Cerca:eve 6

Formed in the mid-eighties Midlands, they are still not only eating pop but spewing it up in a chaos of thrilling ideas on new album ‘Delete Everything’. Their eighth record sees them further refine, define and deconstruct their melange of industrial rock, loop da loop techno, gonzoid hip hop and punk rock into a series of captivating sci-fi anthems. The band still look and sound like they have stepped out the pages of 2000 AD magazine with Graham Crabb and Mary Byker trading vocals like bouncing Duracell bunnies to the itching, compulsive beats surrounding them. Davey Bennett brings the bottom end and Cliff Hewitt plays the beats whilst Adam Mole delivers guitar aggro and sometimes waves his keyboard around with a delinquent glee. Still creative, still in a world of their own Pop Will Eat Itself have deleted everything and started all over again.

Wenn Sie von Hillsborough, North Carolina, auf der 1-85 nach Norden fahren und die Ausfahrt zur 58 East nehmen, erreichen Sie in fünfzehn Minuten Diamond Grove, ein kleines, nicht eingemeindetes Gebiet im Brunswick County, Virginia, am Meherrin River. Für die meisten Besucher gibt es dort nicht viel zu sehen - für Lebensmittel müssen Sie nach Lawrenceville und für Baumaterial nach South Hill fahren. Doch versteckt in diesem Fleckchen Virginia-Piedmont liegen die Überreste einer Milchfarm aus den 1740er Jahren, deren Haupthaus ein wunderschönes altes Gebäude mit zwei Etagen ist, das noch immer mit Seilbetten und allem Drum und Dran ausgestattet ist. Wenn man heute dorthin fährt, hört man in der Ferne Geräusche von jemandem, der in den vermieteten Nebengebäuden Sojabohnen und Baumwolle verarbeitet, von landwirtschaftlichen Reifen, die über Schotterstraßen knirschen, von quakenden Fröschen und von singenden Meisen: chick-a-dee, chick-a-dee. Aber wenn Sie zufällig im September 2023 vorbeigekommen sind, konnten Sie vielleicht Fiddle-Melodien hören, die von den Kiefern widerhallen, BBS-Geräusche in leeren Räumen und die Klänge von Weirs, die ihr zweites Album und ihr Debüt bei Dear Life Records aufnahmen: Diamond Grove. Weirs ist ein experimentelles Kollektiv, das aus der Musikszene im Zentrum von North Carolina hervorgegangen ist und zu gleichen Teilen aus Oldtime-Folk und DIY-Noise besteht. Die Auftritte von Weirs sind hierarchielos und umfassen zwischen zwei und zwölf Personen. Im September 2023 reisten neun von ihnen die US-58 hinauf, um sich im Wohn- und Esszimmer des Hauptgebäudes einer Milchfarm einzufinden, die noch immer im Besitz der Familie des Bandmitglieds und Organisators Oliver Child-Lanning ist, deren Verwandte seit Jahrhunderten dort leben. Die Besetzung von Weirs - weder endgültig noch besonders wertvoll - umfasst Child-Lanning, Justin Morris und Libby Rodenbough (seine Mitstreiter bei Sluice); Evan Morgan, Courtney Werner und Mike DeVito von Magic Tuber Stringband; sowie die treuen Andy McLeod, Alli Rogers und Oriana Messer, die bis tief in die Spätsommernächte spielten. Das Ergebnis sind die neun Tracks von Diamond Grove, aufgenommen mit einer provisorischen Signalkette, die aus geliehenem Equipment der gesamten Community zusammengestellt wurde. Das Weirs-Projekt begann als Tape-Experimente mit traditionellen Melodien, die Child-Lanning im Winter 2019 unter dem Namen Pluviöse aufgenommen hatte. Daraus entstand das erste Weirs-Album Prepare to Meet God, das im Juli 2020 in Eigenregie veröffentlicht wurde und eine Zusammenarbeit zwischen Child-Lanning und Morris während der COVID-Pandemie war. Die seltsamen Umstände dieses Debüts - eine gemeinschaftliche Tradition von Live-Songs, die isoliert voneinander aufgenommen wurden - werden durch Diamond Grove aufgehoben, ein Album, das in der unwiederholbaren Konvergenz von Menschen, Ort und Zeit verwurzelt ist. Auf dem neuen Album setzen Weirs ihre Suche nach dem besten Weg fort, sogenannte ,traditionelle" Musik weiterzuentwickeln, zu bewahren und zu befreien. Sie sind Songfänger, die Melodien sammeln, die kurz vor dem Vergessen stehen. Ihr wildes, Jahrhunderte umspannendes Repertoire klingt wie eine avantgardistische Jam-Session - eine Art Real Book für eine Szene, die sich mit Porch Jams, Big Blood, Amps for Christ und Jean Ritchie auskennt. Weirs fangen Songs ein, deren Interpretationskanon noch offen genug ist, um neben denen zu stehen, die sie zuvor gesungen haben, aber niemals über ihnen. Dies sind keine Versuche, definitive Versionen zu schaffen. Die Aufnahmen auf Diamond Grove fühlen sich eher wie Besuche als wie Überarbeitungen an. Und die Frage, die Weirs auf diesem Album stellen, ist nicht, wie sie einfach die Tradition ihrer Vorfahren fortsetzen können, sondern wie traditionelle Musik heute klingen könnte. Für Weirs könnte die Geschichte dieser Tradition weniger aus dem Folk-Revival stammen als aus der Musique concrète, weniger aus makellosen alten Meisteraufnahmen als aus etwas wie The Shadow Ring, wenn diese aus dem evangelikalen Süden kämen. Wenn man ,(A Still, Small Voice)" hört, spürt man, wie die Kraft der Hymne etwas Gleichwertigem weicht: den Dielen, dem Knistern des Feuers, dem Zubereiten und Essen von Mahlzeiten. Diese Spannung zwischen Bewahrung und Verfall ist das innere Leuchten von Diamond Grove. Nehmen wir ,Doxology l": Die Melodie von ,Old Hundred", einer Hymne aus der Sacred-Harp-Tradition, wird in MIDI umgewandelt, über iPhone-Lautsprecher abgespielt und in der Septemberluft neu aufgenommen. Für manche Revivalisten mag diese Hymne, gesungen mit der ganzen Pracht gefälschter Auto-Tune-Stimmen, blasphemisch klingen. Aber Ohren, die beispielsweise auf die Hyperpop-Produktionen der letzten Jahrzehnte eingestellt sind, werden sofort die spannungsgeladene Schönheit des digital verfremdeten Shape-Note-Gesangs verstehen. Dieselbe Spannung belebt ,l Want to Die Easy". Weirs' Version basiert auf der Aufnahme von A Golden Ring of Gospel, die in der Folkways-Sammlung Sharon Mountain Harmony verewigt ist. Die Melodien, Texte und Strukturen sind weitgehend unverändert geblieben. Aber die ,reine" Klarheit der Stimmen der frühen Aufnahme ist verschwunden. An ihre Stelle tritt der distanzierte Klang des Silos der Milchfarm, in dem Weirs ihre Version aufgenommen hat, dessen natürlicher Nachhall von zwei Sekunden die ursprüngliche Nähe ersetzt. Auf diese Weise wird der Klang des Aufnahmeortes selbst zu einem Teil der traditionellen Darbietung. Das Herzstück von Diamond Grove ist Weirs' Interpretation von ,Lord Bateman", einer Melodie, die Jean Ritchie als ,große Ballade" bezeichnete: Sie wurde gespielt, wenn die Arbeit getan war und der Tanzabend zu Ende war. Es ist ein Lied aus dem 18. Jahrhundert - so alt wie die Diamond Grove Farm - über einen gefangenen Abenteurer, der laut Nic Jones den Geist eines Errol-Flynn-Films verkörpert. Wie viele großartige und oft a cappella gesungene Interpretationen steht auch bei diesem ,Lord Bateman" die Stimme im Vordergrund und unterstreicht die Bedeutung des Geschichtenerzählens für das Zusammenkommen der Kinder. Neu ist hier der immense Bordun, der die Erzählung in ein unaufhörliches Gewebe elementarer Kräfte verwandelt. Es ist ein verschwommenes Murmeln kollektiver Saiten, das den Kanon von Ritchie und June Tabor ebenso bereichert wie Pelt's Ayahuasca oder Henry Flynt's Hillbilly Tape Music. Obwohl Diamond Grove nicht explizit von der alten Milchfarm handelt, auf der es aufgenommen wurde, kann es nicht umhin, ihr zu ähneln. Alte englische Balladen wie ,Lord Bateman" und ,Lord Randall" ergießen sich über Felder, die einst von der britischen Krone ,vergeben" wurden. Tragische Lieder wie ,Edward" taumeln über Tuscarora-Pfade und Baumwollfelder nach dem Bürgerkrieg. Hymnen wie ,Everlasting l" und ,Everlasting Il" fangen das Mondlicht ein, das seit Lord Bacons Rebellion durch doppelt gehängte Fenster fällt. Und die Nachtvögel trillern noch immer, und die Pflüge pflügen noch immer eine unkomponierte Musik, die darauf wartet, von zufälligen Ohren entdeckt zu werden. Diamond Grove ist in dieser Hinsicht Geschichte. Es ist ein Ort. Es ist Zeit. Es ist das Einfangen von Liedern, Lebendigkeit, Tonbandmanipulation. Wie der niedrige Damm, den das Wort ,Weir" andeutet, ist es eine Verteidigung gegen die Strömung. Es ist eine Verteidigung regionaler Lexika gegen massenproduzierte Umgangssprachen; eine Verteidigung gegen den Glauben, dass wir einfach zu einer einfacheren Zeit zurückkehren können; eine Verteidigung gegen die Vorstellung, dass Volksmusik ,rein" bleiben muss; eine Verteidigung gegen die Behauptung, dass ein Traum von der Zukunft, der in verlorenen Geschichten schlummert, unwiederbringlich verloren ist. Gegen all das verteidigt Diamond Grove traditionelle Musik, indem es sie so klingen lässt, wie die Komplexität der heutigen Zeit - weil es weiß, dass solche Musik und all die Geschichten, die in ihr stecken, auch in Zukunft eine Rolle spielen werden.

Formed in the mid-eighties Midlands, they are still not only eating pop but spewing it up in a chaos of thrilling ideas on new album ‘Delete Everything’. Their eighth record sees them further refine, define and deconstruct their melange of industrial rock, loop da loop techno, gonzoid hip hop and punk rock into a series of captivating sci-fi anthems. The band still look and sound like they have stepped out the pages of 2000 AD magazine with Graham Crabb and Mary Byker trading vocals like bouncing Duracell bunnies to the itching, compulsive beats surrounding them. Davey Bennett brings the bottom end and Cliff Hewitt plays the beats whilst Adam Mole delivers guitar aggro and sometimes waves his keyboard around with a delinquent glee. Still creative, still in a world of their own Pop Will Eat Itself have deleted everything and started all over again.

Formed in the mid-eighties Midlands, they are still not only eating pop but spewing it up in a chaos of thrilling ideas on new album ‘Delete Everything’. Their eighth record sees them further refine, define and deconstruct their melange of industrial rock, loop da loop techno, gonzoid hip hop and punk rock into a series of captivating sci-fi anthems. The band still look and sound like they have stepped out the pages of 2000 AD magazine with Graham Crabb and Mary Byker trading vocals like bouncing Duracell bunnies to the itching, compulsive beats surrounding them. Davey Bennett brings the bottom end and Cliff Hewitt plays the beats whilst Adam Mole delivers guitar aggro and sometimes waves his keyboard around with a delinquent glee. Still creative, still in a world of their own Pop Will Eat Itself have deleted everything and started all over again.

Summer Death ist das beliebte und gefeierte Debütalbum der Emo-/Punk-Lieblinge aus Philadelphia, Marietta. Nach mehreren Jahren der Vergriffenenheit sorgt diese zehnte Auflage dafür, dass der Kultklassiker nun wieder erhältlich ist.

"I stood on top of the mountain and looked out over the landscape. It was so beautiful that my chest hurt. The light vibrated, time stood still, and the contours dissolved for a moment. Everything had changed; I felt it then. I took their little hands so as not to lose contact with the ground. Then we ran down the mountain, scraping our knees. Still, we didn't make it. You had already put away all the nautical charts, loosened the moorings and steered out among the skerries. Mum stood waving from the jetty. You were alone, you wanted it that way. It was to be just you in the boat this time. I called out to you. I think you heard me and felt less lonely. We couldn't carry each other anymore, no matter how hard we tried. We washed our wounds on the shore and scattered tears and rose petals in the bay. The children laughed and searched for treasures under water. We called to them that it was time to come up. They were cold, and we hugged them to warmth. One ran ahead, the other up on our shoulders. Up the mountain, our mountain."

In 2020 Anna Högberg put her widely celebrated band Anna Högberg Attack on hold, retraining as a nurse whilst continuing a solo practice and playing in other groups. With Ensamseglaren she makes a spectacular return with her own ensemble — this time a double sextet — performing an album length suite of new music written in dedication to her late father — the titular ‘ensamseglaren’ pictured on the LP cover as a young boy.

 (ensam in Swedish can mean both alone and lonely, seglaren = the sailor).

Shot through with renewed energy and a brutally affective emotional punch, Högberg’s formal experimentation opens up vibrant possibilities for the assembled musicians to let loose with some of their wildest and most ecstatic playing on record.

Högberg’s contention with grief leans into collective joy as method of mourning — the big band as extended family; where bonds are made through a shared experience of being together. Where everyone gets to be themselves without expectations of who they should be or what they can do. It’s a radical commitment to care — of her self and others — that animates and unifies this suite of music’s radical dynamics and variations in colour: from whisper-quiet textural intensity to harrowing distortion and double drum chaos; raucous and solemn song.

"Throughout history, humans have had different images of the transition between life and death. Imagine standing on the seashore on a summer evening and seeing a beautiful vessel being prepared for departure. The sails are hoisted. The evening breeze comes, the sails fill and the boat glides out onto the open sea. You follow it with your eyes as it heads towards the sunset. It gets smaller and smaller, until it finally disappears as a tiny dot on the horizon. Then you hear someone next to you say, ‘Now they have left us.’ Left us for what? The fact that they got smaller and smaller and finally disappeared is only how we see it. In reality, they are just as big and beautiful as when they were here, lying on the beach by our side. Just as you hear that voice say ‘Now they have left us’, there may be someone on another beach who sees them appear on the horizon, someone waiting to welcome them when they reaches their new port."

Mutant, in association with Walt Disney Music and LucasFilm, are proud to present a 20th anniversary celebratory pressing of John William's original score to the iconic final chapter of the Star Wars prequel trilogy - Star Wars: Episode III - Revenge of the Sith.



Following a powerful return to cinemas this spring, George Lucas' 2005 science fiction epic has continued to capture the hearts generation after generation. Returning for his sixth Star Wars film, John Williams brings the tragedy of Anakin Skywalker to life with a masterful flair. From the opening fanfare's hard pivot to the action packed dogfight, Williams weaves between kinetic adventure, and haunting heartbreak with grace and precision. In a series full of the absolute pinnacle of music ever committed to film, Revenge of the Sith sits proudly side by side, while feeling wholly unique.



Long out of print on physical media, and only being pressed on Vinyl for the second time ever, this limited edition release features incredible original artwork by Matt Ferguson and is pressed on 2x 140gm black vinyl.

“It’s not often you find yourself recording alone in a churchat 3am. I’m not religious, but I experienced somethingunique while playing through the night as the streetsaround me slept. It felt like the music was telling me whatto play and I was the passenger. Lumen grew out of avariety of compositional seeds - from composed songsthat remain true to the score, leaving little room forfreedom, to wide open improvisations recorded in themoment with nothing predetermined.
“It’s in the space between composition and improvisationwhere the magic happens - and where, if the musiciansare willing, the music can lead. I recorded day and nighton a Yamaha grand and an upright felted piano. It felt likesome sort of solo retreat: sitting in a building of faiththrough the night, delving ever deeper into the music.When I finally resurfaced, I felt profoundly that it was themusic that had led me, rather than the other way around. “As a composer, it’s simplicity that I’m searching for - howto say the most with the least. My previous albums wereabout filling the space, both texturally and dynamically. Butsolo performance is different. There’s unlimited freedom,and while that can be liberating, it also comes with addedresponsibility. Beyond the recording, the music takes on anew life. The piano, the room, the acoustic, the mood ofthe audience, even how much sleep I’ve had - all of itinforms how the music evolves. So, each performance iscompletely unique and unrepeatable.
“The recording of Lumen is just the beginning of itsjourney. Where and how it evolves from here is whatkeeps me searching.” - Bill Laurance

Although it had a very troubled birth, all detailed in the liner notes included with those different versions here, CRADLE OF FILTH almost-album-length 1996 EP V Empire, Or Dark Faerytales In Phallustein proved to be a superb triumph over adversity.

Despite all their legal problems, line-up changes and insane pressure after the gigantic success of their debut album, the Brits nevertheless managed to write and record a slab of new even grander songs, next to a new version of the already classic ‘The Forest Whispers My Name’, some would argue even bettering their debut in the process.

Another undeniable 90s symphonic black metal masterpiece, available again for the first time officially since 2017!

Although it had a very troubled birth, all detailed in the liner notes included with those different versions here, CRADLE OF FILTH almost-album-length 1996 EP V Empire, Or Dark Faerytales In Phallustein proved to be a superb triumph over adversity.

Despite all their legal problems, line-up changes and insane pressure after the gigantic success of their debut album, the Brits nevertheless managed to write and record a slab of new even grander songs, next to a new version of the already classic ‘The Forest Whispers My Name’, some would argue even bettering their debut in the process.

Another undeniable 90s symphonic black metal masterpiece, available again for the first time officially since 2017!

Although it had a very troubled birth, all detailed in the liner notes included with those different versions here, CRADLE OF FILTH almost-album-length 1996 EP V Empire, Or Dark Faerytales In Phallustein proved to be a superb triumph over adversity.

Despite all their legal problems, line-up changes and insane pressure after the gigantic success of their debut album, the Brits nevertheless managed to write and record a slab of new even grander songs, next to a new version of the already classic ‘The Forest Whispers My Name’, some would argue even bettering their debut in the process.

Another undeniable 90s symphonic black metal masterpiece, available again for the first time officially since 2017!

There's no denying that 3 Chairs sole self-titled album, first released in 2004 and now reissued in a fresh 2025 edition, is a high watermark in Detroit electronic music culture: a decidedly dusty and ultra-deep collective endeavour from Motor City heavyweights Kenny Dixon Jr (AKA Moodymann), Malik Pittman, Rick Wilhite and Theo Parrish that somehow managed to sound even better than their respective solo productions. Highlights include the chugging, Rhodes-laden beatdown sweetness of '3 Chairs Theme' (featuring Norma Jean Bell), the ultra-deep and gently jazzy dustiness of 17-minute epic 'Blackbone Waltz', the organic deep house excellence of 'Dance of Nubia' (which sounds like it could have featured on the St Germain album Boulevard) and the sample-rich, slow-motion shuffle of 'Underwater People'.

Like sneaking an extra scoop (or two) of ice cream for dessert, what do you do when you know something’s bad for you, but its vice-like nature makes it all the more irresistible? Vega Records explores this conundrum in its latest release, “Can’t Let You Go” by the late, great Loleatta Holloway.

“Can’t Let You Go” is one of the last unreleased recordings Loleatta completed before her passing in 2011. In the main mix, she addresses a relationship she knows she should end but can’t bring herself to leave because the lovin’ is just too good: “I keep coming back time and time again,” she ruminates with raw emotion. “We got to make things better or we got to do whatever to make it right… oh, let’s make it right, ‘cause I can’t let you go.”

For the unfamiliar, Loleatta Holloway, a.k.a. the “Queen of the Night,” is a bona fide disco and soul icon. The singer behind successful singles such as “Hit and Run” and “Love Sensation,” she is one of the most sampled artists from the disco era.

The posthumous single was written and produced by prolific artist Yvonne Turner, whose resume includes production and remix credits for music greats such as Whitney Houston, Willie Colon, and Jeffrey Osborne; as well as mixes for Lenny Kravitz, Lalah Hathaway, Mica Paris, and more. Providing subtle, smooth background vocals for the track, she allows Loleatta’s belting vocals to be the star of the percussive house groover; while Vega Records boss Louie Vega offers a “Roots” mix and emotion-charged “Soul House” mix. Louie Vega also invited his vocalist friends Tawatha Agee (of seminal R&B and soul group Mtume) and Cindy Mizelle (Louie Vega’s longtime collaborator) to add powerful hooks and new background arrangements, enhancing the track with some call and response to Loleatta's adlibs during the vamp. Gene Perez on Bass, Axel Tosca on Fender Rhodes, and Roberto Quintero on percussion. In all, the record is club-ready catharsis made for dancing all your troubles away.

“Loleatta Holloway was one of the most dynamic vocalists of our time,” says Yvonne Turner. “She was blessed with the gift of song and her energy was electric! Loleatta's passion and artistry is on full display as she masterfully interprets a lyric then delivers her signature adlibs, which never disappoint. To describe her in a few words, Loleatta Holloway was the truth... my friend... extraordinary!”

Adds Louie Vega, “Loleatta Holloway has had a huge impact in my life as a DJ, producer, and clubber. She touched me in many ways through my music-making and even style of DJing; to this day, I still play many of her songs and acapellas. This is just our little way of saying thank you so much for what you've done for so many lives with your beautiful voice, you've affected us all!!!”

The record’s cover artwork is a mural of Loleatta Holloway created by Richard Wilson, a London-based artist who takes inspiration from DJs and producers from the house music and disco scene. Last month, Louie traveled to Liverpool, England for the mural’s unveiling.

MUCH LOVED LOW ALBUM BACK IN PRINT ON VINYL…NB NEW PRICE.NON -RETURNABLE.

The second Albini recorded and engineered Low album, Things We Lost in the Fire features such hits as Sunflower and Laser Beam.

#14 on Pitchfork 30 Best Dream Pop Albums.

#117 Pitchfork Top 200 Albums of the 2000s.

#93 The Guardian 100 Best Albums of the 21st Century list.

#36 NME Top 50 Darkest Ever Albums.

“Measuring out grief and resilience with a steady hand, these are the best songs of Low's quiet career.” Mojo 9/10

“Low's original stark minimalism has gradually given way to a broader sonic range, without sacrificing their strangely accessible otherness.” Wire

“Low have always sought to make music that can both swell the heart like a gospel tune and capture the amplified absence of a funeral parlour. It's difficult to imagine a more perfect expression of their vision than this.” NME

The Rhythm Makers's Soul On Your Side is flawless proto-disco funk. The Bronx-based band - that later went on to form heavyweight disco outfit GQ - originally released this treasure in 1976 and it's long been a hard to find record. It's also rare to find a record this hard. Captivating funk at its rawest, no doubt.

Storming out the gate with the rollicking Loft/Garage staple "Can You Feel It (Part 1)", the listener is immediately put on notice that this LP is just a little bit special. The title track, "Soul On Your Side", is a classic dancer and the basis of GQ's future hit "Disco Nights". But it's perhaps "Zone", a huge Baldelli track, that the record is best known for. Hypnotic psyched-out cosmic-disco / cosmic funk, it's an unrelenting groove that really thrusts the party into hyperdrive. With doses of scintillating Latin and pulsating African rhythms driving the pumping tune, atop an unstoppable bassline and imaginative, soul-slathered keyboard figures, it's basically a full-on funk assault. You might need a lie-down after this.

But there's no let-up on the B-Side, immediately grooving thanks to "Funk-N-You", a laidback glider that just rolls in the sleek style. Gorgeous harmony skills are displayed on "Street Dreamin'". Beautiful and gritty funk, by turns. "You're My Last Girl" is an airy ballad with two leads before the legendary "Monterey" enters the fray. A much-sampled instrumental and heavy disco-funk nugget, it contains an amazing B-Boy drum break making the whole LP worth the price of admission. "Can You Feel It (Part 2)" closes out this spectacular set.

The Rhythm Makers had been gigging around New York City since the late ’60s, having initially come together as Sabu and the Survivors, named after bassist Keith “Sabu” Crier. They eventually - for this album at least! - settled on The Rhythm Makers and cut one record for the small De-Lite subsidiary Vigor. The core lineup featured Crier, keyboardist Herb Lane, drummer Kenny Banks and rhythm guitarist Rahiem Leblanc.

Mastered for vinyl by Simon Francis, cut by Cicely Balston for Alchemy at AIR Studios with artwork restored at Be With HQ, this new edition should hopefully bring this album into the homes and record boxes of many more people.

James Morrison"s new album Fight Another Day is born of difficult times and heavy emotions but one that, ultimately, leans into the light and joy and hope. Written after a period of reflection and therapy, the songs deal with his own struggles, childhood, and personal battles, with Morrison saying, "Every day being a bit of a battle. Trying to eke the light out after what felt like darkness for ages." From the defiant title track to the soul-baring Something I Can"t Forget and the feelgood New Day, the album captures a wide emotional spectrum. "I"m really proud of the album in terms of the creative, sonic elements and how I dealt with truthful stuff," he says, "but also... it"s an album of songs that hopefully make you feel better and make you nod your head and stamp your feet and singalong."

James Morrison"s new album Fight Another Day is born of difficult times and heavy emotions but one that, ultimately, leans into the light and joy and hope. Written after a period of reflection and therapy, the songs deal with his own struggles, childhood, and personal battles, with Morrison saying, "Every day being a bit of a battle. Trying to eke the light out after what felt like darkness for ages." From the defiant title track to the soul-baring Something I Can"t Forget and the feelgood New Day, the album captures a wide emotional spectrum. "I"m really proud of the album in terms of the creative, sonic elements and how I dealt with truthful stuff," he says, "but also... it"s an album of songs that hopefully make you feel better and make you nod your head and stamp your feet and singalong."

Domino Records haben mit Upchuck eine rohe Punk-Wucht aus Atlanta unter Vertrag genommen. Die fünfköpfige Band um Sängerin KT entstand 2018 aus der lokalen Skater:innen-Szene – laut, wild und kompromisslos.

Mit „Plastic“ legen sie nun ihre erste Single beim neuen Label vor: ein wütender, knapp zweiminütiger Ritt durch schrammelnde Gitarren und aufgeladene Vocals. Produziert wurde der Track von Ty Segall, gemastert von Heba Kadry und visuell in Szene gesetzt von Ian Cone. Inhaltlich dreht sich alles um den verzweifelten Versuch, in einer künstlichen Welt echte Verbindungen zu finden.
Der Rolling Stone brachte ihren Sound nach einem SXSW-Gig auf den Punkt: „Everything explodes.“

[a] a1. Tired
[b] a2. Plastic
[c] a3. New Case
[d] a4. Fried
[e] a5. Homenaje
[f] a6. Kept Inside

[h] b2. Un Momento


[k] b5. Lost One
[l] b6. Slow Down

frozen reeds presents Mark Fell’s ‘Psychic Resynthesis’, an instrumental work performed by Explore Ensemble. This double LP is the label’s 8th release, arriving 13 years after its foundation.

Fell is a multidisciplinary artist, composer, and theorist based in Rotherham, UK. Renowned for his rigorous and conceptual approach to electronic music and sound art, his work explores the limits of structure, rhythm, and perception through a blend of computational systems, philosophical inquiry, and cultural critique.

Over the last decade, Fell’s practice has visibly shifted from a world of technical intricacy and myopic microdetail to one of collaboration and community. He has purposefully sought out diverse musical partners from a wide variety of traditions and disciplines and found equally diverse ways to work and create together – not to integrate their playing into a musical fusion, but rather to discover how such combinations of approaches and experience can stimulate unique and heretofore unheard results.

The music here emerges from a commission for contemporary chamber group Explore Ensemble, situating Fell’s work in a new context entirely. Having been a notable critic of classical music’s slavish adherence to traditional musical notation, “the score”, and its associated issues of control and hierarchy, one might expect a provocative or abrasive approach. Instead, a work of deep, tonal introspection unfolds - an elegant structure navigating the artist’s antipathy for linear or timeline-based musical approaches.

In Fell’s selection of timbres and events, the dynamic of composer and performer is interrupted by his twin adoption of system and flexibility. Mathematical determination and sonic fixation vie for dominance. The conflict governing combinations. Upsetting preconceived strategies.

Published in an edition of 777 double LPs, with included digital download, the result, ‘Psychic Resynthesis’, represents both a prismatic object for repeated examination and an abstruse table of musical correspondences.

Didjits verbanden ihre Liebe zu Hard Rock (AC/DC, Black Sabbath, Cheap Trick), Punk (Sex Pistols und vor allem die metallische Kunstshow von The Plasmatics) und Rock'n`Roll der 50er Jahre (insbesondere Jerry Lee Lewis und Little Richard) zu einer Marke, die, wie Dexter Holland von The Offspring treffend beschreibt, ,ein wackeliger Zug war, der kurz vor der Entgleisung stand". Bei chaotischen Live-Shows brachte Gitarrist und Sänger Rick Sims das Publikum gekonnt gegen sich auf und trug so zur Raserei des rasanten Rocks bei, den sie langsam perfektionierten. Jello Biafra, ein früher Unterstützer der Didjits, bewunderte ihre Fähigkeit, das Punk-Publikum zu vergraulen und es dennoch mit offenem Mund und Hörverlust zurückzulassen. Ab 1988 veröffentlichten die Didjits fünf Alben in voller Länge bei Touch and Go Records (darunter eine Neuauflage ihres 1986 selbst veröffentlichten Debütalbums Fizzjob) sowie zwei Singles und eine EP. Es folgten MTV-Videos, ausverkaufte Clubs, Tourneen durch Europa und Nordamerika - bis 1994 (ironischerweise das selbe Jahr, in dem The Offspring ihr Platin-Album "Smash" veröffentlichten, das ein Cover von ,Killboy Powerhead" aus Didjits 1990er Veröffentlichung "Hornet Pinata" enthielt). Diese LP, gepresst auf 180 Gramm schwerem, opakem lila Vinyl, ist ein Archivdokument der Band von ihren Anfängen im ländlichen Illinois bis zu ihrer Auflösung über ein Jahrzehnt später. Die ausgewählten Tracks vereinen 17 Fan-Favoriten aus Didjits' Touch and Go-Diskografie auf einer einzigen LP.

Label boss Le Motel and versatile pidgin-rap experimentalist Magugu return to Maloca for their second full-length EP, Bitter Better. Drawing roots once again from across the full club music continuum, the release is a tour de force through rugged rhythmic workouts and self-assured vocal flows as the duo continue to develop their shared universe.

Available on vinyl, Bitter Better is also the artists' first ever shared physical release - all 5 tracks appearing on side A. On the B side, the duo's first EP, 2023's Kindness Weakness can be found, making this record a must-have for long standing fans and those just discovering Le Motel and Magugu's output.

‘3, 10, WHY, WHEN.’ is the third studio album from Jamie Woon, his first since 2015’s Mercury Prize nominated ‘Making Time’.

Co-produced by Jamie and Grammy award-winning Swedish producer Martin Terefe, the release comes after Jamie’s notable time away from the public sphere, reminding us of his distinctive talent. Soulful and catchy as ever, this album sees Jamie explore themes of meaning and purpose with startling vulnerability. Tight songwriting meets expansive, genre-hopping moods. Woon’s previous work includes collaborations with Disclosure, Lil Silva, Elmiene, Holly Walker, and Burial.

Includes the singles ‘Heavy Going...’ & ‘When’.

Amsterdam indie stalwarts Pip Blom and Willem Smit, respectively the songwriter & vocal force behind Pip Blom and the driving creative mind behind Personal Trainer, have come together after a decade of intermittent collaborations to launch a new project: Long Fling. The duo's self-titled debut album arrives 3rd of October, 2025, unveiling a collection of charming, offbeat guitar and drum machine, kraut-rock tinged anthems, touching on everyday oddities like socks, shoes, and the allure of staying home.

Unlike typical duets, Long Fling doesn’t focus on harmonies or traditional back-and-forth vocals. Instead, Pip and Willem trade lines over minimal, melodic arrangements that reflect their shared sensibilities. The songs are direct but often playful, shaped by a mix of guitars, drum machines, and off-the-cuff lyrics.

Over the course of ten years, Willem and Pip’s songwriting process evolved from tentative beginnings filled with creative tension to a natural, collaborative flow. Willem reflects: “Over the years, I feel we’ve grown more comfortable making music together... Assembling a record we have been accidentally making without the goal of making a record was fun, but also weird. It felt a bit like archaeology sometimes. We tried to change things... but found out quite quickly that it made most sense to stay true to the initial ideas we had.”

we each asked our dads whether the album sounded more like a Willem album or a Pip album, they both said the other’s name. I really feel like we made this album together - it’s a true blend of the both of us.

There’s a lot for MAYDAY PARADE to celebrate these days. The T allahassee, Florida-formed quintet recently
wrapped a career-defining tour marking two decades together, one that saw more than 70,000 fans pack sold-out venues to celebrate their storied catalog. They performed a triumphant main-stage set at the 30th anniversary of the V ans W arped T our, a full-circle moment for a band that made their name selling self-released CDs in those same sweltering parking lots nearly 20 years ago. Their landmark debut LP, A Lesson In Romantics, turned 18, still beloved for its iconic singles like the platinum-certified “Jamie All Over” and gold-certified “Miserable At Best.” And the group released Sweet, the first in a self-released three-album series that reaffirmed just how vital and creatively energized Mayday Parade still remains. Now, on Sad, the second installment in that trilogy, the band continue diving deeper into the emotional nuance that’s defined their most captivating albums, blending aching sentimentality with melodic urgency as only they can. Once again produced by longtime collaborators Zack Odom and Kenneth Mount, Sad sees Mayday Parade stripping back some of the tempo that colored Sweet in favor of more deliberate grooves, more introspection, and a sharpened focus on mood and space.

Brussels-based guitarist Benjamin Sauzereau is one of the most respected figures in Belgian jazz, working across the full spectrum-from elegant jazz to adventurous improvisation. You may know him from projects such as Les Chroniques de l'Inutile, Hendrik Lasure Warm Bad, Book of Air, and Fur. Over the past few years, he has written a large number of compositions under the umbrella of 'REMORQUE', performed in various line-ups-a concept somewhat reminiscent of John Zorn's Masada compositions.



These pieces share a clever and imaginative approach to composition, improvisation, and arrangement. Typically short but vibrant, they shimmer with color and atmosphere-sometimes lyrical and contemplative, other times playful, whimsical, or slightly prickly. Each piece opens up a small, self-contained universe full of nuance, refinement, and space, interpreted by musicians who navigate fluidly between classical discipline and free improvisation.



Following the first release Un on W.E.R.F. Records, Sauzereau now presents the highly anticipated follow-up: DEUX. This second chapter dives even deeper into the sonic world of REMORQUE-further refining its playful contrasts, rich textures, and poetic unpredictability. With DEUX, Sauzereau cements his reputation as a composer who continuously reshapes the boundaries between structure and freedom, offering a listening experience that is as intimate as it is exploratory.

Limited edition on clear vinyl. Wie in het voorjaar van 2025 het voorrecht had om de theatertour van Het Zesde Metaal bij te wonen, kon daar op de koop toe genieten van een handvol gloednieuwe songs. En daarna vaststellen dat die helaas nergens te (her)beluisteren waren. Tot nu, want de goesting om de songs vast te leggen voor de eeuwigheid werd op den duur wel heel groot. En dus kampeerden Wannes Cappelle en co afgelopen zomer enkele dagen in Waimes (DAFT Music Studios), voor het eerst in de nieuwe bezetting met Kasper Cornelus op gitaar/toetsen en Sander Verstraete op bas.



Het resultaat is de EP Randgevallen: vijf songs, vijf vertellingen uit het persoonlijke en wereldse leven die andermaal bewijzen dat Het Zesde Metaal als geen ander kan beschrijven, beklijven en betoveren. Een staalkaart bovendien van de muzikale en tekstuele veelzijdigheid die de band al jaren kenmerkt. Opener Service is een opgewekte popsong waarin Cappelle sappig de drang naar reviews en hartjes in het dagelijkse en economische leven fileert: 'wa' vind je van onze service? / zou j'ons geen tiene willen geven? / asteblieft, want anders is den directeur vies.' In Traagskes Groeien verstilt het tempo en keert de blik naar binnen, het persoonlijke leven in, mijmerend over kinderen die stilaan het nest ontgroeien. 'ge moet u zo nie' spoeien / ge moet traagskes groeien / ge moe' laagske per laagske groeien', probeert Cappelle het loslaten nog even uit te stellen.



Wie dacht dat Oud En Nieuw daarna gaat over feestvieren in de donkerste dagen van december, is op het verkeerde feestje beland. Wiegend op hypnotiserende bas, drum en pedal steel passeert opnieuw de vergankelijkheid van het leven, dit keer met een bredere maatschappelijke blik. 'alles da' oud is, was ooit nieuw / en groot is ooit kleine begonnen / veel komt van weinig / glad was eerst ruw / zelfs de waarheid wierd ooit verzonnen'. Wanneer naar het einde toe pulserende synths het tempo opheffen en de song licht euforisch uitwaaiert in een instrumentale coda, kun je alleen maar de ogen sluiten en stilstaan bij wat was en nog komen zal.

Label is het enige nummer dat speciaal voor de EP werd geschreven en baadt net als Service in meer dartele klanken, terwijl Cappelle met trefzekere oneliners een beeld van zichzelf schetst. 'de meeste middens mijd ik, ik hore bie de randgevallen thuis / misschien verdiene 'kik ook een label'. Moeten we altijd proberen de ander in een vakje te duwen? Kan iedereen niet 'gewoon' anders zijn? En ironisch draait Cappelle de rollen om: 'atypisch is de norm / ge moogt buiten de lijntjes kleuren / gewoon is niet verboden / normaal zijn doet geen zeer / as ze mor hunder plekke kennen / de rare zijn met meer.'



Het slotakkoord is voor het beklijvende Duizend Soldaten van Willem Vermandere, dat Cappelle en Filip Wauters begin dit jaar brachten voor het tv-programma Ik Vraag Het Aan. Nu zet het een pakkend punt achter een EP die nogmaals de tijdloze klasse van de band onderstreept. Meeslepend, verhalend, herkenbaar, grappig, ontroerend, scherp. Het Zesde Metaal is het allemaal en heeft daar slechts vijf songs voor nodig.



Randgevallen werd opgenomen met Frederik Segers (productie) en Jasper Maekelberg (mix) aan de knoppen, en komt uit op 4 oktober. Met de plaat onder de arm én aan de merchandisetafel herneemt de band zijn theatertour, maar dan in het groot, langs fantastische zalen in onder meer Brugge (Concertgebouw), Gent (Capitole) en Nederland.

Odessey and Oracle features fan favorites “Time of the Season” and “This Will Be Our Year” and is the resurrection story that keeps on giving. This new edition is the first time the band’s original mono mix has appeared on LP since the record’s British issue in April 1968 and it’s the first time ever in America. Odessey and Oracle, The Zombies’ second album, has been named as one of Rolling Stone’s 500 Greatest Albums of All Time and has been dubbed “a psych-pop masterpiece…decades ahead of its time” by Pitchfork. The newly remastered in mono album now has new liner notes by the brilliant David Fricke – an edited excerpt is below.

END[GER] Die Band Wednesday aus Asheville, North Carolina errichtet im Laufe der zehn Songs von "Rat Saw God" einen Schrein voller aufregender Details: Halb lustige, halb tragische Botschaften aus den Südstaaten, die sich klanglich irgendwo zwischen dem wimmernden Skuzz von Neunzigerjahre-Shoegaze und klassischem Country-Twang entfalten - mit verzerrter Pedal Steel und Frontfrau Karly Hartzman, die mit ihrer Stimme, den Lärm durchschneidet. Ein Song von Wednesday ist wie ein Quilt. Eine Kurzgeschichtensammlung, eine verschwommene Erinnerung, ein Flickenteppich aus Porträts des amerikanischen Südens, der disparate Momente einfängt und als Ganzes doch irgendwie einen Sinn ergibt. Karly Hartzman, die Songschreiberin, Sängerin, Gitarristin und Leiterin der Band, ist eine Geschichtensammlerin als auch eine Geschichtenerzählerin: Eine aufmerksame Beobachterin von Menschen und witzigen Bemerkungen. "Rat Saw God", das neue und beste Album des Quintetts aus Asheville, ist ekphrastisch, aber ebenso autobiografisch und vor allem sehr einfühlsam. Es wurde in den Monaten unmittelbar nach der Fertigstellung von dem zweiten Album der Band, "Twin Plagues", geschrieben und innerhalb einer Woche im Drop Of Sun Studio in Asheville aufgenommen. Die Songs auf "Rat Saw God" erzählen keine Epen, sondern das Alltägliche. Sie sind lebensnah, erzählen vom wahren Leben, sie sind verschwommen und chaotisch und seltsam zugleich - was Hartzmans eigenem Ethos entspricht: "Everyone's story is worthy. Literally every life story is worth writing down, because people are so fascinating." A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

"Pop" is a tag that's been assigned to Minus The Bear throughout their career. It's been used to set a distinction between the unique brand of complex indie rock they introduced on their first EP and the more angular and aggravated sounds of their previous bands Botch, Kill Sadie, and Sharks Keep Moving. It's also a tag that was thrown around frequently in the wake of their streamlined fourth album, OMNI. And it's a descriptor that immediately comes to mind within the first few seconds of their classic second formal EP, They Make Beer Commercials Like This. Now celebrating its 10-year anniversary and first time in print since 2011, Beer Commercials is the evolutionary step between Minus The Bear's first two landmark albums, Highly Refined Pirates and Menos El Oso. Opening track "Fine + 2 Points" remains one of the band's strongest opening tracks in their discography,charging out of the gates with a syncopated stomp that comes across as a more agitated take on Kylie Minogue's "Can't Get You Outta My Head". If Minus The Bear were looking to make pop music without any of its major-scale bubblegum trappings, they nailed it here. The band follows it with "Let's Play Clowns" and "Dog Park" - nods to Highly Refined Pirates' formula of frenetic clean guitar work, bombastic choruses, and Jake Snider's lyrics of detached romantic nostalgia. These tracks may represent Minus The Bear's original trademark version of pop, but on songs like "I'm Totally Not Down With Rob's Alien" the band eschews it's restless energy for atmosphere and dynamics, creating a sound that's inspired more than a handful of contemporary melodic post-rock bands. By the time the band belts out "Pony Up!" the listener has watched the three-year sonic transition between Minus The Bear's first two full-lengths transpire within under half-an-hour, with the their earlier math rock predilections yielding to the tightly wound club-banging pedalboard trickery that defined their sophomore album. Even if Beer Commercials doesn't fit within your definition of pop music, the unorthodox energetic charm of this relatively low-profile release serves as an exciting reminder of why Minus The Bear became one of the most important and influential indie rock bands of the new century.

Perhaps it was a cold winter day or a warm summer night in Finland - but it was around 2010. Someone came up with an idea to combine bluegrass, Finnish folk and rock/metal music. The outcome was and has since been Steve 'n' Seagulls. The kind of band you've never heard before but you do want to hear again. Hailing from Finland in Northern Europe - this flock of musical energy keeps on going and flying faster than ever. In 2025, the sun will lay its rays on the long-awaited fifth Steve 'n' Seagulls album - The Dark Side of the Moo! Recorded and produced with the same crew as the previous one, Steve 'n' Seagulls have again found and torn down the limits of progressive bluegrass and newgrass. The album combines elements from genres that are hard to imagine together. Yet they meet and shake hands like old friends. Steve 'n' Seagulls' originals and some re-arranged classics form yet another interesting musical soup ready to be served on their The Dark Side of the Moo -tour around Europe in 2025.

REPRESS of Mephistofeles third album. Mephistofeles is one of the biggest acts of the new Doom Stoner scene from Argentina which has developed its own cult following all around the world. This album is a slowly bubbling cauldron of eerie atmospheres and drugged-out sonics; amidst the ever-present haze of hashish and sulfur, it's by far one of the band's most authentically DOOM recordings. And at 47 minutes, the simmering slime MEPHISTOFELES here dole out so effortlessly sounds more like 47 hours, so ensnared by addiction you'll be.

REPRESS of Mephistofeles third album. Yellow vinyl, limited to 350 copies. Mephistofeles is one of the biggest acts of the new Doom Stoner scene from Argentina which has developed its own cult following all around the world. This album is a slowly bubbling cauldron of eerie atmospheres and drugged-out sonics; amidst the ever-present haze of hashish and sulfur, it's by far one of the band's most authentically DOOM recordings. And at 47 minutes, the simmering slime MEPHISTOFELES here dole out so effortlessly sounds more like 47 hours, so ensnared by addiction you'll be.

Welcome to Pfefferkorn: a countryside studio hidden inside a former 1950s café. The stylish interior stayed, the cake display is gone, but the mountain panorama is still very much in place. Out of this unlikely combination came Obsolescence, Feater's new album and a record that wasn't supposed to happen, but insisted on doing so anyway.

Originally, Pfefferkorn hosted a merry-go-round of guests and genres: jazz, kraut, pop, experiments, even the occasional field recording. Among the many, Mara Oldofredi aka Mietze Conte became the most frequent and inspiring visitor. Their sessions set sparks, and one of them, "Trio," landed directly on the album.
The method? Call it instant archaeology: live jams on two-track tape, then pushed through edits, resampling, Fairlight IIX sorcery, and endless tape-laptop relays. Quick, raw, and without too much overthinking, more sketch than sculpture, more instinct than intent.
The result is Obsolescence, a record born out of detours, made for personal delight, and proof that side products can be main courses if you let them.

Wer seine 50-jährige Karriere verfolgt hat, kennt Vernon Reid als Künstler, der in allen Farben malt. Je nachdem, in welche Ära man eintaucht und welches Album auf dem Plattenteller liegt, findet man den New Yorker Universalgelehrten zwischen Jazz, Metal, Punk, Funk, Electronica und Hip-Hop pendelnd. Und das alles mit so vielseitigen Kollaborateuren wie Mick Jagger oder Public Enemy. Ein Künstler im Wandel und doch eine feste Größe, auf dessen Aussagen man bauen kann. “Hoodoo Telemetry”, sagt der 66-jährige über sein Werk, “ist wie ein Stück meines Geistes. Ich habe eine ganze Weile gebraucht, um mit diesem Album zu beginnen. Diese Songs kommen aus unterschiedlichen Zeiten und Lebenssituationen. Einige Songs sind ganz neu, andere sind aus älteren Ideen, die ich wieder aufgegriffen habe, entstanden.
Plötzlich fand ich den Fokus und mir war klar das ich jetzt mit der Arbeit an diesem neuen Album anfangen muss.

The Principle of Evil Made Flesh ist das Debütalbum der englischen Extreme-Metal-Band Cradle of Filth. Der Sound ist deutlich rauer als der spätere Stil der Band, und Dani Filth hatte noch nicht die Stimme gefunden, die er auf zukünftigen Aufnahmen verwenden würde. Einige von Principles Tracks wurden später für V Empire und Bitter Suites to Succubi neu aufgenommen.

The Principle of Evil Made Flesh ist das Debütalbum der englischen Extreme-Metal-Band Cradle of Filth. Der Sound ist deutlich rauer als der spätere Stil der Band, und Dani Filth hatte noch nicht die Stimme gefunden, die er auf zukünftigen Aufnahmen verwenden würde. Einige von Principles Tracks wurden später für V Empire und Bitter Suites to Succubi neu aufgenommen.

The Principle of Evil Made Flesh ist das Debütalbum der englischen Extreme-Metal-Band Cradle of Filth. Der Sound ist deutlich rauer als der spätere Stil der Band, und Dani Filth hatte noch nicht die Stimme gefunden, die er auf zukünftigen Aufnahmen verwenden würde. Einige von Principles Tracks wurden später für V Empire und Bitter Suites to Succubi neu aufgenommen.

The Alien Dub Orchestra is ragtag collective of Bavarian musicians, featuring members of The Notwist and G.Rag y los hermanos Patchekos. The cohort formed around the idea of performing the standards of the fabled Breadminster Songbook, aka the back-catalogue of lone dubman Elijah Minnelli. Minnelli is known for constructing wheezy, forlorn odes to his hometown, both as highly sought-after self-released 7" singles, and a critically-acclaimed debut album, ‘Perpetual Musket’ for FatCat Records, lauded by the likes of The Guardian, The Wire, and The Quietus. ‘The Alien Dub Orchestra: Plays the Breadminster Songbook’ finds group covering Minnelli’s cumbia-infused dub reggae with full band, playing an eclectic array of instruments including: guiro, accordion, melodica, sousaphone, trumpet and assorted percussion.

The tale begins in 2022, when Minnelli was invited to lend his unique dubbing style to a pair of remixes for The Notwist, and what followed was an ever-flourishing relationship between the Breadminster native and the wider Munich scene. The seeds of the Alien Dub Orchestra were sown during a support gig for The Notwist, where assorted musicians joined Minnelli for a encore, reinterpreting one of his dub remixes across woodwind, brass and assorted percussion.

“The idea of real, competent professionals playing something you’ve muddled together on a computer in a damp basement is quite overwhelming,” reflects Minnelli on the process, “hearing them interpret and improve these melodies is a real joy and privilege.”

Despite the non-traditional origins of the source material, the inherent musicality of Minnelli’s songwriting shines through across his releases, and this creative kinship is what attracted the Orchestra to reimagining his work. The first live collaboration led to recording sessions and further gigs, with the Orchestra building a full set of Minnelli’s music.

The resulting album puts forward the strongest case yet of the shared musical throughline between the acts, where cumbia, dub and folk sensibilities coalesce to something all together unique. The tracks are wrought new, with melodies fleshed out and broader instrumentation expanding the sonic possibilities of the compositions. The tactility of the tracks is perhaps best demonstrated on the gorgeous ‘Vine and Fig Tree’, with it’s layed vocals and expressive bassline returning as a cavorting sousaphone line. Elsewhere, fan favourite ‘SLATS’ sounds as if it was simply written to be performed this way.

To further instill the cylindrical nature of these collaborations, the entire second half of the album is made up of dub versions of the Orchestra’s renditions. For these dubs, Minnelli is joined by Raimund Wong, who had caught his ear with his ambitious live sets, a daisy chain of tape machines and FX pedals. Again, despite their differing creative processes, the two bonded over a shared love of dub music. Each dub was a one-take, with Minnelli riding the faders and Wong’s filters and FX supplying a sound that doesn’t seek to imitate dub, so much as it tries to be it’s own chaotic self. The droning, psychedelic hypnosis of ‘Pundit Dub’ stretches the material to a whole new realm that feels outside of anything else Minnelli has produced before, an ode to the benefits of recycling sound if ever there was one. The whole second half is a perfect closing note to an album that is undoubtedly a love letter to folk tradition, dub ideology and, most importantly, the joy of uninhibited collaboration.

​Elijah Minnelli - voc, guiro, percussion
Philip Gross - accordion, melodica
Theresa Loibl - clarinet, melodica
Cico Beck - electronics, keyboards
Sascha Schwegeler - congas, steel drum, percussion
Micha Acher - sousaphone, trumpet
Markus Acher - drums, voc
Dub mixes performed live by Elijah Minnelli & Raimund Wong at Breadminster County Council Studios

Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually.

First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us.

Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over.

“This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.”

Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth.

Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism.

From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release.

The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed.

More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners.

The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline.

Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection.

“I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.”

Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually.

First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us.

Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over.

“This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.”

Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth.

Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism.

From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release.

The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed.

More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners.

The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline.

Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection.

“I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.”

Fresh off producing a seminal documentary about the origin story of Portuguese rave culture, Shcuro returns to his mother tongue, music, to give us four slices of fresh yet classic Lisbon underground flavour right as the summer sets in. 'Echo Chamber' EP, Para?so's 17th outing, comes with two equally excellent remixes separated by the atlantic: Brooklyn's MoMA Ready and Berlin's Mareena. Side A starts with two tracks first blueprinted this past year as Shcuro prepared a new live set. 'No Expectations' opens the record with a high-paced sweat-breaker that elegantly evokes early rave culture as stabs, funk and feelings abound. A2 'Persistence' follows suit with the work that exudes proficiency: sound design, dub techno learnings and masterful layering all conspire to create a moment of pure techno draw. Closing side A, 'Deviation' pulls some of the previous track's energy even though it's a rework from the artist's earlier unreleased catalogue: another sign that we're talking realness here. Clever percussion and refreshing washes drive us well into dubby territories. 'Suspension' opens the B side, picking up where it left off with the last original: a beautifully produced piece with fleeting mutating stabs that seem to swim alongside us in an imaginary oceanic dancefloor. Liquid, refreshing sensorial motifs seem to underpin this record and that spirit spills into the remix pack, starting off with MoMA Ready's take on 'Persistence', bringing out the rawness in the original while adding a special sauce with Robert Hood-like funky yet minimalistic bleep work. Tresor's Mareena steps in for a centered, dancefloor-geared - but still mysterious - twist on 'Deviation', perfectly rounding up the record with the expertise of a club resident.

Off The Record (faitiche 39), the new album by French collagist Roméo Poirier, is an amusing romp through the discarded history of recording studios. It contains fourteen miniatures based on accidental recordings of studio talk, revealing things that were never meant for the public: we hear instructions from studio staff, scraps of talk between musicians, or just microphones being adjusted, as well as false notes, false starts: everyone stops. Start again: 1, 2, 3, 4!

Poirier’s approach recalls Accumulation, an artform practiced by Arman, Jean Tinguely and Daniel Spoerri that involved piling up everyday items into assemblages. The objects themselves often remained unaltered, the artistic gesture consisting in the careful curating of a distinctive selection. Poirier’s audio collages explore similar terrain. The fourteen pieces on Off the Record combine more than a thousand found sounds from studio archives into complex miniatures. The audio content of these outtakes is twisted, stretched, cut, reassembled, slowed down and accelerated. Voices cut into a microgroove, from a very old recording, intertwine with digital voices gleaned from YouTube. All of them in dialogue, engaging the listener with the impression of being part of a new music group.

Poirier uses the mundane routine of setting up before the actual recording gets underway to tell a universal story about working in a recording studio. And he manages something few achieve, transforming specialist knowledge into a narrative whose beauty goes far beyond its immediate subject. It speaks to everyone, because the story is told in a musical language that is open and accessible, evoking magical images reminiscent of Oz – a world consisting less of events than of camp hallucinations, captured in grainy black-and-white photographs. En passant, Poirier shows us how the notion of material accumulation can produce great art.

Written and produced by Roméo Poirier, mastered by Stephan Mathieu, photos by Roméo Poirier, graphic design by Tim Tetzner.

»Chitin« captures Berlin-based duo Narval (Peter Strickmann and Evgenija Wassilew) in a series of recordings made during a 2025 residency in the village of Schöppingen, Münsterland. Known for their use of everyday objects, self-built wind and percussion instruments, feedback systems, and small-scale electronics, Narval treat the performance space itself as a collaborator. In Schöppingen, this meant farmhouses, a parish church, a sculptor’s studio, and surrounding cornfields — each site imprinting its acoustics and atmosphere onto the performances. The result is a set of recordings where birds, insects, and ambient traces of rural life seep into the music, blurring the boundary between intentional gesture and environmental chance.

The title refers to chitin: the hard-yet-flexible material that forms insect shells, fungal walls, and crustacean exoskeletons. Like tape or rural matter, it is at once protective and permeable, tactile and intimate — qualities mirrored in the album’s sound world. By working with a deliberately limited palette of tools, Narval allow small sonic details to accumulate into shifting durations, giving each piece the strange, layered texture of surfaces both organic and mechanical. Chitin offers a portrait of site-specific listening where the line between instrument and environment continually dissolves.

Peter Strickmann – objects, smartphone, ceramophone, cornfield, iron bar Evgenija Wassilew – AM radio, prepared Stylophone, feedback, smartphone, Bastl Kastle, iron bar Recorded by Peter Strickmann and Evgenija Wassilew Mastered by Jacob Calland

AniaraWL07 links up label mainstays Dorisburg, Efraim Kent, and Arkajo. Side A kicks off with Dorisburg & Efraim Kent's Wired to the Mainframe: a tightly wound, pulse-driven Tech House trip. Followed by X-Files Groove, which strips back the layers and tunnels into a darker, dub-laced transmission. Flip to Side B for Arkajo's two-part Consequence series. Consequence #1 locks you into rolling, UK-inspired rhythms, pushing forward with a warm yet propulsive energy. Consequence #2 turns the screws tighter, upping the BPM and unfolding into a tense, minimal workout where every hit and echo feel essential.

Eje Eje, the orbiting side project of Satellites founder and multi-instrumentalist Itamar Kluger, shares "Primordial Soup", his second album on Batov Records, stirring an even wider pot of influences from East to West that defies genre.

Label text:

"Conrad Pack returns to SELN Recordings with a three track EP threading the needle between London sonics and
something beyond.

The primary tracks Praise and Guidance were recorded during the height of the Scram events organised by
Leeway (Guy Gormley), and hosted by the late soundsystem luminary Julian Fairshare at Ormside Projects. The
influence of this period, and in particular of Fairshare himself, on the music is clear; both are stepper-esq, leaning
heavily on London’s musical legacy past and present, whilst still pushing a contemporary sound.

Praise is essentially a Dub track. The percussion and bass are of a familiar steppers nature, with the synths
evoking a true Big Smoke feeling. Although the melody itself wouldn’t sound out of place in a UK Drill number, the
song overall still touches on Industrial and DIY sonics, being all the stronger for doing so.

Guidance follows in solid form. Amongst the driving percussion and staunch bassline, droning pads lock in a dense
mood whilst sparse choral melodies echo throughout. Think Shaka meets Muslimgauze, but recorded in a
Woolwich Office Block.

Grotto was originally produced for the group show “The Grotto” held in January 2021 at Ridley Road Project Space.
Restructuring the track from the original stems, Pack presents a new and enchanted “stereo version” for Praise EP.
Angelic atmospheres flow amongst scattered hi-hats as sporadic Freetekno Kicks reverberate across the void.
Most accurately described as “what Curley in a K Hole might have sounded like”. "

Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and songwriter/technician Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue a different musical direction.

Turner claims that the idea of Deux Filles came to him in a dream, and the novel fiction/roleplay would be strictly maintained throughout the girls' short career. As well as posing in costume for the album covers, the duo even performed live without the audience realizing that the girls on-stage were actually a pair of blokes from south London having a giggle.

Deux Filles released two highly collectable albums: Silence & Wisdom (1982) and Double Happiness (1983)

Collecting Orders For 2025 Repress

Nick Curly celebrates the 50th release on his imprint with label partner Marc Scholl. Together, they present Nick Curly’s Altrip EP, featuring a guest remix by Manda Moor.

The EP commences with the title track 'Altrip,' where robust sub-bass melds seamlessly with vigorous drum programming. Following suit, 'It's You And Me' maintains the same potent energy, featuring cascading note arpeggios and intricate percussive elements that traverse the mix. Manda Moor's 'Burning Remix' of 'Altrip' injects her high-octane sonic signature into the original, employing rave-inspired stabs, panning drums, and sliced vocal samples.

As the year '23 enters its final quarter, Cécille Records is set to reinvigorate its event series in collaboration with Peoples Agency. Two official dates stand as markers of this revival. Alongside Nick Curly, an array of artists including Sidney Charles, Manda Moor, Fabe, Leon, De La Swing, Dennis Quin, Timmy P, Reboot and more are poised to join the festivities. The launch will take place under Cécille tent owned by Groove Fest London, while another event is scheduled at ADE in partnership with promoter Hush, hosted at Amsterdam's Melkweg Club.

2025 Repress

Portland was produced by our mate Dave Clark aka Sparky and was the first record we released in 2002, about a year before the first ever Numbers party took place.

Originally recorded live to tape using an MMT8, a Microwave II, and an ESi32 in the summer of 1998, it was released on an old label of ours named Stuffrecords and formed part of a somewhat rambling compilation called STUFF001. We hastily stuck this record out without any proper distribution, because at the time we didn't know any better. Despite this the record did pretty well, selling 500 copies to a few select stores who had faith in what we were doing.

Fast forward a year or so to when Numbers kicked off and the track became one of the first bonafide anthems in the club. It was our tune and it would tear the roof off at any of our parties.

A couple of years later, we booked DJ Pete, aka Substance, to play. We're talking about the record in the pub when he suddenly informs us that Ricardo Villalobos is crazy about it and even charted it. This was a deep, almost Drexciyan electro track and here was the king of crazy experimental minimal house music caning it in his DJ sets.

Not long after that night, the Numbers label was up and running and the idea to re-release Portland with a remix from Mr Villalobos was brought up almost as a kind of pipe-dream. Now in 2013, with a little help from Gerd Janson, it has finally happened. Recorded live in one take and clocking in at over 30 minutes long, it's cited as an "experiment" by Ricardo. Designed to play at two speeds, at 33rpm its almost like an early 90s Black Dog track stretched out to infinity, whilst at 45rpm, it's a club-ready groover with an almost Dopplereffekt rhythm to it - the sort you could imagine sneaking into a DJ Assault or Godfather Ghettotech mix. Somehow, it also manages to be classic Villalobos.

To finish off the record Dave gave us a two unheard tracks from those original Portland sessions in 1998. The malevolent electro of 'Jigsaw' would instantly have become another Numbers anthem if only Dave had let us hear it ten years ago, and closer track 'Wilson St' heads down an ambient route.

"Na Rua, na Chuva, na Fazenda" is a landmark 1975 album by Hyldon, a key figure in Brazilian soul music. His debut release was one of the top-selling albums that year, capturing the vibrant musical spirit of the 1970s and reflecting the influence of the black power movement alongside artists like Tim Maia and Cassiano. With a mix of MPB, soul, and funk, Hyldon brought his unique sound to life, collaborating with influential artists and contributing to the Brazilian music scene. With a mix of MPB, soul, and funk, Hyldon brought his unique sound to life, collaborating with influential artists like Azymuth. The album, which features the iconic title track, is a celebration of love with timeless songs like 'As Dores do Mundo', 'Na Sombra de uma Arvore' and 'Meu Patuá.' Produced by Guti Carvalho with arrangements by Hyldon and Waldir Arouca Barros, the studio band included the talented musicians from Azymuth (José Roberto Bertrami, Alex Malheiros and Ivan Conti "Mamao"), making it a memorable piece of Brazilian musical history. This album has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Once incredibly rare and expensive, it's now at the top of every serious collector's wishlist. After being unavailable outside of Brazil for years, it's finally been reissued - don't miss your chance to own this legendary piece of music history.

Reissue of the classic “disc with harps” a record that in 1993 won the approval of all the DJs in Europe and that became a cult-mix that cannot be missed in every DJ set. The B-side includes the “2025 retouch mix” re-proposed with grooves and current sounds of the original producers

The downtempo legacy of Tosca continues. Originally released in 2005, J.A.C. is the fourth studio album by the Austrian duo - an album dedicated to their then newly born sons, "Joshua, Arthur, Conrad". For its 20th anniversary, which also marks !K7"s 40th anniversary, it has been fully remastered and compiled into a beautiful gatefold 2LP. Between the release of their classic Dehli 9 and J.A.C., the two entered fatherhood. As all Tosca albums relate to biographic events in the life of Huber and Dorfmeister, the birth of their sons naturally called for an album dedication. J.A.C. is perhaps the most consistent formulation of both, the carefree and melancholic sound of Tosca.

Tauche ein in die magische Klangwelt von Olafur Arnalds: Found Songs kehrt zurück - erstmals als transparente Vinyl-Edition! Ursprünglich 2009 auf schwarzem Vinyl veröffentlicht und lange vergriffen, erscheint dieses intime Meisterwerk nun in einer streng limitierten Neuauflage. Die sieben Stücke entstanden in einem außergewöhnlichen Projekt: ein Song pro Tag, sieben Tage lang - direkt geteilt mit der Welt. Zwischen zarten Klaviermotiven, subtilen Elektronik-Elementen und kammermusikalischer Tiefe entfaltet sich ein eindrucksvolles Porträt eines jungen Komponisten, der die Grenzen zwischen Klassik, Pop und Ambient neu definiert. Found Songs ist ein poetisches Zeitdokument - roh, ehrlich und voller Gefühl. Ein Muss für alle, die Musik als Kunstform erleben. Step into the delicate sound world of Olafur Arnalds: Found Songs returns - for the first time ever on clear vinyl! Originally released in 2009 on black vinyl and long sold out, this intimate masterpiece is now reissued in a strictly limited edition. Born from a unique project - one song per day for seven days, shared instantly with the world - these seven pieces blend fragile piano, subtle electronics, and chamber textures into a deeply personal portrait of a young composer redefining the boundaries between classical, pop, and ambient. Found Songs is a poetic time capsule - raw, honest, and profoundly moving. A must-have for those who experience music as art.

'SOPHIE', das selbstbetitelte zweite Album der visionären Künstlerin, Produzentin und Pop-Pionierin, wird am 27. September 2024 über Transgressive und Future Classic veröffentlicht.

Dieses Album wurde von SOPHIE und einigen ihrer liebsten Kollaborateure geschaffen. Es stand kurz vor der Fertigstellung, als sie auf tragische Weise starb, und wurde von denjenigen, die ihr am nächsten standen, liebevoll fertiggestellt. Als SOPHIEs Studiomanager und vertrauenswürdiger Gesprächspartner für über ein Jahrzehnt war Benny Long maßgeblich an der Veröffentlichung von 'Oil Of Every Pearl's Un-insides' beteiligt und zeichnete für Mastering, Produktion und Mixing verantwortlich. Die beiden arbeiteten dann über mehrere Jahre zusammen, um das Konzept und die Produktion dieses Nachfolgealbums zu entwickeln, das Benny liebevoll vollendet hat, um SOPHIEs Vision zu ehren.

'SOPHIE', das selbstbetitelte zweite Album der visionären Künstlerin, Produzentin und Pop-Pionierin, wird am 27. September 2024 über Transgressive und Future Classic veröffentlicht.

Dieses Album wurde von SOPHIE und einigen ihrer liebsten Kollaborateure geschaffen. Es stand kurz vor der Fertigstellung, als sie auf tragische Weise starb, und wurde von denjenigen, die ihr am nächsten standen, liebevoll fertiggestellt. Als SOPHIEs Studiomanager und vertrauenswürdiger Gesprächspartner für über ein Jahrzehnt war Benny Long maßgeblich an der Veröffentlichung von 'Oil Of Every Pearl's Un-insides' beteiligt und zeichnete für Mastering, Produktion und Mixing verantwortlich. Die beiden arbeiteten dann über mehrere Jahre zusammen, um das Konzept und die Produktion dieses Nachfolgealbums zu entwickeln, das Benny liebevoll vollendet hat, um SOPHIEs Vision zu ehren.

Barcelona born and based young composer Olivia Font's debut album, Invictam explores resilience and adaptation through a unique blend of strings, analog synthesizers, electronics, and experimental percussion. The album's narrative, guided by a transformative female voice, unfolds through long, repetitive melodic patterns that meditate on time, transience, and the passage of seasons.

This unique vision is further enriched by collaborations with British cellist Oliver Coates and actress-singer Ana San Martín, alongside a track from producer Pedro Vian himself. Preorder Invictam today and be part of this remarkable journey. Cover by Adrià Cañameras.

Rose Gray, Songwriterin, DJ und angehender Popstar aus London, veröffentlicht ihr Debütalbum via Play It Again Sam. Nach einer sehr umtriebigen Phase mit ersten Singles, einem Auftritt beim Glastonbury Festival und der Einführung ihrer eigenen Clubnacht, hat Rose Gray noch nicht genug und betitelt ihr Debüt vielsagend: 'Louder, Please'. Die Liste der Kollaborateure für das Album unterstreicht ihre Ambitionen umso mehr: Von Popgrößen wie Justin Tranter (Lady Gaga, Chappel Roan) und Zhone (Troye Sivan) bis hin zu Underground-Elektro-Helden wie Seda Bodega, Uffie und Alex Metric. Das Ergebnis: Ein kraftvoller und kompromissloser Dance-Pop Sound - absolut bereit für den Pop-Olymp.

Since their reunion in 2015, Malka Family has been enchanting stages once again and releasing fabulous albums. Le Retour Du Kif (2018) and SuperLune (2022), featuring almost all of the original musicians, have marked their comeback.
Today, Planète Claire, a 16 tracks album, is undoubtedly one of Malka Family’s best works.
It was urgent for the great Funk families to return and give the new generations a lesson of kif…
Back to the Roots

In 1987, after organizing the Chez Roger Boîte Funk parties with Dee Nasty and Actuel/Radio Nova, Joseph Mannix and Isaac Ben Araz (then guitarist and trombonist of the group Human Spirit) decided to create a French-style Funk band.
The group quickly became one of the most spectacular live sensations of the 1990s.
Their self-produced debut album, Malka On The Beach, was released in 1991. Both the press and the public went crazy for these little funkateers, leading to a series of non-stop tours. Their concerts—wild, costumed performances—drew massive crowds. Warner France took notice and signed them.

Their second album, Tous Des Ouf (WEA), a true Space Opera P-Funk featuring guests like Sidney (Hip-Hop), Dee Nasty, Marco Prince (FFF), Juan Rozoff, and more, was released in 1992.

After touring the world multiple times, the band became independent again in 1995 and recorded an EP for Big Cheese Records: Fricassé De Funk.

By the late ‘90s, the rise of DJs and electronic music signaled the decline of large live bands. Due to its logistical weight—the band had over 14 members on their last tour—Malka Family was forced to part ways in 1997 after touring for their album Fotoukonkass (RCA/BMG).

But that was without counting on the resilience and extraordinary freshness of these Funk performers…

Elegant, emotional, and built for the floor. Lumieux unveils Nothing Wrong - a sublime four-tracker where subtle vocals drift through glitchy synths and razor-sharp percussion. From sun-drenched rhythms to shadowy grooves, each cut moves with precision and soul. Dragutesku’s remix takes things even deeper - hypnotic, flawless. A record that leaves nothing to chance, and nothing to wish for.

Fabio Nobile is a drummer and multi-instrumentalist who has been active on the music scene for over 25 years. Today, his musical
exploration draws from the deep roots of Afro traditions and the expressive freedom of jazz—two musical cultures that are an integral
part of his identity.
Sankofa Soul is a musical project born from the encounter between jazz, African traditions, and the search for a profound connection
between past and present. The term “Sankofa” comes from the Akan language (spoken in Ghana) and means “to go back and fetch what
is good” —an invitation to look to the past to better understand the future.
In an era where music is evolving at a rapid pace, Sankofa Soul looks to a rich and multifaceted cultural heritage, while also embracing a
modern voice—a universal call to reconnect with our European origins through the lens of African legacy.
Each track on Sankofa Soul reflects Fabio Nobile’s experiences, studies, and roots, forming a dialogue between past and present, the
sacred and the profane, individuality and community.
Sankofa Soul is a heartfelt tribute to West Africa, with a special focus on Nigeria.
Zuma Rock leads us into the rich and ever-changing soundscape of West Africa—a space where tradition meets innovation, and rhythm
tells stories older than words. Here, the legacy of Fela Kuti’s Afrobeat pulses through every beat, anchoring the music in political fire and
deep ancestral roots. At the same time, the unmistakable horn section weaves a vibrant fusion of Afro-Funk and Jazz. In Zuma Rock, we
enter a dialogue between past and present—a musical return to the source.
And then appears Kalakuta Republic, a heartfelt homage to the self-declared commune that was home to the legendary Fela Kuti—a
reminder not to forget the rebellious spirit of the Kalakuta Republic. This track gives voice to the very essence of Afro-jazz, wrapped in a
hypnotic 12/8 rhythm that echoes ancient African traditions. Its immersive pulse blends seamlessly with jazz’s boundless expressive
freedom, creating a vibrant, compelling dialogue suspended between ancestral roots and modernity.
Landed in Lagos and I Read the Stars naturally embrace the distinctive sound of Manu Dibango, while Say Your Prayer Now reminds us
how the evolution of Jamaican reggae—and its cultural and musical foundations—remains deeply linked to Mother Africa.
This is Sankofa: the soul’s journey back to the past to move forward.

After their epic run with Channel One beginning in the mid 1970's, the Mighty Diamonds moved to producer Gussie Clarke for a string of albums starting in 1979 and running thru the 1980s. Among the many many great tunes from this run, the title track of their 1982 album "The Roots Is There" is simply one of the Diamond's best ever, and probably the most lyrically militant tune they ever made. This tune was never released as a single at the time, though new mixes were released as a single in 2017. But prior to the release of the album back in the day, this song was played on dubplate in a raw mix without the horns and added percussion that made it onto the final album mix. This raw vocal cut, followed by a raw instrumental version, changes the whole tone of the tune and brings it into another level of militancy right up there with the hardest stuff you can name, even in an era filled with so many extra tough stepping classics. Rather than remaster from an old dubplate, for this 45 we had producer Gussie Clarke and Music Works' close associate engineer Curtis Lynch go back to the original tapes, and with an original dubplate as reference, perfectly recreate the original raw cut, now released in pristine tape quality. Again we present this release on Music Works' original early 1980s dubplate label design, just like the original slate would have been adorned with. If you only know the sweet harmony side of the Diamonds, give this one a try to see their other tuff side, and listen to the lyrics, as relevant to the struggles of right now as they were in 1982.

Clement "Minkie" Moore's introduction to the music business came via his friend the great deejay U Roy. Back in the mid 1970s, Minkie and U Roy were both living in the Tower Hill area of Kingston, and U Roy was resident deejay on King Tubby's sound system. Minkie followed his friend and the sound, and occasionally U Roy let him hold the mic and deejay on Tubby's set. U Roy encouraged Minkie to take music more seriously, and with that encouragement, his first record "Wickedness" was made. Minkie got a cut of a rhythm from his friend the late Sydney Wilson, and voiced and mixed the rugged deejay tune "Wickedness" at King Tubby's studio. Sydney had earlier voiced this rhythm as a tune called "Why Do I Cry", but alongside "Wickedness", voiced it again with a new vocal called "Time Has Gone". In fact that tune and "Wickedness" share the same dub version. Clement continued to move in the music scene, next recording for Harry J's Jaywax label in 1979 with a tune called "Jah Is Real", as a duo named UNI-TONE along with his friend Denzil. Then in 1980, Clement revisited the great rhythm of "Wickedness", deciding to this time sing rather than deejay on the rhythm. He returned to Harry J studio, adding some choice new instrumental overdubs on the rhythm for this new cut, "Every Time I Do My Thing." In the decades since, astute roots collectors have honed in on this excellent rhythm and its several cuts, not least of all this pair of them by Mr. Clement "Minkie" Moore. It should be noted that in the manner of the day, other associates of Tubby's studio, Prophets Yabby You and Alric Forbes, also utilized this rhythm. Minkie's musical journey continued thru the 1980s, when he linked with American group Lambsbread, writing and performing on their second album which was recorded at Channel 1 in early 1987. In the 1990's Clement returned to self-production on his Allah label, in addition to cutting a 45 for Chinna Smith's High Times label. Nowadays Clement is still going strong, occasionally dropping new music like "Greedy", recorded at Bravo's Small World studio in downtown Kingston.

Clement "Minkie" Moore's introduction to the music business came via his friend the great deejay U Roy. Back in the mid 1970s, Minkie and U Roy were both living in the Tower Hill area of Kingston, and U Roy was resident deejay on King Tubby's sound system. Minkie followed his friend and the sound, and occasionally U Roy let him hold the mic and deejay on Tubby's set. U Roy encouraged Minkie to take music more seriously, and with that encouragement, his first record "Wickedness" was made. Minkie got a cut of a rhythm from his friend the late Sydney Wilson, and voiced and mixed the rugged deejay tune "Wickedness" at King Tubby's studio. Sydney had earlier voiced this rhythm as a tune called "Why Do I Cry", but alongside "Wickedness", voiced it again with a new vocal called "Time Has Gone". In fact that tune and "Wickedness" share the same dub version. Clement continued to move in the music scene, next recording for Harry J's Jaywax label in 1979 with a tune called "Jah Is Real", as a duo named UNI-TONE along with his friend Denzil. Then in 1980, Clement revisited the great rhythm of "Wickedness", deciding to this time sing rather than deejay on the rhythm. He returned to Harry J studio, adding some choice new instrumental overdubs on the rhythm for this new cut, "Every Time I Do My Thing." In the decades since, astute roots collectors have honed in on this excellent rhythm and its several cuts, not least of all this pair of them by Mr. Clement "Minkie" Moore. It should be noted that in the manner of the day, other associates of Tubby's studio, Prophets Yabby You and Alric Forbes, also utilized this rhythm. Minkie's musical journey continued thru the 1980s, when he linked with American group Lambsbread, writing and performing on their second album which was recorded at Channel 1 in early 1987. In the 1990's Clement returned to self-production on his Allah label, in addition to cutting a 45 for Chinna Smith's High Times label. Nowadays Clement is still going strong, occasionally dropping new music like "Greedy", recorded at Bravo's Small World studio in downtown Kingston.

A side brings out a Speedcore/Flashcore industrial release. B side is a pure Industrial Donwtempo breakcore extention. Superb Hard Music. Each record comes with a 33CMx33CM different sticker.

Rose Gray, Songwriterin, DJ und angehender Popstar aus London, veröffentlicht ihr Debütalbum via Play It Again Sam. Nach einer sehr umtriebigen Phase mit ersten Singles, einem Auftritt beim Glastonbury Festival und der Einführung ihrer eigenen Clubnacht, hat Rose Gray noch nicht genug und betitelt ihr Debüt vielsagend: 'Louder, Please'. Die Liste der Kollaborateure für das Album unterstreicht ihre Ambitionen umso mehr: Von Popgrößen wie Justin Tranter (Lady Gaga, Chappel Roan) und Zhone (Troye Sivan) bis hin zu Underground-Elektro-Helden wie Seda Bodega, Uffie und Alex Metric. Das Ergebnis: Ein kraftvoller und kompromissloser Dance-Pop Sound - absolut bereit für den Pop-Olymp.

- Ltd. Col. LP: (Pink Vinyl)

Zygimantas Dzikevicius aka 5ZYL hails from the vibrant urban district of Pasilaiciai in Vilnius, Lithuania. Since embarking on his musical journey in 2007, Zygimantas has been deeply influenced by the raw energy of old-school rave, breakbeat, and techno. His early work focused on crafting dubstep and jungle tracks, earning him spots as a DJ at various underground parties and open-air events, including the renowned broken rhythm sound festival, Satta.

After five years of intense exploration and innovation within the electronic dance music scene, 5ZYL is set to unveil his highly anticipated debut album Reese Dreams. This LP represents a culmination of his creative journey, meticulously crafted to showcase his evolving sound. The album is presented in two distinct sections: the first half delves into the intricate world of broken beats, while the second half transitions into a high-energy powerhouse experience. Reese Dreams is not just a collection of tracks but a testament to 5ZYLs unique artistic vision and his dynamic approach to electronic music.

Curated by DJ Simas Slabačiauskas, this double LP introduces a fresh and distinctive sound: Baltic Balearic.

Born on the shores of the Baltic Sea, it’s a sun-soaked yet soulful journey—blending ambient textures, downtempo rhythms, and Balearic-inspired grooves with a heartfelt Baltic touch.

Featuring original tracks and remixes by Simas — including reworks of beloved Lithuanian
bands — the compilation also brings together international contributions from Autarkic, Saphileaum, and Auntie Flo, while introducing a wave of fresh new talent.

This collection is more than music; it’s a reflection of a lifestyle — the calmness of a summer
evening, the beauty of untouched nature, and the sense of community that comes from gathering on the beach to witness the setting sun. It’s an invitation to slow down, take your shoes off, and spend an hour with this music — ideally while watching the sunset, or simply with your eyes closed.

Lithuanian electro flagship 5ZYL follows up his debut album with a dynamic remix EP, featuring a handpicked selection of top-tier artists from across Europe. Romphea, Calagad 13, Q100, Ement, John Patter, and Cport Cistema deliver diverse and electrifying reinterpretations, each adding a unique twist to the original tracks. From deep and driving grooves to high-energy bangers, this release is set to spice up dancefloors everywhere.

There’s not many musical journeys that connect Sligo and Ibiza via Berlin, but this is the unique sonic path that Tiarnan McMorrow has been on in recent years. The Berlin-based Irish producer, also known as Spray, is now releasing new music under the Spriitzz alias. “Spray for the club, Spriitzz for the sunset,” he explains of the two monikers.

And Spriitzz’s debut track, ‘Where R U’, radiates the feeling of sunset from every second of its glistening run time. While it’s unquestionably a piece of uplifting, euphoric and hypnotic trance, it also has that beautifully, hazy, dreamy and woozy feeling that most perfectly captures the feeling of a night ending and a new day beginning. “When I wrote it I was in Ibiza,” he explains. “And I wanted to make something that sounded like it could have been on an Ibiza sunrise compilation CD. One of those one-off tracks by an artist you can’t find any other music by. It’s a bit of an ode to an old Ibiza that I romanticize that doesn’t really exist any more but I’m still always chasing when I visit.”

First released back in 2004 on the iconic Freestyle Records, "Get It On" is a bonafide cut & paste classic, looping up some well-loved old school samples into a new school dance floor bomb - drop this anywhere and watch the place erupt. Guaranteed party vibes as always from Muscle Cuts! Over on the flip, "Hipness" dates back even further - all the way back to 1992 when DJs such as Gilles Peterson, Norman Jay, Coldcut and many more rinsed it on a mysterious white label. Still sounding fresh 32 years later it’s the perfect example of Sleeve's deft skill of weaving well loved samples to create something completely new.

Released in 2015, Get To Heaven is the third studio album by British art-rock band Everything Everything. The album blends elements of indie rock, electronic, and experimental pop, showcasing the band's signature complex rhythms, sharp lyricism, and dynamic vocal performances by frontman Jonathan Higgs.Featuring standout tracks like "Distant Past", "Regret", and "No Reptiles", the album explores themes of political unrest, media influence, and societal anxiety, wrapped in vibrant, high-energy production. Get To Heaven received widespread critical acclaim for its bold sound and thought-provoking lyrics, solidifying Everything Everything as one of the most innovative bands of the 2010s.With its infectious hooks, intricate instrumentation, and emotionally charged songwriting, Get to Heaven remains a defining album in modern alternative music, appealing to fans of intelligent, genre-blending rock.This much sought-after cult classic is now reissued on 1LP for the first time in a decade. Get To Heaven is available as a limited edition on translucent magenta coloured vinyl.

Essential Liverpool psychedelic folk collective mapping their territory with a record rooted in place and memory.
For fans of: CSNY, Tim Buckley, Talk Talk, The Byrds, Sufjan Stevens and Love.
Like Tame Impala doing Nick Drake covers.
Professor Yaffle have created their most focused and expansive work yet. Following acclaimed previous releases, ‘Everyone Wants to Dream’ finds the band at their creative peak.
The album turns on Everton Brow - an unremarkable Liverpool hill offering the city's finest view. Rogers returns to this vantage point throughout eight tracks, using it as both setting and metaphor for looking back on life without nostalgia. From here, you can see the Mersey stretch toward Snowdonia, the city spread below like a living map.
'Lost in a Dream (On Everton Brow)' weaves Lee Roger’s lyrics as an eighteen-year-old lyrics with newly composed music. 'Everyone Wants to Dream' confronts the disorientation when your children grow and your role shifts. 'On Top of the World' becomes what Rogers calls 'a stoned love letter to Liverpool'.
This is Professor Yaffle's first release with Violette Records, marking the beginning of a partnership between two Liverpool entities who've circled each other for years before finding their moment.
Featuring a 1979 Karl Hughes photograph of a policeman surveying Liverpool from Everton Brow, capturing something essential about the record: that those who maintain order might dream the biggest dreams of all.
"Songs that speak clearly about things that are difficult to articulate - the changing nature of purpose, the ways we dream our fears away, the view from unremarkable hills."
Because sometimes you need to be above it all to see what's been right in front of you.

Sdban Records is proud to announce the first official reissue of Coal Mining, the 1978 debut album by Dutch jazz pianist René van Helsdingen. This album marks a significant milestone-the beginning of van Helsdingen's decades-spanning career as an innovative and independent musician.

Born in 1957 in Jakarta, Indonesia, but holding Dutch nationality, René van Helsdingen began classical piano studies in the Netherlands in the early 1960s. While initially following in his family's footsteps by enrolling in mining engineering at the Technical University of Delft, his passion for music ultimately prevailed. His academic path may have diverged, but it set the stage, both figuratively and literally, for what would become an extraordinary musical career.

Coal Mining was originally released on Munich Records, a respected Dutch jazz and roots label founded by music producer and musician Job Zomer. The album features a blend of jazz influences from giants such as Oscar Peterson, McCoy Tyner, and Bill Evans, and showcases van Helsdingen's distinctive voice as a composer and pianist at the very start of his professional journey.

The record includes contributions from a rich ensemble of musicians, including Wim Essed (bass), Klaus Flenter (guitar), Børge Ring (double bass), Henk Zomer (drums), Martijn Nesenberend (drums), Dick Pluim (bass), and even a student orchestra formed during van Helsdingen's time at Delft University.

Often mistakenly referred to as Piano, a result of the album's back cover design prominentlyfeaturing the word, Coal Mining is both a literal and symbolic title. It alludes not only to van Helsdingen's brief academic past, but to the depth and labor of jazz creation itself: layered, gritty, and forged under pressure.

A year after the album's release, van Helsdingen moved to Los Angeles to continue his jazz studies. While living in Hollywood, he shared a house with future musical collaborators including Kent Brinkley, Essiet Okon Essiet, Brian Batie, John Rigby, Edmond Allmond, David Best and John Butler. Even in the early stages of his career, van Helsdingen displayed the entrepreneurial spirit that would define his path, self-releasing albums and even pioneering an early form of crowdfunding by selling 400 ad spaces on a record sleeve to finance an LP project. After his jazz studies in Los Angeles, he performed extensively in Europe, Canada, the U.S., Australia and Asia, often traveling with his own 'Stage bus', which housedboth a stage and instruments.

In August 2018, van Helsdingen was diagnosed with Parkinson's disease. Despite the physical challenges brought on by the condition, he continues to perform and compose music. His openness about the diagnosis-shared publicly in a 2019 documentary-has helped raise awareness of Parkinson's and the role of creativity and improvisation as tools for resilience.

Now, nearly five decades after its initial release, Coal Mining is finally receiving a well-deserved reissue. Introducing a new generation of listeners to the raw talent and visionary beginnings of a true European jazz original.

“New York’s Harlem River Drive is a dividing line, a highway where the rich zip past the poor,” says singer Jimmy Norman. Eddie Palmieri’s Latin-funk band of the same name tackled these hard truths, playing prisons and speaking to the common man. Ultimately, Norman and Palmieri made a powerful socio-political statement that continues to resonate to this day." Pablo Yglesias/Wax Poetics. When initially released in 1971, many critics panned Eddie Palmieri’s album Harlem River Drive. Those critics were wrong. Regardless of critical opinion, the release was not the crossover success Palmieri and Roulette Records had hoped for, at least in the immediate. Over the years the release has developed a following among listeners, DJs, and aficionados of rare-grooves. The record may have been recorded towards the end of the Latin soul era, yet it features that genre's wonderful mix of Puerto Rican soul, Spanish Harlem Latin, and New York funk. Palmieri worked with an incredibly talented crew of Latin and R&B session musicians to create this quintessential New York vibe, a synthesis of funk and Afro-Cuban sounds. Contributors include Victor Venegas from Mongo Santamaria’s band, Palmieri’s brother Charlie, an accomplished musician in his own right, Bruce Fowler who went on to join Frank Zappa’s band, Dick Meza who went on to great things with Tito Puente, Ray Barretto and Celia Cruz, as well as Andy Gonzalez who’s pedigree includes recordings with Barretto, Johnny Pacheco, Willie Colon and even Chico O’Farrill. Also appearing Randy Brecker and one of the all-time greatest of the greats Bernard Purdy. An over-arching theme of Harlem River Drive is the thought that, as Palmieri puts it “The U.S. is richest country, all this immense wealth, side by side with the most intense poverty, racial prejudice; how is that possible?” A question that’s perhaps more even more relevant today than it was in 1971. A question that can be further explored with Get On Down’s reissue of this seminal recording.

Singer, songwriter, humanitarian, activist, poet, philosopher, artist… ever since music lovers first became aware of Labi Siffre in the early 1970s subsequent generations have continued to discover and be beguiled by his timeless artistry. To this day, his music has endured – seemingly as relevant and contemporary as when first released. It was these qualities that led Madness to cover his 1972 UK hit ‘It Must Be Love’ in the early 1980s, and Eminem and Dr. Dre to sample a substantial chunk of ‘I Got The…’ for the former’s debut hit ‘My Name Is…’ in 1999.

His 1988 classic ’Something Inside) So Strong’ became an anthem twice over when it both soundtracked the struggles of Apartheid South Africa and became a beacon of strength and solace for gay men during the AIDS crisis. More recently, the streaming / TikTok / Insta generation have responded in their hundreds of thousands to ‘Crying Laughing Loving Lying’, as featured in the 2023 cult film ‘The Holdovers’ and to ‘Watch Me’ as included in the ever-iconic ‘Dr Who’. Also, this decade, they might have been drawn into Labi’s world via another film, ‘Companion, or the TV shows ‘Better Call Saul’, ‘Sweetpea’, and ‘The Man Who Fell To Earth’. To bring things bang up to date, they may have been among the legions who liked, shared, and saved ‘Bless The Telephone’ after its unforgettable soundtracking the season 4 finale of bitter-sweet comedy phenomenon ‘Hacks’. ‘The Best Of’ is the definitive Labi Siffre collection for the ages. Released on 2LP and 2CD formats, it was personally sanctioned by Labi himself who also provided art direction for the package.