12 Inch Vinyl in Manilla Sleeve + Sticker
Classic NYC label NIA have delivered once again, this time lifting the masters out of their vaults releasing the full length versions of this classic track by A High Frequency, a one-off disco moniker of Leroy Burgess & The Fantastic Aleem Brothers, who produced this 1980 dancefloor wonder that finally gets its first deserved re-issue on 12”. Remastered for 2026 RSD on limited edition 180g heavyweight vinyl.
Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.
What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.
With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.
A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.
In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.
American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.
In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.
Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.
Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.
The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.
However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”
The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.
For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.
There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.
Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".
Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.
But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.
But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.
Véronique Mortaigne
This 18- track selection spans Edith Piaf' s career from the years 1946 to 1961. It includes all of her big hits, such as 'La Vie en rose', 'Non, je ne regrette rien', 'Hymne a l'amour', 'Milord', 'La Foule', 'L'Accordeoniste', and 'Padam Padam', among many others. Regarded as France's national chanteuse, singer songwrite, and actress Edith Piaf (1915-1963), also became one of the country's greatest international stars. Her music was often autobiographical with her songs reflecting her own personal life. Piaf's specialties were the chanson and torch ballads, particularly those of love, loss, and sorrow.
[q] Le Chevalier De Paris [aka Les Pommiers Doux]
Violet Vinyl[26,01 €]
Uncompromising Dutch Black Metal – DOODSWENS’ sophomore album out in April via Svart Records Doodswens is a Dutch Black Metal band formed in 2017 by I. Live she performs the drums and vocals, joined by R. & P. on bass and guitar. Doodswens translates to Deathwish, but the meaning and heavy load to the word in Dutch translates better to Driven by Death. The self-titled sophomore album by Doodswens is out on April 17th 2026.
After establishing themselves in the Dutch scene, Doodswens gained an international following doing tours with Marduk & Gorgoroth. Doodswens’ performances are ceremonial and ritualistic, which have been reported to be as uplifting as they are devastating, depending on the demons you bring them to offer. Whatever you carry with you will be exposed. They like to confront instead of bringing comfort. If you've been on the verge of ending your life, or think about it more often than not, then you're living with a death wish. A heavy feeling, like a gray cloud hovering around you, gasping for breath and blurring your vision. This is incomprehensible to anyone. Except for those caught in the middle of it. But this album isn't about giving up. It's about finding strength, about someone who regains new energy after facing death.
This album isn't about wishing for death, but the death of the wish. Band’s establisher I. talks about the new single "Driven by Death": “For me, it was on the way back from a spontaneous adventure, full of music, new connections, and inspiration. A path without a plan and a journey without a goal, with only a very strong feeling that this is where I'm meant to be. With a misty horizon of endless asphalt before me. A large tree at the edge of the road, in the corner of my eye, screaming that this could just be the end. But what I felt wasn't fear, it was happiness. With the thought that if I crash into that tree now, I won't care at all. Because up until this moment, I've done everything possible, experienced every adventure, and each time, gotten up again and faced life with that gray cloud around my head. I have a death wish, so if it happens now, it's okay, and I'm at peace with it. This was the moment I realized, I'm not afraid of life. I'm driven by death.”
Black Vinyl[25,17 €]
Uncompromising Dutch Black Metal – DOODSWENS’ sophomore album out in April via Svart Records Doodswens is a Dutch Black Metal band formed in 2017 by I. Live she performs the drums and vocals, joined by R. & P. on bass and guitar. Doodswens translates to Deathwish, but the meaning and heavy load to the word in Dutch translates better to Driven by Death. The self-titled sophomore album by Doodswens is out on April 17th 2026.
After establishing themselves in the Dutch scene, Doodswens gained an international following doing tours with Marduk & Gorgoroth. Doodswens’ performances are ceremonial and ritualistic, which have been reported to be as uplifting as they are devastating, depending on the demons you bring them to offer. Whatever you carry with you will be exposed. They like to confront instead of bringing comfort. If you've been on the verge of ending your life, or think about it more often than not, then you're living with a death wish. A heavy feeling, like a gray cloud hovering around you, gasping for breath and blurring your vision. This is incomprehensible to anyone.
Except for those caught in the middle of it. But this album isn't about giving up. It's about finding strength, about someone who regains new energy after facing death. This album isn't about wishing for death, but the death of the wish. Band’s establisher I. talks about the new single "Driven by Death": “For me, it was on the way back from a spontaneous adventure, full of music, new connections, and inspiration. A path without a plan and a journey without a goal, with only a very strong feeling that this is where I'm meant to be. With a misty horizon of endless asphalt before me. A large tree at the edge of the road, in the corner of my eye, screaming that this could just be the end. But what I felt wasn't fear, it was happiness. With the thought that if I crash into that tree now, I won't care at all. Because up until this moment, I've done everything possible, experienced every adventure, and each time, gotten up again and faced life with that gray cloud around my head. I have a death wish, so if it happens now, it's okay, and I'm at peace with it. This was the moment I realized, I'm not afraid of life. I'm driven by death.”
BLUE & WHITE COLOUR IN COLOUR VINYL
In the culinary arts, it’s easy to overcomplicate the final product. Theme, presentation, texture…they’re important but should work to complement the raison d'etre of any food. At the end of cooking a dish, it should taste good and feed people. Some dishes, like barbeque or provoleta, resist the tendency towards hollow showmanship. One of their expressions can be more or less aesthetic, but the first purpose is to be simple and tasteful. Argentinian provoleta goes so far as to blur the line between ingredient and dish. It relies on the inherent flavor of provolone being heated at the right speed for the perfect amount of time. You can add garlic or chives or red pepper to the slice, but ultimately they serve to bring out an essence that’s already there.
Los Angeles’ Cousin Feo has developed his rapping acumen in the five years since releasing Provoleta, but returning to the project today shows that he always had the penmanship, grit and delivery that christens an emcee worthy of remembrance. Like the bubbles rising up in the appetizer that is the album’s namesake, Feo showed that true profundity is found in the simple gestures.
Since dropping the project in 2019, Cousin Feo has expanded his vision of a world where hip-hop and football, two proletarian art forms, mingle in creative and compelling ways. He has collaborated across multiple continents, chronicled football histories, aided in canonizing legends, kept the flames high in age-old rivalries and constantly forced his audience to search for the last time they heard bars this hard. In anyone else’s hands it would be too great a task.
The maturity he showed on Provoleta wasn’t nascent, it was an inherent quality forcing itself to the surface. The songs refract his experience as a working class Angeleno through the archetypes of Argentinian football legends. The kernel that unites the two worlds is hustle. When Feo was coming up, missteps had greater consequences than crashing out in the group stage and street deals had the weight of a Boca-River Plate match.
Each track uses slightly different ingredients to let Feo’s underlying talent shine. “Maradona” feels salvific, fitting for a football legend canonized from the Andes to the Alps and a Los Angeles rapper looking to inspire similar hope in the neighborhoods that raised him. On “Di Stefano” Feo massages the instrumental with the same composure of the late forward, until he pierces through the headphones like one of Di Stefano’s arrows. It’s also refreshing to hear a song celebrating Messi before his meme-ification, focusing on the universal truths contained in his footballing talent instead of using number 10 as a stand-in to make a point in a fruitless argument. And he still finds space to show deference to Batistuta, Kempes and other members of the Argentinian pantheon who’ve been erased from the popular imagination by the national team's contemporary success.
Real ones know that true players, true rappers, and true artists will always stand the attacks of time and consensus. In Provoleta’s first verse, Cousin Feo says he moves with the hand of God. Maybe one day he’ll tell the whole truth and let us know how he was able to wrestle the pen away too. Limited edition of 300 hand-numbered copies.
Channels Of Love, the collaboration between Italian duo's Dirty Channels and Eternal Love present their first original release from Dirty Channels featuring Ethiopian-Dutch singer Minyeshu and a remix from Dionisos...
With Harmony, Dirty Channels mark the first official original release on their new imprint Channels Of Love, founded together with Italian duo Eternal Love. Born as a platform for edits and reworks, the label now evolves into a broader vision rooted in global grooves and club energy.
Featuring Ethiopian-Dutch singer Minyeshu, whose spiritual and emotive voice bridges African traditions with contemporary sounds, Harmony blends percussive drive, warm basslines and hypnotic arrangements into a powerful yet soulful peak-time record built for connection.
The release also includes a soulful remix by Dutch producer Dionisos, delivering a deeper, housy reinterpretation while preserving the essence of the original vocal.
With this debut, Channels Of Love sets the tone for its future direction: alternative club music rooted in authenticity, where edits evolve into original productions and the dancefloor becomes a space for shared energy and unity.
Faitiche welcomes a new artist: Christina Kubisch belongs to the first generation of sound artists. Her practice ranges from performances, concerts, to works with video and visual art, but she is best known for her sound installations and electro-acoustic compositions.
TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered “non-music” into compositions.
Jan Jelinek: Gaming in Silence (2024) is the most recent work on this compilation. It’s a collage of electromagnetic waves, voice, and abstract sound textures. How did this combination come about?
Christina Kubisch: Gaming was commissioned as a fixed-media composition for the Sound Dome at ZKM Karlsruhe. Since Resonances: The Electromagnetic Bodies Project (2005), I’ve been making recordings in the old and new server rooms at the ZKM and in their permanent collection of historical computer games. Computer games like Asteroids (Atari, 1979) and Poly-Play (VEB Polytechnik, 1986) have specially generated analogue electromagnetic waves that interest me in particular on account of their density, rhythms and textures. I originally studied painting and to me the work of composition often feels like painting an abstract picture. I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In Gaming it’s my recording of a Chinese song about silence.
JJ: Two persons walking through a street in Madrid (2004) is a recording from your Electrical Walks series. Here we should give a brief explanation of one of your best known works: participants in an Electrical Walk move through public spaces wearing prepared headphones that allow them to receive electromagnetic waves from their surroundings – for example from security gates, ATMs or neon signs. They discover a situation that normally is inaudible to the human ear and they can actively shape it by choreographing their movements. I really admire this piece, not least because there’s no clear dividing line between participants and artist. What exactly do we hear in Two persons walking through a street in Madrid (2004)?
CK: With this early work, I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism.
JJ: Diapason (2009 version) is an installation that plays a composition based on sounds from fifteen tuning forks. This setting is audible in the recording: there’s no dramatic arc, no beginning or end – instead, it recalls a piece of aleatoric music focussing on the decay phase. How did you come to make this work and could you tell us something about your compositional method?
CK: Diapason is part of a series of three pieces that deal with “non-instruments” or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people’s hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin’s Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse.
Credits:
Gaming in Silence: commission of the ZKM/Hertzlab, Karlsruhe 2023
elektronic sound processing: Tom Thiel
sound engineering and mixing: Eckehard Güther
Diapason: produced at Elektronisches Studio of TU Berlin
rearrangement: Eckehard Güther
Christina Kubisch, published by Edition Christina Kubisch / Random Musick Publishing
image front: Transitionen 2021 by C. Kubisch, sonagrams of electronic waves (courtesy: Galerie Mazzoli Berlin)
image back: Diapason Tuning Fork, property of Folkmar Hein, Photo: Archiv Christina Kubisch
design by Tim Tetzner
mastered by Giuseppe Ielasi
Thanks to Miguel Álvarez-Fernández, Folkmar Hein, Dominik Kautz and Mario Mazzoli
3LP limited deluxe edition of Beastie Boys’ platinum-selling 2004 To the 5 Boroughs album, featuring 11 bonus tracks, including remixes and B-sides., pressed on 180-gram vinyl and housed in a triple gatefold jacket with pop-up elements and an NYC map lithograph, inside a rigid slipcase.
In a most original impetus this album traverses forty years of Italian new wave and singer-songwriter tradition. As in the desert where Infesta’s urge is to walk, we are ambushed by the most intense thermal and sonic difference.
It is from here that this important journey we mustn’t miss begins. It leads us eight thousand meters deep in the blue abyss. Not quite enough to come out the other side and, as a kite, bestow all the heights that I will reach. These depths are nevertheless necessary to adjust our eyes to the darkness that lives within us, as a machine to burst our hearts to which we can’t and won't be accomplices.
Machine against machine. The increasing pressure of the lashes of an incessant current, at times sweet and at times sour, on which all the courage is sung and yet is everywhere dispersed like thoughts on water and melodies to be lost at sea. Darkness persists: you said the world can be lived where all was taken. And it’s a crazy and estranging babbling that, stripped by a current, answers: never never never never, in no direction.
My companions, come back, the breaking point has been found, we sing together. Leaf after leaf the time has come: it is possible to destroy the Machine in a mad blinding light.
Bunker Intimations II by London-based anti-formalists Index For Working Musik is a sister record to their second album Which Direction Goes The Beam, originally issued as a limited edition cassette with early copies of the vinyl pressing of that record. The 50-minute long collection of recordings was made across an intense three day period in March ‘25 under the duress of a very strict deadline. All tracks were improvised and mixed-down on the spot, a genuine document of a moment in time. Some of us think that it’s better than the record that it was trying to sell. And so here it now stands for wider judgment. Bunker Intimations II is released digitally and on vinyl via Tough Love.
In the vibrant, post-millennial landscape of independent hip-hop, few collective names commanded as much respect as the Living Legends. A monumental alliance of some of the West Coast's most respected solo artists—including Murs, The Grouch, Eligh, Aesop, Bicasso, Luckyiam, Sunspot Jonz, and Arata—the crew's 2008 album, The Gathering, served as a powerful declaration of their unity and enduring relevance.
The Gathering was a snapshot of a legendary crew working at the peak of their collaborative power. The project masterfully weaves together the diverse styles of its eight members, moving effortlessly from the conscious storytelling of Murs to the soulful, introspective flow of The Grouch and Eligh, and the abstract lyrical dexterity of Aesop. The production, handled largely within the collective, provides a lush, sample-heavy, and distinctly West Coast soundscape that perfectly complements the lyrical fireworks. Tracks like the anthemic title track "The Gathering" and the legendary posse cut "After Hours" showcase the organic chemistry that made the Living Legends a seminal force in underground music.
For the first time ever, this pivotal album is being officially pressed on vinyl. This highly anticipated Record Store Day 2026 release finally delivers The Gathering to the format its rich, soulful production has always deserved. This limited edition pressing is presented on striking Coke Bottle Clear Vinyl, a perfect visual complement to the album's crisp, refreshing sound.
A crucial artifact of independent hip-hop history, The Gathering on vinyl is an essential addition for fans who have supported the Living Legends for decades and a must-have for vinyl collectors looking to own a tangible piece of the era's best crew collaborations. Don't miss the chance to own this definitive, first-ever vinyl pressing of a true underground classic.
“The Repertoire” LP, the debut album from LA based artist Cousin Feo (Death At The Derby) officially comes to vinyl May 10th. The project was originally released in September of last year & is the first installment on his own indie imprint, Alumni Records. The album is entirely produced by the beat making French assassin Keor Meteor & furthermore establishes their connection from Mid City 2 Marseille.
Truly a unique body of work, this personal piece plays like a graphic novel in the form of rhyme, a short film on wax with cinematic word play & story telling fit for a classic film. A 27 minute audio experience, each joint layered into the next, thus creating a collage of moments & life experiences lived by him & his loved ones. It’s like mixing the heralded French film “La Haine” with scenes from “Training Day” & “The Professional” & setting it all in South Central LA.
More known & recognized for his famed footy themed projects like “Provoleta” & “Choripán” & creating “Death At The Derby”, Cousin Feo laces us with a more traditional sounding rap album, stepping outside the 20 yard box & showcasing the skill set extends beyond his niche artistry and sound. Tap in.
Limited edition of 400 hand-numbered copies.
Grey Vinyl[27,69 €]
“The Repertoire” LP, the debut album from LA based artist Cousin Feo (Death At The Derby) officially comes to vinyl May 10th. The project was originally released in September of last year & is the first installment on his own indie imprint, Alumni Records. The album is entirely produced by the beat making French assassin Keor Meteor & furthermore establishes their connection from Mid City 2 Marseille.
Truly a unique body of work, this personal piece plays like a graphic novel in the form of rhyme, a short film on wax with cinematic word play & story telling fit for a classic film. A 27 minute audio experience, each joint layered into the next, thus creating a collage of moments & life experiences lived by him & his loved ones. It’s like mixing the heralded French film “La Haine” with scenes from “Training Day” & “The Professional” & setting it all in South Central LA.
More known & recognized for his famed footy themed projects like “Provoleta” & “Choripán” & creating “Death At The Derby”, Cousin Feo laces us with a more traditional sounding rap album, stepping outside the 20 yard box & showcasing the skill set extends beyond his niche artistry and sound. Tap in.
Limited edition of 400 hand-numbered copies.
GALA announce Ten Years of GALA – a compilation marking a decade of independent culture
Ten Years of GALA is both an archive and a horizon: a reflection on where GALA has come from, and a signal of what lies ahead.
Founded in 2016 as a one-day gathering in South London, GALA has grown into a global point of reference for dancers, artists and collectives drawn together by a shared commitment to independence, collaboration and underground music culture. Rather than charting success through scale alone, the festival has consistently prioritised integrity, community and musical curiosity – values that underpin this release.
Spanning fifteen tracks, Ten Years of GALA unfolds as a considered journey. It opens with an intimate spoken contribution from Charlie Dark, grounding the compilation firmly in GALA’s home of Peckham before gradually expanding outward into fuller, club-focused terrain. From there, the record moves between moods and tempos, tracing a path from reflective moments into the physical language of the dancefloor.
The compilation brings together longtime friends of the festival alongside newer voices drawn into its orbit in recent years. Each artist contributes a distinct perspective, but collectively the tracks form a coherent portrait – not of a single sound, but of a shared ethos shaped over ten years of gatherings, collaborations and days spent dancing together.
Rather than a retrospective in the conventional sense, Ten Years of GALA functions as a living document. It captures fragments of past editions, scenes and relationships, while remaining firmly oriented toward the future. These are not museum pieces, but records designed to be played, shared and folded back into the spaces from which they came.
Together, the compilation holds a piece of GALA’s first decade – not as a closed chapter, but as a foundation for what comes next.
The Buddha Bar collection is the one of the most emblematic electronic compilation series with over several million copies sold over the years. Discover the 27th Buddha-Bar Compilation, Mixed by DJ Ravin. Immerse yourself in the captivating and unique world of Buddha-Bar with this new « haute couture » selection. This latest edition, masterfully mixed by the iconic DJ Ravin, takes listeners on a mesmerizing sonic journey, blending sophisticated electronic beats, worldwide sounds, and deep chill and house vibes. More than just an album, it’s an immersive experience perfect for setting the mood at any gathering or accompanying moments of pure relaxation. With a legacy of globally acclaimed compilations, the Buddha-Bar series has already captivated millions, creating a lifestyle phenomenon like no other. Available on March 28th, Buddha-Bar XXVII is a must-have for fans of lounge and electro music. Give your customers the chance to escape into this musical adventure
Un Canto por México, Vol. 2 is Natalia Lafourcade's second album dedicated to the reconstruction of the Centro de Docementación del Son Jarocho, a cultural building that was damaged after the 2017 Puebla earthquake. The album features unique new interpretations of her earlier songs, as well as collaborations with artists such as Caetano Veloso and Silvana Estrada. This album really showcases the enduring strength of her songs, which remain powerful in any form.
The album was very positively received by fans and critics. It even got nominated for multiple Latin Grammy Awards (Album of the Year, Best Engineered Album) and Grammy Awards (Best Regional Mexican Music Album).
Un Canto por México, Vol. 2 is available as a limited edition of 2000 individually numbered copies on smokey marble vinyl, packaged in a gatefold sleeve, with printed inner sleeves.
Red Vinyl[46,64 €]
For the first time ever, Roxette release ‘Baladas En Español’ on vinyl. The relationship between Roxette and Spanish-speaking audiences has been a love story since the early ‘90s and this release celebrates that special relationship. The release is timed with Roxette’s 40th anniversary and their return to South America for live shows in April. The album will be available on vinyl and CD, featuring 4 bonus tracks compared to the original release. The vinyl will be released in both a limited coloured edition and standard black.
Roxette have some exciting plans to celebrate their 40th Anniversary this year, including extensive touring, further anniversary re-releases, video upgrades, contemporary remixes and much more!
To celebrate the year anniversary of its first release, Erin LeCount launches a limited edition transparent vinyl of her 2025 EP I Am Digital, I Am Divine. The tracklist includes viral hit Silver Spoon which amassed 300K Soundcloud streams before it had even been released, since amassing 21M streams in less than 12 months.
Available for pre-order on the 24th March and set for release on the 17th April 2026.
Erin LeCount is a 23-year-old self-taught artist and producer. A visionary sonic architect and the sole writer and producer of her music, her sound ranges from luscious baroque-pop arrangements to alluring gothic-pop.
At the foreground of her music are diaristic lyrics and captivating synths which offer an enchanting interplay of vulnerability and power. The themes within her music explore everything from identity to relationships and the meaning of life. Erin’s influences include Fiona Apple, Kate Bush, Lorde, Imogen Heap, Charli xcx, and Sampha.
In May 2026, Erin LeCount will embark on her biggest run of shows to date with her new UK tour, entitled the ‘PAREIDOLIA Tour’, which will see her play dates in Manchester, Glasgow, Bristol, and London, the latter of which will take place at the Roundhouse in what is Erin’s largest headline show so far.
This month, Erin was also announced on the line-up for Lorde’s All Points East date on Saturday 22nd August.
