Search:ed o g

Itay Dailes & Eran Ben-Zeev A collaborative EP between veteran producer Itay Dailes and label owner Eran Ben-Zeev.
Two sides, two visions — one spirit. A nod to ’90s traditions, each track offers its own distinct flavor, ranging from deep, dub-infused minimalism to warm analog grooves. A versatile release for selectors who value subtle contrasts and timeless dancefloor tools. Higher State Minimal deep house with a hypnotic pull. Built on warm, dubby pads and a rolling, understated groove, *Higher State* draws the listener into a meditative zone — subtle, emotional, and deeply immersive. Dub Rounds A deep, edgy minimal cut powered by a rolling bassline. Vocal fragments weave in and out, while jazzy chords add a dreamy, soulful lift to the groove. Unicorns Can’t Fly A lush, emotive journey of floating grooves, warm pads, and delicate textures. Designed for late-night introspection while keeping the pulse alive on the dancefloor — equal parts body and soul. Jupiter 1 Diving deeper into raw analog territory, Jupiter 1 pairs a rolling bassline with smooth acid contours. Stripped-back percussion channels early ’90s energy, perfect for long sets and locked-in moments.

Re-issued! 1993 nahmen PROPAGANDHI ihr erstes Album "How to Clean Everything" auf und veröffentlichten es über das damals noch junge Label Fat Wreck Chords. Es versteht sich von selbst, dass das Album nicht nur das Label bekannt machte, sondern vor allem PROPAGANDHI als eine der großen Kräfte in der Punkszene etablierte. "How To Clean Everything" war ein Start nach Maß und lehnte sich noch eher an die Skate-Punk-Tradition an als die folgenden Werke der Band. Trotzdem voller aggressiver Metal/HC-Riffs und jungenhafter, bissiger Texte über Menschenrechte, Gleichberechtigung und radikale linke Politik. Sänger/Gitarrist Chris Hannah erklärt seine Gründefür die Neuauflage (mit einem Hauch seines geliebten sarkastischen Humors): ,Vielleicht liegt es an den Badesalzen, aber ich bin zu der Überzeugung gelangt, dass es wertvoll ist, etwas zu haben, das einen bis zum Tod verfolgt. Ich präsentiere euch "How To Clean Everything". Die 2026 Neuauflage enthält wie die 20th Anniversary Edition das komplette Originalalbum plus die drei Outtakes, die Fat Mike für Fat Wreck seinerzeit für die Vinylveröffentlichung rausgenommen hatte. Natürlich wurde das Album auch von den originalen Analogbändern remastert. Schwarzes und farbiges Vinyl wieder erhältlich.
















[p] SEEMED FUNNY THE FIRST TIME [BONUS TRACK]
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]

Luca Moplen’s reworks of the T-Connection classic “Do What You Wanna Do”!

The 9 minute plus vocal version combines the authentic pumping bass-line and slamming beats together with the characteristic T Connection percussion with the vocals of frontman Theo Coackley, while on the flipside Luca demonstrates his skills with a slightly shorter Dub-version, stripped from it’s vocals, cooked and re-edited to perfection.

2026 Repress

Slam rework Nitzer Ebb, Silent Breed, DK8, Terrence Fixmer and more for the final installment of their Archive Edit series.

Soma label heads Slam curate a specially designed package of tracks to finalize their Archive Edit project that sees them delve deep into Techno's past to bring some of the genre's best tracks into the modern age. The Archive Edit project started as a way for Slam to showcase and share the many different edits that had made their way into their DJ sets over the last few years.

The pairing of Stuart McMillan & Orde Meikle have both raided their extensive collections, picking out tracks that have defined countless sets over their career. Tracks from luminaries such as Nitzer Ebb, Thomas P Heckmann (as Silent Breed), Damon Wild & Terrence Fixmer have been re-edited alongside some of Slam's own unreleased material, showcasing the duo's current sound; one that naturally evolves, matures and demonstrates why the duo have been at the forefront of the global scene since its inception.

Attention Italo-disco junkies: Disco Segreta is back, and we’re kicking off our 10th-anniversary celebration in style with a release you simply can’t miss. We’re beyond excited to present the official reissue of Cecilia Rizzoli’s iconic single, “Così non va”—a tearjerker Italo-disco masterpiece that has haunted the dreams of collectors for decades.

Originally released in 1985 in an ultra-limited run of just 500 copies split on two cult labels, Scarabes Sound and Discokkio, this gem became a mythical treasure for those dedicated diggers uncovering the rarest Italo disco tracks. “Così non va” blends hypnotic Juno synth lines, punchy Linndrum beats and airy arpeggios with Cecilia’s emotionally charged vocals, creating a soundscape that’s pure melanchol-Italo perfection—ideal for winter nights and nostalgic dance floors.

For this reissue, we’ve painstakingly tracked down the original analog master, that we’ve lovingly restored and remastered to deliver the kind of pristine sound quality this track deserves. The release features the remastered original and a fresh, contemporary edit by Latino-Swedish Italo-disco legend Claudio Burgos, aka Mr. Fantasy. Secure your copy now before it disappears into collector heaven—again!

Having established himself as one of the most exciting contemporary dance producers with a string of stellar releases, Japanese producer boys be kko returns triumphantly with the Nagasawa EP, four floor cuts bursting with emotion, shimmering in Tokyo technicolor, and perfectly at home on Bliss Point.

Nagasawa kicks off with a bang. “ChuKii” is a peak time heater: breaks, chopped vocals and punchy toms sear over a low end groove that proves body music can funk. Melodic acid explodes like a firework mid-track, taking the dance floor to psychedelic new heights.

The club psychedelia continues with “Mold Mold”, a minimal, subterranean system roller adorned with swells, bells, and deep, guttural growls dubbed to the vanishing point.

“Sant Esteve (kko Edit)” is melancholic and contemplative jazz house, eschewing cliché and twinging with nostalgia for that moment you felt most free.

“Humor is an important part of my music”, boys be kko reflected over lunch as Izakaya smoke billowed past his face. “Oignon”, the fourth and final track on Nagasawa, is an airy and joyful slice of sampledelia that makes good on this promise. An enormous smile of a track sending listeners off with a slice of sonic sunshine and, dare we say, hope.

Takeo Moriyama's "Mori," out of print and difficult to find on CD, is now available on vinyl for the first time!

Commemorative release of the Nanzato Fumio Award
Selected as a Swing Journal Gold Disc (6th Edition, 59th Edition)

"Mori" features slow-tempo tracks.
Moriyama's drumming delivery develops this incredibly dramatic ballad.
The listener is enveloped in a vast forest.
This time, a George Gazzon ode brings a breath of fresh air to Moriyama's sound.

Takeo Moriyama (ds)
Nobumasa Tanaka (p)
Hideaki Mochizuki (b)
Eiji Otokawa (ss, ts)
George Gazzon (ss, ts)

Vier Jahrzehnte nach ihrer Gründung schreiben Ian Astbury und Billy Duffy ein neues Kapitel in der Geschichte von The Cult. Gemeinsam mit John Tempesta (Bass) und Charlie Jones (Schlagzeug) ließen sie 2023 ihre legendäre Frühphase Death Cult für eine exklusive Konzertreihe wieder aufleben - eine Hommage an die Ursprünge einer der einflussreichsten britischen Rockbands der 1980er-Jahre. Das Ergebnis dieser intensiven Rückkehr erscheint am 16. Januar 2026 unter dem Titel "PARADISE LIVE" - ein 16 Songs starkes Live-Album, aufgenommen am 18. November 2023 in der ehrwürdigen Albert Hall in Duffys Heimatstadt Manchester. "PARADISE LIVE" erscheint als Doppel-LP im exklusiven "Black on White"-Splatter-Design, auf CD sowie digital. Das edle Artwork zeigt ein schwarz auf schwarz geprägtes Schmetterlingsmotiv - entworfen von Ian Astbury und kunstvoll neu interpretiert von Carter O"Sullivan (Beggars Art Department). Die Black-Splatter-Edition ist ausschließlich über den Band-Webshop erhältlich, während die White-Splatter-Edition im regulären Handel erscheint. Der Weg von The Cult begann 1981 mit Southern Death Cult, deren gleichnamiges Album posthum 1983 erschien. Noch im selben Jahr gründeten Astbury und Duffy Death Cult - der Beginn einer kreativen Partnerschaft, die seit über 40 Jahren Bestand hat. Bereits 1984 entwickelte sich daraus The Cult, die im selben Jahr ihr gefeiertes Debüt "Dreamtime" veröffentlichten. Mit "PARADISE LIVE" schließen Astbury und Duffy den Kreis - ein intensives, authentisches Live-Dokument, das Vergangenheit, Gegenwart und Zukunft einer außergewöhnlichen Band miteinander verbindet.

XL Recordings is proud to mark the 10th anniversary of Archy Marshall’s (aka King Krule) A New Place 2 Drown with the release of a newly remastered instrumental edition.
Originally released on 10 December 2015, A New Place 2 Drown remains a singular entry in the Archy Marshall catalogue. Known to many for his work as King Krule, Marshall released A New Place 2 Drown under his own name, highlighting a different facet of his creative identity. An atmospheric blend of submerged beats, woozy textures, and diaristic storytelling, the project earned widespread acclaim upon release, including Pitchfork’s Best New Music.
Developed in parallel with a visual world shaped with his brother and longtime collaborator Jack Marshall, the quietly influential project stands as a multidisciplinary love letter to their home of South London, originally released alongside a Will Robson-Scott–directed short film and a book of artworks, photography, and poetry by the Marshall brothers.
The 2025 instrumental edition offers a newly illuminated perspective on the record’s sonic core, drawing fresh attention to the production craft that underpins the project. By stripping the songs back to their foundations, the release highlights the intricate textures, rhythmic detail, and atmospheric depth that have helped A New Place 2 Drown grow into a cult favourite over the past decade.
“A New Place 2 Drown evokes a septic world filled with flickering halogen bulbs, sticky synth keys, and corroded outputs. Marshall has made tremendous strides as a producer, gorgeously reproducing the gloom and loneliness of early '90s hip-hop and finding a way to integrate it into his own style.” - PITCHFORK

Mandrake Handshake announce new remix version of lead single Hypersonic SuperAsterid from W.H.Lung's Tom Sharkett released 24th November and the Special Limited Eco- Green Vinyl Edition of their critically acclaimed debut LP 'Earth- Sized Worlds', set for release 12th December via cult indie label Tip Top Recordings The concept tying together every last note and lyric of 'Earth- Sized Worlds' - the debut album from the London/ Oxford self- dubbed 'Flowerkraut' collective Mandrake Handshake - is an awfully simple one: 'Welcome to Space Beach' .Varying anywhere between 7-10 members - including a dedicated, flamboyant tambourine shaker - their pristine, multi-limbed spectacle of a live show has journeyed up and down the UK and EU in recent times. With multiple headline tours to their name, including a sold- out show at London's iconic 100 Club earlier this year, the group have already ticked off slots at the likes of Wide Awake, Green Man and Manchester Psych Fest, as well as shows with psych-figureheads W.H Lung, Pale Blue Eyes, Triptides and Sugar Candy Mountain, and Del Amitri as their profile soars.

Disco Mind Records impressed everyone with its first EP and now it deals with the pressure of coming back with a second in fine fashion. This one is perfect for warm days and summer nights as it offers four high-impact and gloriously feel-good Brazilian and disco edits all pulled off to perfection. New young talent Brother Julian kicks off with a peak time and groovy burner, then disco don Romand Truth goes a little more deep and smooth with his seductive sound. Delfonic offers the percussive Latin grooves of 'Nada is Going to Change' and 'Grito de Guerra' is another upbeat open-air rhythm.

lim. 2025 remastered Reissue!

Thirty years ago, LA producer Aaron Paar realized his dream of launching a label with the debut of Worldship Music, dropping the now cult classic Planet Eater EP in the late summer of 1995. Crafted on his newly acquired SP1200 and refined with mix engineer extraordinaire Greg “Ski” Royal, the record became the label’s very first release and a true vanguard single. Overflowing with the raw swing and deep grooves of classic US house, these tracks still radiate the timeless energy of the mid-90s underground. Now carefully remastered and reissued in a strictly limited edition, Planet Eater EP returns as an essential piece of house history for DJs, collectors, and true heads alike.

‘Pilot’ is the debut album from London quintet Miniseries. Channelling the epic sweep of TV themes and movie soundtracks into resplendent space rock they explore themes of youth and ageing, heartbreak and paranoia, euphoria and existential dread.

Songwriter Doug Morch (Longview) had been working on largely acoustic folk songs when he met Angela Gannon (The Magic Numbers) at Glastonbury 2017. Romance and musical collaboration ensued. The band coalesced in the hallowed environs of Farringdon's The Betsey Trotwood pub – a musical nexus where burgeoning indie and Americana scenes collide – where they met fellow songwriter and guitarist Dermot Watson (from Brighton's The Dials) and drummer Danny Abbasi and were joined by Doug's former bandmate Aidan Banks on bass. When they came together, their indie folk mutated into motorik art rock, with their first single being an eight-minute jam called "Road".

When it came to capturing their sound, the band reached for maverick musician and producer Sean Read. They recorded tracks at Read's Famous Times studio in Clapton, London, as well as at Edwyn Collins' Clashnarrow in Helmsdale, Scotland – one of the world's most breathtaking and idiosyncratic studio locations, adding unquantifiable magic to the proceedings.

For the closing track "May You Always", they headed to another studio imbued with tangible inspiration: Blueprint Studio in Salford with producer Craig Potter (Elbow) at the helm. For the song, Dermot drew cinematic inspiration from the Withnail & I line "I'll never play The Dane", the song is about realising that the things you aspired to in youth will never come to pass and being at peace with that realisation.

The recurring themes of youth and ageing are apparent in the resplendent lead track ‘You're Gold’ – a heartfelt call for young people to reject materialism and exploitative influencer culture in search of life's deeper meaning, with stylistic nods to The Pixies and early Stereolab.

On the opposite end of the spectrum, "Sepia" explores old age and fading memories through dementia, where the ending descends into chaos like a fragmenting mind. Elements of "Sepia" are foreshadowed in the album's opening track, the instrumental "Pilot Theme", which pays homage to TV theme music, invoking spy thrillers or perhaps something otherworldly from science fiction.

“Offcumdens” is a Calder Valley, Yorkshire term for people who live in the area but come from somewhere else. Hailing from Bury, Lancashire, Morch wrote the song while living in Hebden Bridge (and watching too much Happy Valley) and found himself being an offcumden. It’s a pop at the kind of local nativism which breeds intolerance and an illustration of the sinister rise of wider political populism.

Miniseries' Pilot is just the beginning of the story. Enthralling and atmospheric, the London quintet have created something familiar yet timeless. As singer Doug Morch says, "It's the Miniseries Pilot episode. Like the TV episode a studio makes to test whether it's viable.” In the age of streaming and box-sets, this is an album to truly binge on. We can’t wait to hear what happens next.

With their 12th studio album, "Set The Dark On Fire," and their return to the Steamhammer/SPV label, Edenbridge explores new soundscapes without abandoning their tried-and-tested trademarks. This is primarily due to a significantly heavier basic sound, which harmonizes perfectly with the lyrical and visual direction of the Austrian quintet around singer Sabine Edelsbacher and composer/guitarist/keyboardist Lanvall.

Jeder, der mit dem zähneknirschenden, blutigen Punk-Knurren von Kid Kapichi vertraut ist, kennt ihre „Fearless Nature“, daher sollte es auf den ersten Blick keine Überraschung sein, dass das vierte Album der Band aus Hastings diesen Titel trägt. Der erste veröffentlichte Track, „Stainless Steel“, wird von Frontmann Jack Wilson als Brücke zwischen dem alten und dem neuen Kid Kapichi beschrieben. Mit seiner tödlichen, straffen und kraftvollen Effizienz trägt er zwar eindeutig die Handschrift des klassischen Sounds der Band, aber die Reife seiner Sichtweise und der Mut in seiner Verletzlichkeit sind etwas Neues. Das hört man auf dem gesamten Album „Fearless Nature“, das von Momenten der Selbstzweifel durchzogen ist und von einer Band stammt, die nach Jahren an vorderster Front mutig genug geworden ist, die Einschusslöcher in ihrer Rüstung zu zeigen. „Fearless Nature“ ist auch im wahrsten Sinne des Wortes eine Brücke zu einem neuen Kid Kapichi.

Im Mai 2025 gaben Gitarrist Ben Beetham und Schlagzeuger George Macdonald bekannt, dass sie die Band verlassen würden – eine Entscheidung, die sie bereits etwa sechs Monate zuvor intern getroffen hatten. Die Entscheidung fiel einvernehmlich, und „Fearless Nature“ steht an der Schnittstelle zwischen zwei Generationen: Die Songs wurden mit der alten Besetzung geschrieben, aufgenommen und produziert (Co-Produktion: Beetham und Mike Horner), werden nun aber mit der neuen Besetzung auf Tournee gehen. Gitarrist Lee Martin und Schlagzeuger Miles Gill sind beide langjährige Freunde von Wilson und Bassist Eddie Lewis und Veteranen unzähliger hart spielender Bands auf der Live-Szene im Süden Englands.

Die politische Botschaft der Band mag unverändert geblieben sein, aber mit „Fearless Nature”, das ihr Repertoire erweitert, hat sie nun Gesellschaft bekommen. Ihre Entscheidung, emotionale Komplexität in ihre lyrische Perspektive einfließen zu lassen, ist ein großer Schritt nach vorne, und die Vorteile liegen auf der Hand, aus denen alle Kraft schöpfen können.

Für Fans von: Fontaines DC / Gorillaz / Blur / Yard Act / Soft Play / Demob Happy / Queens of The Stone Age

Jeder, der mit dem zähneknirschenden, blutigen Punk-Knurren von Kid Kapichi vertraut ist, kennt ihre „Fearless Nature“, daher sollte es auf den ersten Blick keine Überraschung sein, dass das vierte Album der Band aus Hastings diesen Titel trägt. Der erste veröffentlichte Track, „Stainless Steel“, wird von Frontmann Jack Wilson als Brücke zwischen dem alten und dem neuen Kid Kapichi beschrieben. Mit seiner tödlichen, straffen und kraftvollen Effizienz trägt er zwar eindeutig die Handschrift des klassischen Sounds der Band, aber die Reife seiner Sichtweise und der Mut in seiner Verletzlichkeit sind etwas Neues. Das hört man auf dem gesamten Album „Fearless Nature“, das von Momenten der Selbstzweifel durchzogen ist und von einer Band stammt, die nach Jahren an vorderster Front mutig genug geworden ist, die Einschusslöcher in ihrer Rüstung zu zeigen. „Fearless Nature“ ist auch im wahrsten Sinne des Wortes eine Brücke zu einem neuen Kid Kapichi.

Im Mai 2025 gaben Gitarrist Ben Beetham und Schlagzeuger George Macdonald bekannt, dass sie die Band verlassen würden – eine Entscheidung, die sie bereits etwa sechs Monate zuvor intern getroffen hatten. Die Entscheidung fiel einvernehmlich, und „Fearless Nature“ steht an der Schnittstelle zwischen zwei Generationen: Die Songs wurden mit der alten Besetzung geschrieben, aufgenommen und produziert (Co-Produktion: Beetham und Mike Horner), werden nun aber mit der neuen Besetzung auf Tournee gehen. Gitarrist Lee Martin und Schlagzeuger Miles Gill sind beide langjährige Freunde von Wilson und Bassist Eddie Lewis und Veteranen unzähliger hart spielender Bands auf der Live-Szene im Süden Englands.

Die politische Botschaft der Band mag unverändert geblieben sein, aber mit „Fearless Nature”, das ihr Repertoire erweitert, hat sie nun Gesellschaft bekommen. Ihre Entscheidung, emotionale Komplexität in ihre lyrische Perspektive einfließen zu lassen, ist ein großer Schritt nach vorne, und die Vorteile liegen auf der Hand, aus denen alle Kraft schöpfen können.

Für Fans von: Fontaines DC / Gorillaz / Blur / Yard Act / Soft Play / Demob Happy / Queens of The Stone Age

A true gem of French animated cinema, Sylvain Chomet's Les Triplettes de Belleville (2003) left a lasting impression with its quirky universe, tender humor, and unforgettable musical score.


Composed by Benoît Charest, this cult soundtrack blends retro swing, gypsy jazz, ramshackle brass bands, and cycling rhythms to create a unique atmosphere that is both nostalgic and fiercely modern.



This vinyl edition finally celebrates the soundscape of Belleville as it deserves to be celebrated: unusual percussion instruments made from bicycle parts, mischievous orchestrations, and the playful voice of the cult song “Belleville Rendez-vous,” performed by M - Matthieu Chedid in its French version.



Carefully remastered for analog format, the record captures all the warmth and vitality of this timeless music, a vibrant tribute to the creativity and audacity of the film.


A must-have for lovers of cinema, jazz, and beautiful vinyl editions.

„Weihnachten ist wirklich die schönste Zeit des Jahres“! „Im Laufe der Jahre habe ich viele originelle Weihnachtslieder geschrieben und ich hatte das Gefühl, dass es jetzt an der Zeit ist, die besten davon auf einem Album zu bündeln. Und hier ist es: Ein wundervolles Weihnachtsalbum mit einer Vielzahl von Liedern, von denen jedes ein wesentliches Element der Weihnachtsstimmung enthält, jetzt in einer Deluxe-Edition. 15 Songs, die ich sorgfältig ausgewählt habe. Ich habe 9 der 11 Originale mit den Amerikanern Jeff Franzel und Maria Christensen geschrieben und die anderen 2 Originalsongs mit den niederländischen Songwritern Simon Gitsels und Karel Schepers. Die Cover auf diesem Album sind Songs, die ich so sehr liebe, dass ich ihnen meine eigene Note geben und ihnen einen Platz auf dem Album geben wollte.“ Vier erfolgreiche Studioalben, mehreren Theatertourneen in den Niederlanden und erste internationale Shows, die allesamt ausverkauft waren. Es folgten bereits zahlreiche Auszeichnungen, darunter eine Goldene Schallplatte und bereits zweimal der renommierte Edison Jazz Award (der Holländische Grammy). Keine alltägliche Errungenschaft im Jazzbereich oder wie „Crooner“ Dennis es lieber nennt, im Swing, einem Stil, der für ihn unvergleichlich ist.

Schwarze Vinyl LP Edition. Inklusive 7’’ Vinyl mit unveröffentlichten Bonus Tracks.

10-Jahre-Jubiläums-Reissue von Twit Ones wegweisendem Album „The Sit-In“ aus dem Jahr 2015. Von vielen Twit-Aficionados als eines seiner besten Werke gefeiert, unterschied sich „The Sit-In“ bei seinem Erscheinen deutlich von seinen vorherigen Alben – und Twits Musik war noch nie leicht vorhersehbar. „The Sit-In“ war die erste Twit-Platte, zu der man Räucherstäbchen anzünden kann, und auch zehn Jahre später hat sie nichts von ihrem Zauber verloren. Mit Sängerin May sowie den Poeten PB Louison und Imam Ally-Salaam. Artwork von Van Lagerstein und Robert Winter. Das 10-Jahres-Jubiläums-Reissue enthält außerdem eine Bonus 7"" mit vier neuen Tracks.

Sassy 009 ist das wandelbare Projekt der in Oslo ansässigen Produzentin, Songwriterin und Sängerin Sunniva Lindgård. Dreamer+ ist ein Album, das Lindgård seit Jahren in Gedanken mit sich trägt: ein konzeptgetriebenes Werk, zusammengesetzt aus fast vier Jahren Studioarbeit – und ein ambitionierter Versuch, die volle Kontrolle über ihre Kunst auszuüben.
Gelenkt von frisch verzerrten Vocals und Elementen aus Grunge, Shoegaze, 90er-Beatronica und schimmerndem Hyperpop ist das Album zugleich ein Protokoll der Selbstentdeckung und Selbstaufgabe, durchzogen von Gastbeiträgen von Blood Orange, BEA1991 und Yunè Pinku.
Dreamer+ ist im Kern ein fiktionales Werk, ein düsteres Märchen, in dem Träume und Emotionen durch eine Landschaft von Gestaltwandlerfiguren, dunklen Kräften und moralischen Verantwortungen verarbeitet werden. Auf eine Mission in eine verlassene Stadt geschickt, wird Lindgård zur eigenen Hauptfigur, hineingestoßen in eine „magische, aber verzerrte traumähnliche Welt“ nach einer fatalen Begegnung: „Ihre Liebe zu Jakov ist absurd eng mit seinem Sterben verwoben; kein Weg könnte sie davon fortführen."

Brand new Rotterdam label Soil Trax kicks off with its debut release by AUGUSTO TAITO.
Showcasing his signature high voltage sound on established labels over the last years he now delivers once more 4 power house tracks and 2 exceptional locked grooves for SOIL001.

Mighty Joseph is the combination of emcees Vast Aire (Cannibal Ox) with his long-time rhyme ally Karniege. The duo's sole album, Empire State (2008) was released during the tail-end of the last great non-commercial Hip-Hop period.

Never released on vinyl before, the album will be available soon on a double LP edition.

Rooted in the concrete streets but lyrically abstract, features and beats are provided by equal musical foils including Madlib, Camu Tao, Murs, J-Zone, Poison Pen and Vordul Mega (Cannibal Ox) among others.

Fan and critical attention were positive with All Hip Hop summing the album as "solid post-millennium product that bridges the gap between gritty street tales and a paranoid view of the future."

Plug One Magazine added that "Empire State" "unravels a unique perspective, documenting not only much personal change between the two emcees but also the changes in the streets of New York City. From poverty, to the September 11 attacks, to the abuse of Hip Hop culture in general, "Empire State" stands strong as a snapshot of the city."

Peter Beyls (1950) works on the intersection of computer science and the arts. He develops generative systems in music, the visual arts and hybrid formats. Beyls studied music and computer science at EMS, Stockholm, the Royal Music Conservatory, Brussels and the Slade School of Art, UC London. Initially he was active in electronic music, as a composer of tape music. Later on, he developed various analog live electronic music systems. In close partnership with Michel Waisvisz, he designed and built the early prototypes of the crackle box synthesizer at STEIM, Amsterdam (1973-1975). Around the same time, Belgian composers Karel Goeyvaerts and Lucien Goethals were his mentors at the IPEM Studio. Over the years, Beyls’ work has primarily centered on generative systems, including extensive series of machine drawings, human-machine interactive music systems using machine-learning and interactive audiovisual installations on which he has also given worldwide lectures. His work has been widely performed and exhibited at various universities and art institutions. The four previously unreleased tracks on this LP are amongst his first electronic music compositions using the Crackle Box, the Synthi 100 and the VCS3, a combination of live improvised electronics with precise tape editing and effects.

SOEN - the Swedish progressive metal powerhouse spearheaded by Joel Ekelöf (vocals) and Martin Lopez (drums) - continue to find incredible new pathways into the spatial areas between light and dark, loud and calm, heavy and soothing. And with its seamless march across deeply human emotional terrain, their forthcoming 7th studio album Reliance, SOEN continues to explore the human mind, heart, and soul with a visionary duty of care, plus an extra edge of heavy. With Lars Enok Åhlund (keyboards & guitar), Cody Lee Ford (guitar), and Stefan Stenberg (bass) standing shoulder to shoulder with Ekelöf and Lopez, the lush continual evolution of SOEN’s sound soars. Take “Primal”, a barrel-chested roar detailing the existential fight between the human spirit and our current world, Ekelöf’s incredible vocals leading the heavy charge. “Axis” is a resolute and defiant look into where humanity sits, propelled by Lopez’s relentless yet swinging drums, and then there’s the serene elegance of “Indifferent” a beautifully orchestrated modern lament on the loss of love which rides resolutely on the power of strings, piano, and Ekelöf’s marvellous voice. With Reliance, SOEN continue their extraordinarily raw and earnest lifetime exploration of the mental and physical boundaries which challenge humankind as it writhes and wrestles with itself in these challenging times. Thoughtful, provocative, beautiful and brutal, Reliance is a journey you need to take.

SOEN - the Swedish progressive metal powerhouse spearheaded by Joel Ekelöf (vocals) and Martin Lopez (drums) - continue to find incredible new pathways into the spatial areas between light and dark, loud and calm, heavy and soothing. And with its seamless march across deeply human emotional terrain, their forthcoming 7th studio album Reliance, SOEN continues to explore the human mind, heart, and soul with a visionary duty of care, plus an extra edge of heavy. With Lars Enok Åhlund (keyboards & guitar), Cody Lee Ford (guitar), and Stefan Stenberg (bass) standing shoulder to shoulder with Ekelöf and Lopez, the lush continual evolution of SOEN’s sound soars. Take “Primal”, a barrel-chested roar detailing the existential fight between the human spirit and our current world, Ekelöf’s incredible vocals leading the heavy charge. “Axis” is a resolute and defiant look into where humanity sits, propelled by Lopez’s relentless yet swinging drums, and then there’s the serene elegance of “Indifferent” a beautifully orchestrated modern lament on the loss of love which rides resolutely on the power of strings, piano, and Ekelöf’s marvellous voice. With Reliance, SOEN continue their extraordinarily raw and earnest lifetime exploration of the mental and physical boundaries which challenge humankind as it writhes and wrestles with itself in these challenging times. Thoughtful, provocative, beautiful and brutal, Reliance is a journey you need to take.

Quartet Records and MGM present the re-issue of the first official complete vinyl edition of Burt Bacharach’s timeless classic soundtrack for the 1967 James Bond spoof Casino Royale.

The infectious main theme performed by Herb Alpert and the Tijuana Brass is just the starting point of an epic comedy ride that includes such highlights as the unforgettable “The Look of Love,” sung by Dusty Springfield, or the epic fight music at the end of the film. Produced by record industry legend Phil Ramone, the original soundtrack LP offered selected highlights, expertly edited to showcase the best parts of the entire score. Thanks to the legendary sound quality of the stereo copies, this record became one of the most highly sought-after collectibles in the industry.

This straight re-issue of our 2019 vinyl edition was produced, restored and mastered by Chris Malone, rebuilding the score from the ground up. The soundtrack album has long been considered a cornerstone of an audiophile’s collection. Lauded by The Absolute Sound, the original Colgems release continues to remain in pole position as the best sounding “popular” LP vinyl disc of all time.

Malone’s work was focused on addressing unintended technical anomalies (such as filling dropouts and covering analogue splices) rather than broadly applying a modern sound palette. He has eschewed dynamic range compression and retained the brilliance of the original recording. The first LP is a fully remastered reissue of the iconic original stereo vinyl, playing in all its splendor. The second LP contains all the unreleased material, in mono, which are still the only available source to date.

This special 2xlp is a limited edition pressed on 180-gram black vinyl, all of it housed in a gatefold jacket, retaining the iconic original cover art by Robert McGinnis

Full of joy, they ran to meet him.
Then threw one of the shirts over each of them,
and when the shirts touched their bodies they were transformed into swans,
and flew away over the woods.
The record is comprised of a series of improvised recordings made over the course of an evening in Autumn ’23, captured at the Jabu home studio, south Bristol while Teresa was staying in town for a show. Everything was recorded into the desk in a single take and left as it was, no editing or overdubs, instruments were swapped around and effects units left buzzing ground hum scattered over the floor.
Teresa and Guest (Jasmine of Jabu) provided the vocals, taking words from anything at hand - poetry books, an old copy of the Whole Earth Catalog - their voices winding together, echoing out each other’s melodies. This approach is mirrored by the instrumentals, anchored by something at times - a bassline, one of Birthmark’s synth drones or a fizzing chord but always on the edge of collapsing in on itself or floating away. The tracks become more soporific as the record goes on (and as the night got later), ending on a refrain of ‘say you think its true’ as the instrumental finally dissolves the pedals get dialled up to 11 and Birthmark’s drones turn into distant lasers in a last swan song of feedback.
Recorded Sep 2023 in Bristol, BS3, by:
Teresa Winter (vocals, fx)
Guest (vocals, guitar, fx)
Birthmark (synth, fx)
A.Childs (samples, bass, guitar)

The record captures the raw electricity of their live performances while revealing surprising moments of melody and restraint. Tracks like "Bastard," "Reptilian Brain" and "Professionalism Debunked" showcase the band's volatile edge, while "Holy Building Tourist" offers a brief but memorable shift in tone. The result is a cohesive and unpredictable debut that positions Volk Soup as one of the most inventive underground bands emerging from Leeds

Their sound was sharp, tense and emotionally immediate, and though short-lived, the band remained a memorable part of the Midwest DIY scene. The original self-titled CD was released on the underground label Ed Walters Records in 2003 , circulating primarily through shows and the regional emo/ math- rock community. Dipterid Records now brings the material to vinyl for the first time with the self-titled 10". The updated 10" artwork pays homage to the original CD design while being rebuilt to better suit the new format. After MRB ended, members went on to form Denude and later Thyone , continuing the same lineage of heavy, math- leaning Midwest underground music

In addition to performing his own compositions, the legendary Bruce Springsteen has, throughout his career, covered numerous songs by artists he most admired and favoured.

Presented here are 23 original artist tracks that Springsteen covered most frequently, offering a clear window into a wide range of musical influences that mark his own work: Rhythm & Blues, Rock 'N' Roll, Doo-Wop, Soul, and Folk, and artists such as Elvis Presley , Pete Seeger , Woody Guthrie , The Isley Brothers , Little Richard , Eddie Cochran, Chuck Berry, John Lee Hooker, and many more.

Limited edition (numbered 100 copies) 180g black vinyl with insert.

"BEN BEKELE does not exist. At least not the one I'm thinking of.


It's a mix of memories and fantasies from the mid-80s when it was my father who visited Ethiopia, returning with two small drums, a couple of pictures and tons of tales.
One of them was a story of a boy named Bekele, who taught him a traditional Ethiopian song.

Father passed this song on to us, as best as he could - now I'm having doubts as to what the message is actually about - but back then I was fascinated. Many years later, when I was preparing a song for a compilation "Portrety" at U Know Me Records, I realized that the bass line that I created resembled a fragment of that exact song. Apparently the melody buried itself somewhere deep in my subconscious and unexpectedly revealed itself at that moment. Therefore I decided to honor the memory of my deceased of 30 years dad (whose friends called him Ben) naming the composition: "The Life and Death of Ben Bekele". The song turned out to be very happy to me - its success definitely exceeded expectations, while in my head an idea to go further after Ben Bekele began to form.

This time I didn't want to work alone. I invited Kamil Piotrowicz and Igor Wiśniewski to cooperate with me. Incredibly creative, sensitive artists and wonderful companions on stage as well as off it. The music on this album is similar to a small extent to the "founding" piece.
It has however a couple of common features, with focus on the rhythm as the form-forming factor at the forefront. It's also organic, emotional, at times trance-like and illustrative.

I sincerely hope that when listening to this record, for these tens of minutes you'll escape from the surrounding us not-so-pleasant everyday life."

Belgian producer and DJ Ethan Fawkes returns with Funky Raver, a vibrant six-track vinyl release that channels the spirit of 70s funk and disco through a modern electronic lens. It features three originals alongside remixes from Victor Muerte, A.Fruit and Nite Fleit.

Fawkes, known for pairing raw rhythm with emotional punch, dives headfirst into the golden age of groove and rebuilds it for today's dance floor. The result feels warm and energetic, fresh take that nods to disco's roots while pushing forward.

Each remixer takes the core idea in a new direction without losing its heartbeat.

Victor Muerte takes "Funky Raver" track into a remix out a driving techno rework marked by hypnotic whiper repetition. It taps into the darker side of the groove, building steady pressure and giving the release a powerful late-night edge.

A.Fruit flips her version of "Get the Groove" into a fast, broken beat-driven workout full of tight percussion and futuristic low-end, giving the original a kinetic bass-forward storm that keeps the momentum surging.

Nite Fleit, the producer with a reputation for bold, genre-blending club tracks, injects her remix with electro pressure. She delivers a high-voltage version of "I Misplaced You" to take that turns the funk foundations into pure rave.

Taken together, the originals and remixes trace a full arc, from glittering disco lights to the throb of the warehouse. Funky Raver is a celebration of groove, motion and emotion. A reminder of how timeless dance-floor energy can be.

Till Lindemanns „Zunge 2025“ enthält alle Original-Songs des Albums „Zunge“ aus dem Jahr 2023 sowie 9 zusätzliche Bonustracks. Limitierte 2LP-Edition als schwarze 180g Pressung im 6-seitigen Klappcover. Enthält auch ein 16-seitiges Booklet mit exklusiven Fotos.

Originally released as a digital double a side both lead tracks were chosen by the remixers and the results are like an electrical storm.

Newark, NJ’s Dälek (Will Brooks) drags T. Relly’s growl through the quicksand, a cacophony of whiplashed beats and visceral loops spurring our protagonist on. It’s a gaggle of Ghostface Killas trapped in a hall of mirrors; it’s next door’s MBV heard through the walls whilst submerged in a low-lit bathtub. And Wu Tang are pulling the plug out.

Kevin Martin aka The Bug continues to release teeth rattling sonic masterpieces, his most recent being November’s ‘Implosion’ on his own Pressure label. In his hands ‘Protein’ becomes a submarine bass, head n’ rig wrecker opting here for more of his hooky ‘In Blue’ style Bug mix. As Kevin said – “to my fantastical mind it sounds like Bug dirt ‘n’grind Vs Yin Yang Twins’ louche swagger and Neptunes funk”.

“In Bristol, it was hip-hop and reggae renegades meeting up with white ex-punk guitarists, alternative pop pioneers hanging out with underground roots music makers, and sound system sonic stalwarts grooving out with rave’s space cadets that laid the bedrock for such an explosion. And if you think that such an eclectic melting pot ever went away, you would be wrong. Ree-Vo is all the proof that you need” – The Big Takeover

THE ART GRAY NOIZZ QUINTET is spearheaded by twisted Australian guitar legend STU-ART GRAY, most notoriously known as STU SPASM of LUBRICATED GOAT, CRUNT, SALAMANDER JIM, and THE BEASTS OF BOURBON. Adding another crazed chapter to an already solidly sordid musical history, THE ART GRAY NOIZZ QUINTET stars some of the finest scoundrels of the New York City underground scene - SKELETON BOY of WOMAN on two-string bass, NIKKI D'AGOSTINO on sax, and veteran drummer RICH HUTCHINS of LIVE SKULL providing the savage, swinging beat. A rotating roulette of characters swagger into the second guitar slot as needed, each showcasing their particular specialty - twang, treble, or atmosphere. Stuart Gray's wayward path through the flashpoints of noise, grunge, and swamp-rock history is well-represented in the Quintet's sound - chaos with a cinematic edge. Sharing stages with kindred spirits such as THE SCIENTISTS and MUDHONEY got the attention of audiences early on. Their recordings and incendiary gigs throughout the New York scene and beyond soon caught the eye of the infamous LYDIA LUNCH, and it was only a matter of time before a new collaboration was born . . . Now, THE ART GRAY NOIZZ QUINTET collide with the queen of no wave LYDIA LUNCH on a new two-fisted ten-inch single . . . Melting the MAGAZINE classic "PERMAFROST", and grinding out an apocalyptic version of IGGY POP's "MASS PRODUCTION". Only on IN THE RED RECORDS! "Speaking of noise, that’s kind of Stu Spasm’s thing — from LUBRICATED GOAT in the late 1980s, to his current project, THE ART GRAY NOIZZ QUINTET. This elder statesman of clamor hasn’t lost his touch." - THE NEW YORK TIMES

Yup, more Jungle, D 'n B and breakbeats on GAMM...yay!

The MIR guys from Stockholm have been spreading rapid beats and dark b-lines since 2006 and are well established on the D'n B/Jungle scene for their productions, DJ sets and club nights.

For their GAMM debut, we get an eclectic cocktail of dark basement sounds and high-speed rhythms.
Starting off with a dancehall/jungle ting (War Edit), continuing with a classic hip hop/jungle mash up (Passin' Me By Edit), a deep breakbeat / Detroit version of a classic Kenny Larkin jam (Q Edit), and finishing off the EP with another hip hop / d&b roller.

All killers, no chillers!

The latest smash hit 7" from Gee Bello featuring Roy Ayers & Jocelyn Brown, now available!

Gee Bello, known as a backing vocalist for Wham! and a key member of iconic bands like Light Of The World and Incognito, returns with a new release featuring the legendary Roy Ayers & Jocelyn Brown.

Side A Features the radio edit of The Sunshine Goes On And On, originally released as a digital single in 2025. Produced by Gee Bello. Side B Pure Perfection, a sophisticated and danceable 2023 track. Mixed by Europe's popular production unit Cool Million featuring the legendry, Jocelyn Brown. Produced by Gee Bello.



a 01: The Sunshine Goes on and On (Radio Edit) feat. Roy Ayers
Georgie B Radio Edit

Peter Rehberg is known for his pioneering electronic work with computer software which over time evolved into a modular set up alongside running MEGO and then Editions Mego labels.

Rehberg was a prolific collaborator, with other musicians and with contemporary dance and theatre productions, most notably with French artist and choreographer, Gisèle Vienne with whom he created a series of soundtracks from Showroomdummies, released under the name DACM in 2002 (Showroomdummies MEGO 056), to Crowd in 2017. A collection of Rehberg’s solo works for Vienne was released in 2008 (Work for GV 2004-2008 EMEGO 092). The outfit KTL, with Stephen O’Malley, was initiated by Gisèle Vienne for her work Kindertotenlieder and subsequently made a series of soundtracks for Vienne’s works branching off into a prolific series of live shows. The work Rehberg did for theatre and performance teased out aspects of his practice one may not have encountered in his own solo work as PITA or that of collaborations with other musicians.

Editions Mego is proud to present a previously unreleased theatre soundtrack made for Icelandic choreographer Margrét Sara Guðjónsdóttir, whom Rehberg had a decade long collaboration with until his untimely passing in 2021. The original composition for Liminal States was created by Rehberg for the performance Pervasive Magnetic Stimuli in 2018 and then revisited as a catalyst for the concepts behind Liminal States. This work is based on an ongoing artistic research conducted by the choreographer into altered states of perception through phenomenological embodiment. It is the last in a trilogy dealing with the notion of larger forces that act on us beyond our conscious mind. The trilogy consists of Pervasive Magnetic Stimuli (2018), Boundless Ominous Fields (2024) and now Liminal States (2024).

Rehberg's score for Liminal States is a vast canvas of spectral ambience at once tangible and unfathomable in its constantly shapeshifting lysergic dread. The results are a psychological journey through the mental effects of sound on space and subsequently the mind. The first part presents cascading waves of shimmering electronics laying the groundwork for the second part where the psychological illusion splinters into all manner of sonic effects taking the listener on a deep mental voyage. If references are witnessed the late period long form hallucinatory works of Coil, such as Time Machines and Constant shallowness leads to evil, are amongst a similar mind message delivered here. Unlike any other release in Rehberg’s output Liminal States is a single long form work which, despite the form, retains Rehberg’s idiosyncratic sound vision.

Guðjónsdóttir and Rehberg’s collaboration blurs that relationship into a greater force which truly enables the theme of liminal states to unfold in a brave new fashion. Rich in timbre and sonic invention this is powerful work easily holding its own outside of the intended performance whilst still complimenting the missions statement entirely. This profound collaboration has the cumulative effect where the concept and soundtrack are one and may be one of the strongest works in the entire Rehberg canon.