating pads and snippets of blitzed out laughter.

The album's third track, Proff, hearkens back to the initial pulse, displaced and pitched down in register. Here's a more meditative temperament on display, where the regular geometries of the club have been moved into higher-order structures. Segments rise & fall into earshot. Deepening the meditative mood, Back Room explores a short melodic leitmotif anchoring the track's wander- lust.

The rhythmic assault continues in Tactical Gear, bringing further experiments into polyrhythmic contours exacerbated by preci- sion movements of echo & delay. Limping can be heard as a what-if sonic fiction taking Autechre-inspired abstractions through Durbanoid Gqom terrains. The album closes with its longest track, Night Shift, that segments into shifting sound worlds.

Drawing from industrial grit, cybernetic percussion and the eerie fluorescence of after-hours energy, NIGHTSHIFT exists in the liminal space between body music and abstraction——a soundtrack for phantom warehouses and malfunctioning machines. This isn’t just music; it’s an immersive sonic environment, a journey into the heart of deconstructed dancefloors.
For fans of Rian Treanor, Proc Fiskal, Jlin and Lorenzo Senni.

Most recently, HHY has been collaborating with Nyege Nyege through projects such as Kampala Unit and Arsenal Mikebe, performing live with the ensemble alongside Valentina Magaletti, and producing records for artists like Fulu Miziki, as well as collaborations with Phelimucasi, Rey Sapiens, Kingdom Choir and others. He also released Camouflage Vector: Edits From Live Actions 2017–2019 on the label, a live album featuring two tracks with Adrian Sherwood.

Previous collaborations include Tunnel Vision with Badawi (released on Tzadik), the HHY & The Macumbas album Beheaded Totem on House of Mythology, and Fujako (Wordsound, with MC Sensational), along with double-bill shows with acts such as Clipping and Death Grips.

Much more than just another punk band, Ideal Victim is a wildfire fueled by fury, grit, and defiance. Formed in Porto in 2022, this young outfit proposes a seemingly improbable formula that proves to be both unique and cohesive: over the raw, unyielding energy of 1980’s British hardcore, they layer the hypnotic vibes of surf rock and the nervous tension of rockabilly—crafting a taut and irresistible balance between atmosphere and aggression.​
At the forefront stands the fierce and outspoken roar of vocalist Mariana, supported by the driving cadence of drums and bass, and by a guitar that writhes as it drowns in distortion.​

Ideal Victim belong to a lineage of bands that never asked for permission to exist: from Discharge to Bikini Kill, from The Cramps to Dead Kennedys, their influences are undeniable. Yet, Ideal Victim refuse to echo them in exercises of nostalgia. Their music is urgent, combative, and strikingly current—a visceral response to the shackles of patriarchy and the open wounds of a world in accelerated collapse.​

Propelled by the impact of their demo Diary of a Pig and a considerable amount of stage experience, Ideal Victim now presents Rage Letters, a debut album that reflects the band's evolution through a set of six brief tracks—where nothing is left unsaid, nor unshouted.​
With Rage Letters, Ideal Victim extend us an invitation to insubordination—and it's one we can't help but accept.

Conjuring a faithful following, quite rare in these days of ADHD, by sheer force of their celebratory and fiery live shows, Montijo's most celebrated outfit reflects these past couple years of camaraderie and life on the road on their debut album, after a self-released EP and a 4 way split on Zegema Beach Records. Sublimating all the inherent potential of post-hardcore at its most sweeping into a forceful and focused delivery, 'Acetate' captures all their urgency through 13 memorable and sharpened tracks. Recorded patiently and mastered by the gifted know how of Jack Shirley - Deafheaven, Joyce Manor or Gouge Away -, the songs on 'Acetate' open sprawling vistas upon the band's recognizable sound between chaos and order, cutting back on everything that might be redundant or overly technical. Alex Domingos' vocals reach new means of expressiveness through harrowing screams and hints of melody, João Pires' sinewy guitar pulling out riffs and skewed lines that echo for posterity and the rhythmic section of Simão Simões - bass - and João Portalegre - drums - driving all this turmoil with kinetic precision and flexibility. Never before did Hetta sound as relentless, chill and melodic, tracking down life at its own pulse.

Somewhere between jazz, progressive rock and cinematic soundscapes, Kabasse unfolds a world of intricate arrangements, bold sonic textures and heartfelt improvisation. The brainchild of Munich-based musician Sigmund Perner (also member of Carpet), this sextet blends composed structure with free exploration, layering lush harmonies, unexpected rhythms and a rich palette of wind, mallet and keyboard instruments. What began as decades of musical ideas-gathered quietly, never written down-found its shape through a group of close-knit musicians from Munich and Augsburg, including Perner's own son on drums. Together, they recorded in a live studio session, embracing risk and spontaneity. The result: a deeply personal debut album that feels both mature and raw, contemplative and gripping. Rather than demanding attention, the pieces invite it: About Sitting on Fences captures the art of waiting-for ideas to grow, evolve and resonate. Just like the name Kabasse, inspired by the calabash: a vessel, a resonator, a home for sound.

Refracting beatifically through realities and mirages flickering along his aural parade route, Animal Collective"s Geologist rides the high country on a hurdy gurdy of many colours. Via the mystery science of musical engagement, we take his sonic kaleidoscope of encounters into our own experience as we listen. That"s the beauty of Can I Get a Pack of Camel Lights?, the debut solo transmission of the heart and soul and life and times of Geologist.

Jackie Mittoo, organ and piano maestro, was also one of the founding members of Jamaica's top session band The Skatalites. Musical arranger for Studio One he provided the backbone to so many of Jamaica's finest tunes. The invention of Ska music and the sounds that rode through the Rocksteady and Reggae period all carry his stamp. Whether it be in his various incarnations, the aforementioned Skatalites, The Soul Brothers, Soul Vendors and the Sound Dimension or under his own name, his distinctive organ and piano sound and musical arrangements have all played a major part in Jamaica's musical history.

Jackie Mittoo (born 1948, Kingston, Jamaica) began playing musical instruments at a very early age. Taught piano by his grandmother he was performing live by the age of 10 and recording by the age of 15. Two Kingston bands that he played with the Rivals and the Sheiks brought him to the attention of Studio One's founder Coxsone Dodd. Who at the time was putting a group of musicians together to be his studio band. Impressed by his skills on both the organ and the piano, Jackie was asked to join in what would become Jamaica's foremost band The Skatalites. The fellow band members were Lloyd Brevett (bass), Lloyd Knibbs (drums), Don Drummond (trombone), Tommy McCook, Roland Alphonso and Lester Sterling (Sax), Johnny Moore (trumpet), Jah Jerry (guitar) and Mr Mittoo (piano). This line up ruled the Jamaican scene between 1964 - 1965 as well as inventing the Ska sound, they also performed the backing duties for the other top labels of the time including Duke Reid's Treasure Isle and Justin Yap's Top Deck label.

1965 saw The Skatalites disband and Jackie Mittoo move on to his next musical project The Soul Brothers. Formed with fellow Skatalite Roland Alphonso, this band would back all the hits coming out of Studio One for the next three years with Jackie Mittoo working as band leader and musical arranger. Around this time Jackie also had his own single released, a Ska underground classic called 'Got My Bugaloo'. Rare, as it also features Jackie in the unusual role for him, as lead singer!!!!.

1966 saw the Ska sound evolve into Rocksteady, again with Jackie's band at the helm, and his first hit single the Rocksteady cut 'Ram Jam'. The success of which would lead to a solo career and album releases under his own name such as 'Now', 'Macka Fat', 'Evening Time', 'In London' and 'Keep on Dancing', to name but a few. In1967 the hits at Studio One were still flowing when The Soul Brothers morphed into The Soul Venders and began backing such luminaries as Ken Boothe, Alton Ellis, Delroy Wilson, The Heptones, The Cables, The Wailers and many other of the labels solo artists.

By 1968 Jamaican music was ready for another change and Rocksteady rolled into a slower groove soon to be called Reggae. Jackie Mittoo would be at the forefront with his latest band The Sound Dimension. A line up that included Leroy Sibbles (bass), Roland Alphonso and Cedric Brooks (saxophone), Eric Frater and Ernest Ranglin (guitar) and Bunny Williams (drums). Being the house band at Studio One they backed all the leading names of the time, John Holt, Horace Andy and Alton Ellis, all of Studio One's output carried his sound.

Jackie Mittoo emigrated in the late 60's to Canada, but travelled to Jamaica and London to record with many of the big new names, who were trying to redress Studio One's supremacy and needed his magic touch. Such Producers as Bunny Lee used Jackie Mittoo on many of his sessions, Sugar Minott among others were always glad of his services.

We have captured some fine 1970's cuts that feature Jackies numerous talents, showing his ability to embellish tracks with a feel that few could better, Musical arranger, band leader all round studio ace. We hope you enjoy the set and I'm sure you'll agree with us Jackie Mittoo does indeed Ride On.........

2026 Repress

Nick Bike hops aboard his groove machine again for another tidy two tracker that does disco differently., The A-side is 'Yabba Dabba', which is an edit of a classic Scandi-pop gem with plenty of the original melodies reworked into a fatter groove with disco claps. It's full of fun but also nice chunky drums and subtle effects that draw out the magic and up the funk. On the flip side is a dub that is a little more airy and light, with a dreamier edge for the zoned-out moments, but also a reverb-drenched vocal. Two effective and charming cuts for grown-up floors and magic moments.

With their upcoming sixth studio album, “What A Time To Be Alive” , The Lone Bellow embarks on a bold new chapter while honoring the deep bonds that have defined their journey. Written collaboratively for the first time with their full touring band—founding members Zach Williams, Brian Elmquist, and Kanene Pipkin joined by drummer Julian Dorio and multi-instrumentalist Tyler Geertsma—the album channels the raw, ecstatic energy of the band’s live show into a dynamic collection of songs that pulse with warmth, honesty, and human connection. Recorded live in Muscle Shoals, AL, after a writing retreat in a converted Kentucky firehouse, the album is both a celebration and a reckoning: of friendship, loss, love, and resilience. From the gritty, Stones-tinged opener “After The Rain” to the soul-stirring closer “What A Time To Be Alive,” the record captures the joy and vulnerability that have long defined The Lone Bellow’s sound—lush harmonies, heartfelt lyrics, and genre-blurring arrangements steeped in folk, rock, and gospel. The album’s creation was marked by setbacks, including the theft of early recordings, but the outpouring of support from their fanbase reaffirmed what the band has always known: their music is a shared experience. That spirit echoes throughout the album, whether in anthems like “Common Folk” and “I’m Here For You,” or in intimate reflections like “You Were Leaving” and “Night Goes Black.” Since their acclaimed 2013 debut, The Lone Bellow has appeared on The Tonight Show, Austin City Limits, and The Late Show, topped Americana charts, and headlined storied venues from Carnegie Hall to the Ryman Auditorium. But with their next album, they reaffirm their commitment not just to making music, but to building community—on stage, in song, and around the table.

BBE Music’s acclaimed J Jazz Masterclass returns with its 20th release, a super rare private press from one of the more laudable female jazz figures of Japan, saxophonist and composer Sachi Hayasaka, together with her band, Stir Up! Released in 1988 on the private label Mobys, Free Fight was Hayasaka’s debut album and announced the arrival of an essential and primal force onto the Japanese jazz scene. Part free jazz, part post-bop, and part heavy groove, Free Fight is one of the most varied yet engaging albums BBE Music has reissued in the J Jazz Masterclass Series, showcasing Hayasaka’s inventive and muscular playing as well as her highly original and surprising compositional powers. Given the album’s eclectic yet cohesive sound, it’s no surprise that it originally found a home at Mobys, the label established by esteemed jazz critic and promoter Teruto Soejima. Mobys only issued a handful of albums from some of the leading free and open players including J Jazz Masterclass alumnus, pianist Aki Takase, as well as free jazz guitar icon Masayuki Takayanagi, and free jazz figureheads Itaru Oki and the great Masahiko Satoh. Born in Tokyo in 1960, Hayasaka took lessons from saxophonist and recording artist Toki Hidefumi and fully immersed herself in the jazz life, working part-time at various jazz kissas including Peter-Cat, a kissa managed by novelist Haruki Murakami. She has performed regularly across Japan at venues like the famous Pit Inn and formed a strong alliance with the classic Tokyo jazz kissa Paper Moon, which continues to this day. Heavily influenced by players such as Roland Kirk, David Murray and Ornette Coleman, Hayasaka has played with free jazz legend Yosuke Yamashita and performed around the world (as well as up Mount Fuji!). In the late 1980s she moved to New York for several years and worked with notable musicians including drummer Pheeroan akLaff and pianist Cliff Korman. She has recorded a number of albums to her name for Japanese jazz labels such as Three Blind Mice and Kitty as well as leading European imprints such as Enja.

Vijan, originally released in 2003 by I Grade Records, is a seminal release from the “golden era” of St. Croix roots reggae, now available for the first time on 12” vinyl courtesy of Before Zero Records.

Produced by the legendary combination of Vaughn Benjamin and Laurent “Tippy I” Alfred, Vijan balances the raw, spiritual intensity of Vaughn’s songwriting with the sophisticated, melodic arrangements that became the hallmark of the I Grade sound.

This album features an incredible lineup of musicians who helped shape the sound of Virgin Islands reggae. The production credits boast the textured guitar layers of Tuff Lion , the deep, driving bass of Kenyatta Itola , and the rhythmic precision of Dion “Bosie” Hopkins. Uniquely, this album also showcases Vaughn Benjamin’s versatility as a multi-instrumentalist, contributing drums, bass, and keys on standout tracks like “All Ye Naashan” and “Thanks for Life”.

Akae Beka’s inimitable style of rich, deep, multi-layered songwriting and uncompromising devotion to RasTafari is on full display here. At the point of his untimely passing in 2019, Vaughn Benjamin had released over 70 albums, solidifying his place as one of the most prolific reggae artists ever known. Vijan remains
a glowing highlight in this expansive catalogue, capturing a specific moment of creative brilliance in the early 2000s.

The vinyl reissue allows listeners to engage with the album’s analogue richness and features the striking original artwork by Marcus Wilson, presented here as a 12” square masterpiece.

Ushering in a new era, Berlin based, New Zealand heavy psych duo Earth Tongue lower the castle gates on their third album Dungeon Vision, a trove of fuzz-drenched anthems produced by garage rock luminary Ty Segall in Los Angeles. Guitarist Gussie Larkin and drummer Ezra Simons spent the Berlin winter of 2025 refining the album’s twelve tracks in their self-described “windowless cave” rehearsal space, crafting a record that channels both isolation and the duo’s live intensity. With the songs finally taking shape and a studio deadline looming, they flew to Los Angeles to turn their hard-won ideas into the real thing. Once there, the band and Ty captured lightning in a bottle, recording and mixing Dungeon Vision in just ten days at Altamira Sound. Tracked live to tape, Dungeon Vision pulses with human energy, fuzz guitars, bone-battering drums, and hauntingly tuneful vocals. Ty Segall’s influence is all over the record with Ty choosing the best takes based on feel rather than technical perfection. The “king of fuzzy guitar tones” pushed the duo to find new sonic textures while championing their raw chemistry. “Ty’s been a big driving force,” says Ezra. “We supported him in New Zealand back in 2023, and he’s backed us ever since even bringing us on tour through Europe and the UK in 2024.” Since their emergence in 2016, Earth Tongue’s world-building, visuals, and relentless touring have earned them global attention and a cult-like following. Their 2024 album Great Haunting, also released on In The Red Records, received a Taite Music Prize nomination and saw them win Best Group at the 2025 Aotearoa Music Awards. They’ve toured extensively, sharing stages with the likes of Queens of the Stone Age, IDLES, Acid King, Brant Bjork and Kikagaku Moyo. With Dungeon Vision, Earth Tongue deliver their most immersive work yet, a richly human, fuzz-soaked journey that bottles the magic of their live show and cements their reputation as one of the most exciting psych rock acts on the planet.

Originally released in 1985, the debut EP by The Mice still stands as one of the finer song-oriented rock records of that era. Drawing inspiration from both mid 1960s British Invasion groups and the energy of punk, For Almost Ever is about as scorching as an essentially pop record can be. Although vocalist / guitarist Bill Fox would go on to release several much-loved mostly acoustic solo records, here he is joined by his younger brother Tommy, a veritable monster on the drum kit, bashing away with both finesse and the manic energy of a high school kid. And let’s talk about the song “Not Proud of the USA.” Conceived as an answer to The Clash’s “I’m So Bored with the USA,” this track is packed with such overwhelming hooks, righteousness, and adrenaline that it’s irresistible. During the war in Iraq, it took on a new life on college radio and online when it was reissued on CD. And with this vinyl reissue, it would seem the timing is sadly spot-on once again. Mastered by John Golden, this new pressing crackles with The Mice’s spirit, reproduced in big 45 rpm sound for deeper low end and greater definition than the original, which has been commanding a steep price for quite a while now. We’ve also been able to restore the colors of the handcolored cover photograph to their original vibrancy.

Mutant, in partnership with Studio Ponoc, is proud to present a limited-edition 7-inch 45-rpm single featuring original theme song "Nothing's Impossible" from The Imaginary (now streaming on Netflix worldwide) From the studio that brought you Mary and The Witch’s Flower (2017) and Modest Heroes (2019) comes the sweeping and epic animated feature film based on the novel by A.F. Harrold.

Studio Ponoc’s The Imaginary tells the story of Rudger, a boy no one can see imagined by young Amanda, to share her thrilling make-believe adventures. But when Rudger, suddenly alone, arrives at The Town of Imaginaries, where forgotten Imaginaries live and find work, he faces a mysterious threat. The anthemic closing track of the film, "Nothing's Impossible", is composed by Ian Axel and Chad Vaccarino (A Great Big World) and performed by A Great Big World featuring Rachel Platten.

Continuing an on-going 7-inch series with Studio Ponoc, this release will fit nicely side-by-side with their previous release of the main themes from the studio's debut film, Mary and the Witch's Flower and future releases.

Side A Nothing’s Impossible performed by A Great Big World featuring Rachel Platten Side B Nothing’s Impossible (Drums Version) performed by A Great Big World featuring Rachel Platten

Remix EP featuring remixes by Justin Robertson and Hawksmoor
Magick Knives is a four-piece band conjuring cinematic post-punk from the sandy shadows of the Sonoran Desert. Drawing from gothic rock, darkwave, and cinematic atmospheres, their music is less composed than summoned, blending hypnotic basslines, ghostly guitar textures, and synths that shimmer.
Formed by vocalist/bassist Sonia Campbell and visual artist + guitarist/synth wizard Daniel Martin Diaz (Trees Speak), the band emerged through instinct and alchemy. Rounded out by lead guitarist Daniel Singleton and drummer Daniel Thomas, Magick Knives quickly found a shared sonic language that is brooding, immersive, and otherworldly.

NA ZAROT opens a portal into a universe of darkness, chaos and spiritual upheaval. The sound is raw, jagged like cold iron and radically unpolished-an antithesis to any romanticized or völkisch fantasy, firmly rooted in an anti-fascist stance. NA ZAROT shapes lo-fi black metal infused with traces of punk as a counter-space: a place where archaic directness meets a dense, spiritually charged atmosphere that unfolds a hypnotic pull even within the noise. The production remains deliberately fragmented and unrefined-a kind of emotional excavation protocol that exposes the core of the genre without glorifying it. Lyrically, the tracks revolve around death, decay, isolation, spiritual disintegration and those threshold moments in which the abyss releases a strangely unsettling calm. Musically, sawing guitars, brutal screams, driving drums, sickly strings, ghostly voices and a distorted piano collide. Above it all lies a weight of leaden sorrow, until sudden ruptures drag the pieces without warning into even deeper darkness. Side A presents the tracks from the On Death and Dying tape, where literary spaces intersect with personal experiences. The lyrics brush against literary references such as Mallarmé's death poems, the legend of La Llorona or motifs from Romain Gary's The Dance of Genghis Cohn.Side B offers new, previously unreleased material titled "Alpensterben." The four songs preserve those unheard screams that would otherwise vanish into nothingness. Alpensterben becomes a blood-marked journey through the final hours of an existence scraping against its own ending-an intense, haunting echo of lived despair. Comes with printed 28page 10" magazine!

NA ZAROT opens a portal into a universe of darkness, chaos and spiritual upheaval. The sound is raw, jagged like cold iron and radically unpolished-an antithesis to any romanticized or völkisch fantasy, firmly rooted in an anti-fascist stance. NA ZAROT shapes lo-fi black metal infused with traces of punk as a counter-space: a place where archaic directness meets a dense, spiritually charged atmosphere that unfolds a hypnotic pull even within the noise. The production remains deliberately fragmented and unrefined-a kind of emotional excavation protocol that exposes the core of the genre without glorifying it. Lyrically, the tracks revolve around death, decay, isolation, spiritual disintegration and those threshold moments in which the abyss releases a strangely unsettling calm. Musically, sawing guitars, brutal screams, driving drums, sickly strings, ghostly voices and a distorted piano collide. Above it all lies a weight of leaden sorrow, until sudden ruptures drag the pieces without warning into even deeper darkness. Side A presents the tracks from the On Death and Dying tape, where literary spaces intersect with personal experiences. The lyrics brush against literary references such as Mallarmé's death poems, the legend of La Llorona or motifs from Romain Gary's The Dance of Genghis Cohn.Side B offers new, previously unreleased material titled "Alpensterben." The four songs preserve those unheard screams that would otherwise vanish into nothingness. Alpensterben becomes a blood-marked journey through the final hours of an existence scraping against its own ending-an intense, haunting echo of lived despair. Comes with printed 28page 10" magazine!

Joe Allotta's solo project (drummer, composer, and singer) was born from his need for freedom of expression after numerous experiences
as a session musician for artists such as Davide Shorty, Johnny Marsiglia, Funk Shui Project, Mario Biondi, Leburn Maddox, Giles Robson,
Amy True, and Imaani (Incognito).
His compositions embody the desire to make jazz, in its various forms and influences, accessible to the widest possible audience without sacrificing the impact of an engaging and captivating live performance.
Joe Allotta blends hip hop, funk, and drum 'n' bass with contemporary jazz, perfectly blending vocals with his performances. He combines
his rhythmic exploration with a sweet and surprising voice, capable of lending further emotional depth to his music.
"Transition" is a musical journey that reflects a life in constant motion, where everything seems fleeting, fast, and fleeting, immersed in the
frenetic rhythms that surround us every day. The title also encompasses a more intimate dimension: the growth of his artistic identity. Joe is
no longer just a drummer and composer, but also a singer. His intense and surprising voice intertwines with his drumming in a continuous
dialogue, opening up new expressive possibilities and adding further depth to his musical language.
The album was produced in the studios of the Sghetto Club in Bologna, where Joe, together with his producer Jacopo Trapani, spent weeks
researching and experimenting: rehearsing, playing, processing and synthesizing sounds, developing and arranging ideas, thanks also to
the collaboration of extraordinary musicians. The result is a work that blends instinct and research, intimacy and openness, movement and
transformation: exactly what Transition aims to convey.
CREDITS
Giuseppe "Joe" Allotta: Compositions, Vocals, Drums, Bass, Keyboards
Jacopo Trapani: Compositions, Recording, Mixing
Chicco Allotta: Piano (Track 1)
Giovanni Galdo: Bass (Track 1)
Riccardo Dalle Vedove: Trombone (Track 1)
Piergiorgio Perrella: Guitar (Tracks 2, 5, 8, 9)
Elijah Lee Last Jacinto: Piano (Track 6)
Matteo Diego Scarcella: Sax (Track 6) Francesco Brini: Master

Me vs Me, Vol. 1 is the debut album by Joe Allotta, a drummer, singer, and multi-instrumentalist active as a session musician for various
artists (Davide Shorty, Johnny Marsiglia, Funk Shui Project, Mario Biondi, Nick The Nightfly, etc.). The album was conceived in London,
Trapani, and Bologna and features performances by various musicians Joe has worked with in recent years.
The EP embodies a sound rich with emotion, expressed through four tracks that blend jazz with cutting-edge urban rhythms, with drums as
the central element of his compositions.
The four tracks on the EP thus have distinct personalities inspired by soul, breakbeat, and funk, souls that coexist in the artist's emotional
experience: the song "Lullaby" is a hip-hop beat with a funk flavor, while "The Mess You Left" moves through dreamlike sounds that crystallize
into a drum 'n' bass storm. House Party is very reminiscent of UK club sounds, it is full of synths and with a square drumming, it closes the
EP She Sad, a sort of skit that leaves room for an improvisation of guitar and drums.

Kolosso, a sacrilegious mix of 808, Tap, Drill, and Bastard Jazz.
Founded in 2023 under the guidance of multi-instrumentalist and producer Davide "Kidd" Angelica (who has previously worked with Inoki,
Deda, Voodoo Sound Club, and others), the group brings together some of the most visionary musicians in Bologna's underground scene.
Their music explores the chaos of contemporary life, intertwining urban sounds and jazz languages in a continuous exploration of new sonic
perspectives and narrative horizons. The result is powerful and powerful live performances, complemented by rich, layered, and meticulously
crafted album productions.
OVER is the conclusion of Phase 1 of the Kolosso project: extensive underground work, in the studio and on stage, seeking a point of collision
between jazz and urban sounds, trap, drill, and grime. Worlds seemingly distant but united by a common drive: to transform the chaos of the
present into language.
OVER is an attempt to go beyond: beyond the patterns of composition, beyond the rules of production. A huge sonic puzzle constructed with
patience, instinct, and perseverance.
OVER is the raw power of a musical collective condensed into an album. A tamed energy, yes, but still radioactive, like uranium: unstable,
dense, alive.
Featuring: DJ Craim, Awon, Lauryyn, Pasquale Mirra
CREDITS
Davide Angelica: compositions, guitar, samples
Salvatore Lauriola: bass
Giuseppe Allotta: drums
Gioacchino Allotta: keyboards, synth
Gabriele Polimeni: trumpet
Federico Califano: alto sax
Matteo Diego Scarcella: tenor sax, flute
Jacopo Trapani: compositions, recordings, mixing
Francesco Brini: mastering

With "Una Lama D'Argento", TENEBRO take their most extreme and visionary step yet: an entire album conceived as a tribute to Dario Argento, the undisputed master of horror, giallo, and thriller cinema. Eleven tracks that are not just songs, but episodes of a single nightmare, a journey through the dark and obsessive atmospheres of the films that shaped cinema history: Deep Red (1975), Suspiria (1977), Inferno (1980), Tenebre (1982), Phenomena (1985), and Opera (1987). TENEBRO translate Argento's universe into sound: riffs sharp as blades, guttural vocals emerging from the darkness, relentless drumming, and atmospheres shifting between pure violence and suffocating tension. Iconic scenes such as the mirror revealing the killer in Deep Red, the brutal mutilation in Tenebre, or the larva-filled bathtub finale in Phenomena are transformed into brutal, immersive sonic attacks, capturing the full horror and tension of the films. As with every album, TENEBRO continue to evolve, introducing new symphonies, styles, and melodies, while remaining distinctly separate from the wider underground scene. Their music explores new horizons without ever betraying the pulsating heart that has always defined their sound: extreme, theatrical, and viscerally horror-driven.

The Max Roach Trio Featuring the Legendary Hasaan is an album by American jazz drummer Max Roach with pianist Hasaan Ibn Ali, recorded in 1964 and released 1965.

This is a classic of its kind, and it is fortunate that it was made, but it is a tragedy that Hasaan would not record again and that he would soon sink back into obscurity
This is the only record where you can hear pianist Hasaan.

But beyond the historic nature of the session comes the music and for that the word “legendary energetic” seems more appropriate.

This album is available as a limited edition of 750 individually numbered copies on translucent green coloured vinyl

Tears Before Bedtime is the sparkling new album by the Would-be-goods, Jessica Griffin’s band of pop adventurers. Since The Camera Loves Me, their cult classic 1988 debut for the legendary él Records, they have blazed a musical trail through indie guitar pop, with a garage band edge and forays into other territories - glam rock, tango, French chanson… The result is unique and timeless.
The songs on Tears Before Bedtime balance delicacy and power. Perfect pop melodies are delivered in Jessica’s gorgeous and idiosyncratic voice. Her lyrics are intelligent and wry, wistful and witty. Every song tells a story, taking us on a journey through space and time, from belle époque Paris to a 1960s London biker café, from a riverbank in ancient Greece to a 1970s teenage bedroom.
Listening to a Would-be-goods album is like wandering through a gallery of portraits. Innocence gives way to experience. Danger lurks amid the lights of the funfair in the 1950s carousel whirl of The Gallopers. The sinister Dr Love promises heaven but sends you down to hell, to the sound of a last dance in a smoky soul basement. A nymph meets a god in disguise in a garage-band take on a Greek myth (Tears for Leda). The Rose Tattoo is the tale of a doomed love in a sultry Southern state. Don't Come Crying To Me flames an ex-lover to the sound of Bollywood horns and shivery guitar. In Madame X a portrait painter vents his fury on a spoilt socialite beauty. The album closes with a sweetly jazzy lullaby (The Moon Doesn't Mind).
The Would-be-goods began playing as a full band in the 2000s and have been previewing some of these songs at recent shows in England, Scotland, France, and Spain. The album was recorded in London with Jessica on guitar and vocals, Peter Momtchiloff (Heavenly, Talulah Gosh) on guitar, Debbie Greensmith (Thee Headcoatees and many others) on drums, and Andy Warren (The Monochrome Set, Adam and the Ants) on bass. Guest musicians have contributed organ, piano, vibraphone, cello, trumpet, and flute to make this the richest-sounding Would-be-goods record yet.

2LP-Erstauflage auf farbigem Loser-Vinyl: "BIO PETROL" Disk 1 und "MAGENTA" Disk 2. "¡Simpatico! (Remastered and Expanded)" bringt das lange vergriffene zweite Album von Velocity Girl aus dem Jahr 1994, "¡Simpatico!", mit einem superfrischen Mastering und einer Menge Bonus-Tracks aus der "¡Simpatico!"-Zeit endlich wieder raus. Das Originalalbum klingt besser als je zuvor und wird durch ein komplettes Album mit B-Seiten und Raritäten ergänzt. Velocity Girl wurde um 1989 an der University of Maryland außerhalb von Washington DC gegründet, mit dem Gitarristen Archie Moore (Black Tambourine), dem Gitarristen Brian Nelson (Black Tambourine), dem Schlagzeuger Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), dem Bassisten Kelly Riles (Starry Eyes) und der Sängerin Sarah Shannon (Starry Eyes, The Not Its). Die Band kombinierte englisch inspirierten, lauten Shoegaze-Fuzz mit rauem US-Indie-Rock und klassischem Pop-Songwriting im Stil der 60er Jahre. Eine Killer-Single auf Slumberland und ununterbrochene Tourneen erregten die Aufmerksamkeit der Indie-Rock-Kenner, und bald darauf unterschrieb Velocity Girl einen Vertrag mit Sub Pop auf einer Motorhaube in Hoboken, New Jersey. Nach der Tournee zur Unterstützung ihres Debüts ,Copacetic" verbrachte die Band den größten Teil des Jahres damit, eine Reihe von Songs für ein zweites Album zu schreiben. So hatten sie noch nie gearbeitet - es war eine neue Erfahrung, Zeit und Budget (vom Label!) darauf zu verwenden, ein Album zu produzieren, das kein selbst produziertes Punkrock-Studioalbum war. Nachdem sie ihr neues Material monatelang im lauten Stil von ,Copacetic" gespielt hatten, waren die Bandmitglieder von den Songs begeistert, wollten sich aber von der rauen, amateurhaften Atmosphäre ihrer früheren Alben lösen. Und ihre Einflüsse waren diesmal etwas anders: weniger My Bloody Valentine und Wedding Present, mehr New Order. Jemand bei Sub Pop brachte die Band mit John Porter zusammen, dem ehemaligen Mitglied von Roxy Music, der The Smiths, Billy Bragg, The Alarm und eine Reihe anderer Acts der 80er Jahre produziert hatte. Sie trafen sich während einer Tournee in Los Angeles. Er erklärte sich bereit, das Album in einer dreiwöchigen Session in den Cue Studios in Falls Church, Virginia, zu produzieren. Er war genau das, was die Band brauchte: ein Redakteur, Arrangeur und Zuchtmeister. Als er gnadenlos jeden unnötig wiederholten Takt herausschnitt, merkte die Band, dass sie sich zu einem klareren Sound hingezogen fühlte und fast komplett auf die laute Gitarre verzichtete, zweifellos beeinflusst durch Porters Präsenz. Velocity Girl waren super zufrieden mit dem Ergebnis, und ,¡Simpatico!" kam im Juni 1994 raus. Diese erweiterte Neuauflage enthält eine Reihe von Songs, die einige Monate nach den Albumaufnahmen in den Inner Ear Studios in Arlington, Virginia, aufgenommen wurden. Die Sessions lieferten spielerisch-experimentelle B-Seiten für die Singles des Albums, zwei Cover-Songs (das New-Order-Cover ,Your Silent Face" und ein Beach-Boys-Cover) für eine Single auf Merge Records und einen Compilation-Track.

They disbanded in 2015, much to the chagrin of their dedicated fanbase, leaving behind a highly influential body of work, including two gold- selling albums (United Paper People and Hymns for the Nonbeliever) and a slew of hit singles such as "Opinions Won't Keep You Warm at Night," "Do-Do's and Whoa-Ohs," and "Dinosaur." In mid-2025, alongside the vinyl reissue of Hymns for the Nonbeliever-- which reentered the Australian Album and Vinyl charts at #1-- Kisschasy released their first new music in sixteen years. "Lie to Me" and follow- up single "Parasite" both offer a modern edge to the band's trademark sound: blistering guitars, hammering drums, razor-sharp lyrics and, of course, irresistible hooks. It can now be revealed that these two songs form part of a larger body of work: a long-awaited fourth album.

Titled The Terrors of Comfort, the collection of ten brand-new songs finds Kisschasy at the peak of their creative powers. Band member Daz Cordeux describes the album as "raw, alive and commanding" and "the closest you're ever going to get to the true essence of our band." The Terrors of Comfort, Kisschasy's first new album since 2009, will be released on February 13, 2026

(make of that what you will). FIG DISH were four high school friends: guitarists/ vocalists Rick Ness and Blake Smith, bassist/ vocalist Mike Willison, and drummer Andy Hamilton. In their day (a day that began in the late Winter of 1991 and ended in the early summer of 1998), they were known for catchy songs, memorable (often booze-fueled) live shows, and self-sabotage. In July 1995, FIG DISH's debut That's What Love Songs Often Do was released. And just like that, the band was catapulted from regional obscurity into national obscurity. MTV played the video for the band's first single, "Seeds" and FIG DISH toured the U.S. and Canada relentlessly with bands like Veruca Salt, The Muffs, Letters to Cleo, Juliana Hatfield, Local H, and The Rentals. In 1997, their sophomore album When Shove Goes Back To Push , was sunk by a risque music video for the single "When Shirts Get Tight" Featuring adult film stars that MTV refused to play and the band was dropped by an indifferent Polygram Records in the summer of 1998. FIG DISH returned from hibernation in 2024 with two sold out shows in Chicago and the release of Feels Like The Very First Two Times, the band's first "new" release in 27 years, collecting unreleased tracks recorded in the late 90s. On August 1, 2025, Forge Again Records reissued That's What Love Songs Often Do on vinyl for the first time, 30 years after the original CD release. The officially licensed 2xLP features white vinyl, reworked gatefold jacket art by Wall of Youth and vinyl mastering by Carl Saff. FIG DISH celebrated the 2025 re-release with live shows in Chicago and Milwaukee with old tour-mates Letters to Cleo and capped off the year with shows in Kenosha and Chicago with Local H and Fountains of Wayne.

On one hand, it could be bumming out the people who enjoyed hearing what the band evolved into. On the other hand, nostalgia sells...and daddy needs to eat! So...Nevermind 2! Broken Bones and Bloody Kisses has seen a few vinyl pressings in the past, but landing a physical copy of You Are My Canvas (which was only released on burned CDs, crafted in the Lovat- Frasers' basement) is almost impossible. And ooooooh boy...the pre- demo demo (or PDD) versions of "Sketch Artist Composite" and "The Anatomy of the Journey"? Those puppies - with me (Connor...hi!) on vocals/drums and Jeff playing everything else - were only available on the Y2K version and basically only used to recruit other band members. Smash all these old chestnuts together in one release and see what happens! Why not? It perfectly captures the whole spirit of early BOYS NIGHT OUT. But what title does one bestow upon such a sonic siphonophore? There are 3 versions of "Sketch Artist Composite".

Do you call it Sketch Artist Composite Plus Other Songs? Do you go all in on a lyric- based title like Fuck Us Where We Breathe? Decisions, decisions! Probably best to follow Costa's sage advice and go with Nevermind 2. So, almost exactly two decades after our first show - July 19, 2001 @ The Oakville Pine Room with Sky Came Falling, Unearth, and Rise Over Run - may we present unto you, Nevermind 2! What's old is new again, probably?

One guitar, a self-made stand-up drum kit, and preaching vocals are all they need to sound like a bulldozer! A decade after their glorious and successful debut album "Earthquake", the talented duo hit the studio again with full power and recorded 10 self- composed hits at fabulous studio Teepdek. After their sensational 7"- rock'n'roll- anthem "Meatball", which is also included on the 10", "Pepper & Salt" continues in fine style, sounding like a brilliant mix of THE TRASHMEN, READYMEN, BUNKER HILL, ELVIS and ROY ORBISON. With "Pepper and Salt", THE SENSATIONAL SECOND COUSINS truly have a sensational record to offer!

“Ins Blau” ist dicht an Kind Kaputt. So dicht dran, dass die Band sogar erstmals selbst auf einem ihrer Cover zu sehen ist. Ein fast schon reales Abbild ihrer Wirklichkeit.

Musikalisch fokussieren sich Kind Kaputt in den 10 Songs des Albums mehr denn je auf ein fundamentales, schnörkelloses und alles tragendes Gerüst aus Akkorden, Riffs, klaren Gesangsmelodien und prägnanten, kraftvollen Drums. Verziert ist ihre dritte Platte mit aufwendigen Vocalarrangements, zweiten Stimmen und Chören an den richtigen Stellen. “Ins Blau” verliert dabei nicht an Wucht, sondern gewinnt durch gezielte Prägnanz an Deutlichkeit.

Die legendäre Trance-Hymne „Traumwelten“ kehrt zurück – kraftvoll neu interpretiert von Talla 2XLC und Das Licht (aka DJ Dean). Diese farbige Maxi-Vinyl liefert zwei kompromisslose Club-Versionen eines absoluten Kulttracks.

Side A – Traumwelten (Recreate Mix): Mit einem pulsierenden Tempo von 140 BPM entfacht der Recreate Mix ein wahres Feuerwerk aus tiefen Basslines, treibenden Drums und schimmernden Melodien. Die gewagten Breakdowns steigern die Spannung und treiben die Energie bis zum Höhepunkt. Eine hypnotische, gesprochene weibliche Stimme sorgt für mystische Vibes, bevor er in einen euphorischen Rausch aus aufsteigenden, mitreißenden Melodien übergeht.

Side B – Traumwelten (RRAW! Mix): Dunkler, härter, kompromisslos: Der RRAW! Mix startet als druckvolle TechnoTrance-Fusion, die mit massiven Basslines und satten Techno-Kicks beginnt. Dunkle, deutschsprachige Vocals und atmosphärische Effekte fügen dem Track eine immersive, mystische Tiefe hinzu. Der zweite Drop überrascht mit einer euphorischen Melodie, die von technoiden Rhythmen in ekstatische Trance-Elemente übergeht. Dieser Mix glänzt durchseine Vielseitigkeit und eignet sich sowohl für Techno-DJs als auch für Trance-Crowds.

Ein starkes Comeback eines Klassikers – zeitgemäß, druckvoll und ein Must-Have für alle Vinyl-Liebhaber.

You‘re feeling great, just bought new records and you’re ready to toss ‘em on the decks and let ‘em spin. Nevermind your bank account has you on a strict diet of yum yum noodles instead of that expensive, slow, regional stuff you normally get. „Anyway it was a good choice, I love records. It’s an investment..“ you are telling yourself while sliding the record out of its sleeve. „Cheap Fast Worldwide“ — black letters on a white background. You put the needle on the disc.

Punchy drums bathe in lush chords and you’re pulled into a smooth, lounge vibe. Tonight it’s caviar, not yum yum noodles. A playful bassline bounces in, with a nod towards disco roots and a modern twist. An unmistakable cheesy 90s melody is the cherry on top.

Aptly named, the inner track on this side greets you when a „One, two, three, quattro“ rings out over a tight, breaky groove. Meanwhile, rather deep, monotonous pads carve out space for your mind to wander…

As you flip it over, things start to shift. Strange melodies and dirty drums tease the unknown. Out of nowhere, the pitch drops, and a low, driving bassline takes hold. It pushes forward with a relentless energy that keeps you on the edge, unsure of what’s coming next.

A highly sophisticated fade out leads you to the last track — a raw and infectious drum groove laced with choppy vocal snippets and warm crackles. Stripped back, yet the beautiful chords slice through, adding depth and the right sense of movement, taking you deeper into the night.