Search:ea

We Welcome Ed Longo And His Studio Project The Applied Arts Ensemble Debut On Early Sounds With the Other Fantasy', The Result Of Many Recording Sessions That Took Place In Different Places Around Europe.

Conceived With A Strong Jazz-funk, Fusion And Boogie Sound It Has Been Conceptualized Around The Idea That The Schizophrenia Of The Internet-age, The Visions Of Otherness (the Undiscovered Lands, The Primitive Happiness, The Impossible Love) Permeate The Collective Consciousness And The Idealized "other" Loses Any Correspondence With The Physical World.

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Somewhere close to Manchester’s ever changing city centre, as the sun fades and peeks through the newest glass facade, you’ll find Shaking Hand. One part in shadow, the other basking in prisms of light as they sketch out their own sonic landscapes in the dusty redbrick mill they call home. One that is just about clinging on from the encroaching developments that surround them.

Against this back-drop where buildings are constantly torn down & built back again, the three piece craft away. Pulling from early post-rock, and 90s US alternative rock, crafting their own brand of Northwest-emo. Assembling something new, yet nostalgic. Looking ahead towards the transforming horizon. Shaking Hand’s music is built on tension and release – quiets that stretch, louds that overwhelm. Repetition that feels both hypnotic and destabilising.

The band’s musical DNA runs through experimental guitar outfits like Women, Slint, Sonic Youth, Pavement, and Ulrika Spacek, balanced with the melodic sensibility of Big Thief and the dynamic intimacy of Yo La Tengo. Their compositions push against structure: sudden jolts of tempo, polyrhythms that almost fall apart, and riffs that unravel into something fragile or ecstatic. Yet, as Ellis notes, there’s an underlying warmth too: “Like walking through an empty city late at night but catching flickers of life in the buildings you pass.”

Early ideas like ‘Night Owl’ and ‘Sundance’ grew out of George’s lockdown “bedroom years,” where new tunings (open E, drop D, and stranger Pavement-inspired set-ups) opened up uncharted textures. Later, in grim rehearsal rooms, the murky epic ‘Cable Ties’ and the hypnotic ‘Mantras’ absorbed the gloom and grit of the band’s surroundings.

The album was recorded with producer David Pye (Wild Beasts, Teenage Fanclub) at Nave Studios in Leeds, housed in a converted church. “The live room was huge and perfect for capturing our sound,” says George. Determined to bottle their onstage energy, the band tracked the foundations live, layering vocals and guitars later. Soviet-era microphones, odd mic placements, and even phone-recorded demos fed into the mix. “You’ve got to watch out for David though,” Freddie laughs. “He made me play four tambourines in one hand, really hurt, man.”

Lyrically, the record drifts between abstraction and lived moments. George’s words often spill out instinctively, words falling into place before their meaning becomes clear. “A lot of the lyrics look like they’re buried in abstraction,” he says, “but when I look back I can see what they were about — whether that’s an emotional response at the time or just an observation of what was happening around me”. There’s contrast at the heart of it all – optimism vs. doubt, the lightness of youth vs. the monotony of work, a city in constant redevelopment vs. the people drifting through it.

The album artwork is taken from unused plans for the 1970s redevelopment of Los Angeles by architect Ray Kappe, entitled ‘People Movers’. Hypothetical buildings for real people, it feels a complement to the band’s own constructions. One thing’s for sure, Shaking Hand’s debut is built to last.

4/5 Mojo review: ‘Sparse, hypnotic big-room techno that builds from the bass drum up

Double LP is released on 140gm black vinyl in a transparent gloss foil sleeve, artwork and design by Ian Anderson for Designers Republic. Circuitry Electronic launches with a release that stands as a statement of intent - an artist with few true peers within English electronic music, with an album that jumps out of the speakers and slaps you around the chops. G-Man is Gez Varley - one half of Sheffield pioneers LFO, and thirty years into his solo career, with his first vinyl album release since Avanti on Force Inc way back in 2002. Speaking to DJ magazine in 2014 Gez recalled his early days working with Mark Bell as LFO: “We were influenced by groups like 808 State. Unique 3, Nightmares On Wax and also stuff like Kraftwerk, Detroit techno and early electro. So when we first hooked up and made tunes together we just wanted to rock the dancefloor at our local club The Warehouse”.

Their eponymous track ‘LFO’ – a classic of the bleep and bass techno movement – was one of the first releases on the Warp label, gate- crashing the UK’s Top 20 whilst annoying Simon Mayo along the way. Having worked with the likes of Richie Hawtin, Karl Bartos, Laurent Garnier, Art of Noise, Radiohead, YMO and Alan Wilder, in addition to the LFO output, you'd expect Gez to know his way around a techno dancefloor rhythm and drum pattern, and this is an inventive funk-filled journey that never veers too far into experimental territory yet avoids the cliches and generic tropes that too often lose the listener when techno manifests in album form.

Serge Hirsch / LeSerge is a multi-instrumentalist based in Paris.

He plays the violin and keyboards, and composes and produces his own music.

His music blends jazz improvisation, a rhythmic approach drawn from hip-hop, and the sonic experimentation of contemporary bedroom music.
His main band, a trio featuring Noé Bénita on drums and Yungccos on electric bass, aims to create music that is social, joyful and musically demanding, yet never becomes esoteric.
His debut album is set to be released in partnership with Roche Musique in early 2026.
As well as composing and performing his own music, he has collaborated with numerous artists, either as a string arranger or as a producer and pianist. (Bonnie Banane, Shygirl, Lossapardo, Lablue, Swing, Madone...)
He notably made a name for himself during FKJ’s 2020 European tour, where he performed all the support slots alongside electronic music producer CRAYON.
As a bandleader, he has built a solid reputation by performing at numerous venues and residencies at Le Silencio des Près in 2024, at Soho House and at Le Serpent à Plume. He also served as deputy musical director at Le Serpent à Plume during the venue’s early years from 2019 to 2025.

Translated with (free version)

“Tako” means “octopus”, “kite”, and even “bunion” in Japanese. Bald men or men with shaven heads, as well as red-faced, staggering drunks, are also referred to as “tako”. It’s a word that appears in a lot of slang and sayings. Taco is also the name of an 80s music and performance collective whose performances were like nothing before or since. The Japanese band Taco, formed at the beginning of the 80s, is a loose group/collective of varying members that belongs to the post-punk alternative music movement. The network of members were all friends and acquaintances of Harumi Yamazaki, ex-member of Gaseneta and Taco’s central member.

Taco can be described as a band of guerrillas who, over the years, continued to connect, collect, interrupt, and scatter while sending out into the world music and sounds that can best be described as transient. Taco also performed without Harumi, and so it is as though the band is an anonymous group of mercenaries. Taco’s first album was released in 1983 and had a huge impact on Japan’s underground music scene as an anomalous and collaborative album involving various participating artists (the stars of Japan’s underground music scene!) and Harumi, who provided the lyrics. Although each track represents a reverberating conglomeration of sounds created by this transient local network, common to all the tracks are Harumi’s expressive lyrics. This has the effect of transforming all the tracks into a single powerful force which, in turn, spawns an “incident” which spreads like a giant ripple. However, because of another incident in which the records were recalled due to the scandal caused by some of the lyrics, only a limited number of people actually own a copy of the album. Taco’s second album (a 12” EP), released in 1984, features a live recording of a performance that was held at the end of 1982. Taco is a band of indeterminate members which only ever played one-off performances, but this is an album that reveals a unit whose performance was unusually musically coherent. This is an album which effectively conveys the power of Taco’s astounding and legendary live performances, as well as Harumi’s inflammatory, sensational, and masochistic presence on stage. Her mutterings and screams, which practically ignore the detached beat, confront the audience like an overwhelming groundswell.

The following is a description of Taco by one of its members following one of its live performances: “Taco’s like a project where the indeterminate participants fan each other’s heightened emotions of wanting to wreak personal revenge and retribution. It’s an ecosystem of tangible and intangible mouldy slime which accumulates in order for emotions to be acted out, both indoors in the studio, or outdoors on stage. That’s why the avenger can often end up being the victim.”

Nameless, March 1985

Another Country is the fifth full-length album by Cindy, the San Francisco-based group built around the songwriting of Karina Gill. Recorded, like all of its predecessors, in their hometown and with a consistent line-up held over from their previous record (the Swan Lake EP from 2024), it is replete with the poetry of private vistas, eavesdropped dramas and confusing winds. These are classic Cindy concerns, and yet, as always, contain new mystery and charm to somehow feel like quiet revelations each time. Another Country is both opaque in its intentions and specific in its presentation, and as such presents the kind of truth that keeps the listener on the search for answers just out of reach.
"The title of this record, Another Country, refers to the James Baldwin novel of that name. The book has a kind of drama that makes sense to me. When I look around, the obvious explanations are not enough. The miasma of feelings and ideas that is supposed to account for it all, doesn't. Baldwin washes past that to longings that begin to explain. Cindy songs come out of the x-rays my particular brain makes out of what I see and experience. What you hear on this record is the result of collaboration with the members of Cindy that transforms that shadowy thing into full color, fully fleshed. Each of them, in music, is sure-footed and unblinking, and making this record together felt like, yes, yes, you see what I mean."
Cindy is Karina, Staizsh, Will & Oli. Another Country will be released on 1st May 2026 via Tough Love.

For the first time, this landmark album of ritualistic dark folk and shamanic soundscapes is pressed into Double LP, and the result is a breathtaking artifact that transcends the boundary between music and mysticism. Presented in a deluxe edition LP with a lavish 30x30 insert, brought to life by Rune Serpent Europa, this release is a kind of talisman. The packaging itself feels like a gateway: ornate, otherworldly, and perfectly attuned to the spirit of Havamal , where Nordic tradition, animistic ritual, and primal sound converge in a timeless invocation. Spinning Havamal on vinyl unleashes the full incantatory power of NYTT LAND 's music. The analog warmth deepens the resonance of the throat-sung mantras and the droning instrumentation, pulling the listener into a world that is equal parts ancient ritual, frozen landscape, and whispered prophecy.

Every track becomes a rune carved in sound, vibrating with hidden meaning, echoing the eternal cycles of life, death, and rebirth. There is a romance in this edition that goes beyond mere presentation. The act of lowering the needle becomes an invocation, a summoning of ancestral voices and forgotten gods. The record itself feels alive, as though the spirits of the sagas reside within its grooves. Each listen is a ritual, each flip of the vinyl a turning of the cosmic wheel. With Havamal now available on LP, collectors and devotees of dark folk finally hold in their hands a relic worthy of the album's mythic aura. This is music to be inhabited, to be carried into dreams and into shadows, to be used as a key that unlocks the hidden chambers of the soul. A triumph of art, craft, and spirit, this vinyl edition is destined to become a coveted treasure.

Recorded Live at the Fleece, Bristol 17/4/2025 and featuring the return of original singer Boobs. Disorder are an English street punk band that formed in the Bristol area of England in 1980, and has existed with varying line-ups. They are aligned with politically charged punk bands. Disorder were part of the "protest punk" movement, and were one of the bands that spearheaded the Bristol punk scene in the early 1980s. The BBC DJ John Peel described their early singles as sounding like Triumph Bonneville motorbikes.

2025 Repress

Exploring new approaches of its Mediterranean sound, "Zodyaco" project, founded by Pellegrino, returns with a 7” single and two versions delineating the shape of its Neapolitan melodic disco from the slopes of Vesuvius.
Intimate and intense or exuberant and sensual, depends from which prospective you look at the sea.

Repress.

Step into a journey through time with Lapa Dula's debut album "Agua", proudly presented by the Early Sounds team. “Agua” is a sonic and aesthetic collage, a tribute to the sounds and memories of Naples and its surroundings in the vibrant cultural and social scene of the mid 1980s, not just a reflection of producer’s Alessandro La Padula childhood memories, but also a nod to the myths and legends of Partenope. Written between Rome and Naples and co-produced by label head Pellegrino, "Agua" is the latest addition to the imprint’s distinctive "Mediterranean sound" blending funk, Latin, world music, and disco, with songs like the balearic title track "Agua" and the nostalgic ode to rural life "Sibilla", also inspired by the myth of the Sibyl of Cumae, this album takes you on a journey of emotions and experiences.

From vernacular "Scemanfu", a fun play on the French expression "je m'en fous" (I don't care), to the contemplative "Navigante", dedicated to those who have found solace in the sea or in the virtual world, and the final track "Baibai", inspired by the adventurous and licentious affairs of English nobleman Sir Nathaniel Thorold, who lived on the island of Capri, each song tells a story and adds a piece to this mosaic of sounds, images, and places.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

* Edition of 500 colored vinyl (transparent purple)
* Artwork developed in collaboration with Paris-based visual artist Caroline Ventura
* Including download code

i got a song, it’s gonna make us millions is the highly anticipated new album by Sirens Of Lesbos, led by sisters Jasmina and Nabyla Serag. The dynamic release is a vibrant showcase of the group's expansive musical range, blending R’n’B/Soul, Afrobeats, electronic music, and lo-fi indie pop into a rich, genre-defying experience. With its eclectic sound and captivating melodies, the album solidifies Sirens Of Lesbos as a standout force in modern music.

Featuring on the album are the singles “Room 333” feat. Kendrick-Lamar-collaborator Zacari, a futuristic R’n’B song with progressive club beats; the epic “Call Me Back” (feat. Drake-co-signed rapper SadBoi and the Kabusa Oriental Choir); and dub-infused reggae song “Let It Hurt”, plus new song “My Moon”, which draws inspiration from artists like Bruce Hornsby, Justin Vernon, and Jai Paul. Sirens Of Lesbos have earned widespread acclaim from outlets like CLASH, COLORS, Dork, Tsugi and Earmilk, with BBC 1Xtra’s CassKidd calling the collective “magical.”

As Black women living in the diaspora, Jasmina and Nabyla navigate the intersection of their parents’ collectivist North-East African culture and the Western emphasis on individuality. Questions of identity have always been central to their journey. While society often demands clear-cut definitions, the sisters have come to embrace their multifaceted identities: “We have always been many things.”

Both artists are deeply rooted in the technical and philosophical dimensions of sound. Jasmina recently completed her Sound Arts degree, and Nabyla is now finishing hers. Their academic pursuits have included creating abstract sound installations in exhibition spaces. However, their focus for the foreseeable future is on elevating the Sirens Of Lesbos project, writing and producing standout indie pop tracks, performing live, and delivering unforgettable experiences for their audiences.

—

The vinyl version of i got a song, it’s gonna make us millions is published by Präsens Editionen, a Switzerland-based publishing house and music label. Founded in 2011 in the process of launching zweikommasieben Magazin, Präsens Editionen has since released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Recent audio releases include works by Martina Lussi, spalarnia, Magda Drozd, Anom Vitruv, Belia Winnewisser, and Red On, among others.

Hip-hop royalty returns—Bun B and Statik Selektah team up once again for the fourth chapter of their blazing collabo-rative saga: TrillStatik 4. Recorded in real-time with that unmistakable underground urgency, this album is a master-class in modern rap chemistry, blending Bun B’s Southern grit with Statik’s boom-bap precision.

The guest lineup is nothing short of legendary. From DJ Premier setting the tone on “Live From Houston,” to Griselda heavyweights Westside Gunn, Conway The Machine, and Boldy James blessing “Trillselda 2,” every track hits with purpose. Regional flair runs deep, too—Paul Wall, Maxo Kream, and Lil’ Keke represent H-Town with pride, while East Coast lyricists like Termanology and Tek bring bar-for-bar fire.

This is more than a record—it’s a cipher of cultures, connecting street narratives, soul-drenched beats, and coast-to-coast talent.

NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern underground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while staying firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Entertainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

Inperimental is a bold return from Lithuanian electronic pioneers Plasma, presenting a meticulously crafted double LP that explores the intersections of techno, ambient, and forward-thinking electronic sound. Every element — sound, structure, and visual identity — is
intentional. This is not a collection of experiments, but a fully realized sonic architecture shaped by decades of experience and analog mastery. This vinyl edition is more than just an audio release — it's a multi-sensory experience.

The gatefold cover and packaging feature hidden artwork that can only be revealed using included red-lens glasses. This visual element isn’t just a gimmick — it reflects the same intentionality that defines the music. With no room for improvisation or trend-chasing, Inperimental is a precisely executed statement in both sound and form. The album blends ambient tones, analogue warmth, and dancefloor rhythms. It demonstrates a refined sound palette: humid techno grooves, cosmic textures, and cinematic depth.

Inperimental is described by the artist as a voyage where technology meets pure emotion — “a realm where warmth intertwines with technology, dreams blur into reality, and pure, authentic sound reigns supreme”. A digital download card is also included with each vinyl copy.

The vinyl version of this release compiles the tracks from their two earliest EPs originally released by Ankst whilst the 22 track CD features further unreleased & unheard bonus tracks from this early era.

Super Furry Animals also recently announced additional festival dates to follow their sold out Supacabra Tour dates including stops in Llangollen, Bristol, York, Glasgow and London (their first since late 2016. See full 2026 dates below.

Holding the world record for the longest ever EP title the first EP -Llanfairpwllgwyngyllgogerychwyndrobwllantysiliogogogochynygofod (In Space), was released in 1995, followed in the same year by Moog Droog, with both EPs making up the eight-song track listing of the vinyl version of Precreation Percolation.

Later that year, with a record deal on the table and future classics such as God! Show Me Magic and Hangin’ With Howard Marks already making up the SFA’s set list, the band’s path following “two years of chaos” (including a legendary 1993 debut ‘gig’ at Bangor University’s Banana Lounge, lasting all of five minutes due to technical and chemical misadventure) was set. In the album’s liner notes, singer, Gruff Rhys writes: “It would have been the best gig ever, had we not daisy chained so many synthesizers together, that it resulted in a terminal systems failure.”

By summer they’d joined Oasis, Primal Scream and The Jesus and Mary Chain in the Creation Records family, leading to a huge London signing party that saw members of the band famously thrown out of.

The term of intriguing genre experimentation, spanning long-form electro, blissed out instrumentals and expansive prog-influenced rock, heard across much of Precreation Percolation was subsequently refined and channeled into their thrilling, 1996 debut album, Fuzzy Logic and their untamed live performances.


While consciously and frequently referring to the unheard, untold and unforeseen as a naturally nostalgia-resistant band, Super Furry Animals look ahead to reconvening with fans to celebrate their shared history as the Supercabra Tour gets underway.




(the vinyl comes with a copy of the CD in a slim card wallet)

Celebrating the 5th anniversary of Conway's legendary tape with DJ Green Lantern "Reject On Steroids" with a vinyl reissue in collaboration with Drumwork Music. Tape features guest appearances by Royce Da 5'9" and Benny, and productions by DJ Green Lantern. For the occasion we have two different artworks by Shk, limited to 1500 units each.

2026 Repress

johnny's disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as 'farewell my johnny / left alone' and 'aya's samba' has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

another japanese jazz classic, aya's samba was a debut effort by bassist eiji nakayama, who played as part of elvin jones' jazz machine and toured with don friedman.

this album is an important release in the johnny's disk catalogue, not only because it is the first ever release, but also because the owner hearing the band play was the reason why the label came to be.

'aya's samba' is a mellow jazz samba in minor key that's considered a japanese jazz classic. slow ballad 'yellow living' is drenched in melancholy with emotive keys and sax notes, while the dreamy 'sea sea town' impresses with a captivating, expressive sax solo. the 4 tracker ends with 'far-away road,' an uptempo tune with rhythmic keys.