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Always one to command your attention with his multi layered grooves, this EP features an old Juan Atkins sample ''Buy some shit from Detroit'' that has been part of Beroshima's live sets for years. Excellent opener 'Encounter' reflects a recent idea Jeff Mills and Muller had to produce tracks together for a not yet produced sci-fi movie. It is an eight-minute astral techno trip with smooth, driving drums and plenty of intergalactic synth lines. 'The Passion of Lovers' transfers the organic Beroshima style into 2018 and shows off Frank's passion for spaced out electronica. It's a brilliantly bumping cut with lithe synths and melodies adding that soul and colour as it races through the galaxies. Limited quantities!

2024 repress!

Masters at Work member Kenny “Dope” Gonzalez is the genius behind The Bucketheads – The Bomb! (These Sounds Fall Into My Mind). An established History of House hall of famer’, The Bomb’ is a 90’s house, party soundtrack essential that mixies electro, hip-hop and 4/4 house it features samples from Chicago’s ‘Street Player’ & Green Velvet’s ‘The Preacher Man’ fused into a disco-funk and house groove with edgy, funky, rough and ready beats and subtle latino flavour. It easy to see why its ranked in the 100 Greatest Dance Singles of All Time! Portuguese house producer Massivedrum is on remix duties. He has remixed dance royalty from Bob Sinclar, Axwell, Mory Kantè, Alexandra Stan, DJ Chus, Kentphonik, Yolanda B Cool among many others. He lends his house sensibilities and ear for the floor to enhance ‘The Bomb’ to new levels for an unforgettable experience. Besides the Massivedrum remix and it’s dub, also the full 14’51” minutes original version is available on this double A sided release! The Massivedrum remix is taken from the album “High Fashion Dance Music 5 – Mixed by Ben Liebrand”, which is available on LP/CD/MC and DCC.

An adversarial network of ideas, electronic post-punk trio The Wants welcome the possibility that embracing friction can give rise to something cathartic and unexpected. Formed by Madison Velding- VanDam and Jason Gates in 2017, and with the addition of Yasmeen Night in 2021, The Wants' sound is defined by the push and pull of its members' processes: floating rhythms upheaving grounded songwriting, pulsing synths overwhelming live instrumentation. Their new record, Bastard, is an evolution of many of the seeds planted in their debut record, Container (2020), with a refined sense of acerbic emotional urgency and sonic experimentation. Drawing from a deep well of influences across decades and genres, The Wants forge an unlikely alliance of sounds that feels both radical and inevitable. Velding- VanDam channels both the raw power and snark of Public Image Ltd. and The Smiths' romance, while Gates draws intensity from bands like Bauhaus and Throbbing Gristle, and inspiration from experimental techno. Night's sound bridges inspiration from '90s alternative rock like Smashing Pumpkins and Garbage between the nocturnal trip-hop atmosphere of Massive Attack. The result sits in its own category—too raw to be pure electronic music, too mechanised to be straight rock— drawing favorable comparisons to early PIL and contemporaries like Model/Actriz while remaining distinctly their own beast.

The extroverted blend of attitude, energy, and ostentatiousness that spills from the New York Dolls’ self-titled debut can be seen in full view on the album cover. Depicting the quintet in its hallmark flash-and-trash apparel and in drag appearance, the 1973 album scared away a considerable amount of potential listeners while capturing the attention of a sizable audience that recognized the band for what it was: zeitgeist pioneers who helped develop the punk and glam rock movements.

Named by Rolling Stone the 301st Greatest Album of All Time and by Mojo the 49th greatest album of all time, New York Dolls receives long-overdue audiophile treatment on Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set. Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, this collectible version marks the first time the group’s career-making statement is available to be experienced in audiophile quality.

Far from harboring the crude elements that became associated with the punk scene, New York Dolls benefits from keen production overseen by none other than Todd Rundgren. Though more accustomed to working far higher-caliber musicians, Rundgren — taken by the New York Dolls’ charisma and cool, if not their instrumental approach — fully understood the ensemble’s aesthetic. He captured what went down at New York City’s Record Plant with an astute blend of live-on-the-floor feel, raw authenticity, and professional acumen.

On Mobile Fidelity’s definitive-sounding reissue, you can hear those facets as well as key details, dynamics, and textures with previously unimaginable insight. Rundgren preserved generous degrees of grit, grime, and grease while bestowing the raucous music with elevated levels of separation, solidity, and impact every landmark recording deserves. His vision extends to introducing choice accents — barroom piano notes, Moog synthesizer passages, Buddy Bowser’s honking saxophones — that add to the songs’ appeal without interfering with the primary architecture.

Afforded extra groove space on this pressing, the tenor, presentation, and attack of both vocalist David Johansen and now-iconic guitarists Johnny Thunders and Sylvain Sylvain come across with stunning vibrancy and vitality. The New York Dolls often seem headed off the rails and into the red, but somehow, the strut, swagger, and sloppiness — and the associated sleaze and scruff, scrape and snarl, frenzy and feverishness those characteristics entail — remain together as a whole that shakes its collective fist at the frustrations, isolation, disarray, and disillusionment of youth chaos and urban decay.

Kicking off its debut with “Personality Crisis,” cited by Rolling Stone as one of the 500 Greatest Songs of All Time, the band makes obvious its grasp of alienation, deviance, displacement, and suburban disaffection — as well as its capacity to play hanging-by-a-thread boogie, noisy rock ‘n’ roll, and Brill Building-inspired pop. The lipstick-kissed New York Dolls possesses traits many of its harsher predecessors would overlook: joyfulness and melody, topped with a knack for knowing how and where to take a song inside of three-and-a-half minutes.

Dive and dash with the belligerent “Looking for a Kiss”; stomp your feet and clap your hands to the big choruses of “Jet Boy”; surrender to the demands and provocations of the coded “Vietnamese Baby”; decide whether “Bad Girl” yearns to explode or implode. It’s one of several tunes here that allude to the world coming to end. Of course, that doesn’t mean there isn’t time for a fling before everything burns. “There’s no place I gotta go,” yowls Johansen. And he means it.

Adorned with tonal crunch, glitter, and gristle, New York Dolls takes pride in its brashness and brattiness. The rambunctious effort, which earned the band the distinction of being voted both “Best New Group of the Year” and “Worst New Group of the Year” in the pages of Creem, displays knowing reverence for the blues without calling attention to the style. The folk-laden “Lonely Planet Boy” is nothing if not a collision of heart-on-the-sleeve emotions and the desire in the face of challenges to maintain a tough-skinned exterior. An interpretation of Bo Diddley’s “Pills,” complete with shivering harmonica and clattering rhythms, announces there’s no cure for what infects this band. It’s that contagious. And how.

His deliveries gushing with campy fun, playful irreverence, and sheer decadence, Johansen doubles as the equivalent of an open fire hydrant that spouts at will. He’s at once tender and vicious, serious and tongue-in-cheek. On arguably his finest hour on the album, Johansen’s phrasing, passion, and lyrical ambiguity alone turn “Trash” into an insistent glam-rock gem whose echoing harmonies and girl-group references stamp it a pop classic.

Too much, too soon? Only for those averse to some of the finest rock ‘n’ roll ever put on tape.

Alanis Morissette Delivers the Equivalent of a Spiritual Awakening on Supposed Former Infatuation Junkie:
Introspective Themes and Compassionate Emotions on Eastern-Tinged Album Have Grown More Relevant
1998 Smash Plays with Enhanced Detail, Rich Textures, and Sharp Focus on Mobile Fidelity’s 180g 33RPM 2LP Set:
First-Ever Audiophile Edition Strictly Limited to 3,000 Numbered Copies
1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe

Alanis Morissette refuses to adhere to convention on Supposed Former Infatuation Junkie. While most artists follow-up their breakthrough with an album that closely parallels the approaches that helped make them famous, the maverick singer-songwriter stayed true to herself and drew inspiration from travel to India before she began the recording sessions. As much as the preceding Jagged Little Pill put her on the global radar, Supposed Former Infatuation Junkie confirmed her role as a vital generational voice — and proved her blockbuster success was no fluke. Having set a mark for most sales of an LP in its debut week by a female artist, the 1998 smash remains a pop-rock staple.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s 180g 33RPM 2LP set of Supposed Former Infatuation Junkie presents the triple-platinum LP in audiophile sound for the first time. Benefitting from defined grooves that befit the album’s nearly 72-minute length, this pressing plays with enhanced detail, refined clarity, sharper focus, and broader dynamics than prior versions.

Those traits are key given Morissette’s use of more textured and atmospheric soundscapes, not to mention her evolution into a more nuanced and controlled singer. Similarly, the scale and reach of David Campbell’s string arrangements come across as orchestrations should. Ditto the synth-based architecture shaped by producer and principal Morissette collaborator Glen Ballard. All in all, Mobile Fidelity’s collectible edition simply delivers more information via transparent means.

Notable for its balance, sophistication, and richness, Supposed Former Infatuation Junkie at heart finds Morissette pausing, taking a breath, and learning how to navigate life in a healthy manner after enduring one of the most exhausting and rocket-to-fame stretches any musician ever experienced. It’s the sonic equivalent of a spiritual awakening, a call to betterment, a brave assessment of the self and humanity as a whole. As such, the tunes on her second international (and fourth Canadian) release teem with gratitude, compassion, love, empathy — emotions that lend themselves to the largely mellow, contoured scope and Eastern-tinged melodies of the songs themselves.

“How ‘bout how good it feels to finally forgive you,” Morissette sings on the lead single “Thank U.” “How ‘bout grieving it all one at a time.” Those sentiments, and the vocalist’s embrace of concepts such as divinity and acceptance, not only provide a foundation on which Supposed Former Infatuation Junkie rests. They also reflect the personal maturation she gained from her embrace of Buddhist culture in India and a mindset bent toward notions of reconciliation, peace, and sensuality that were nearly absent in popular music in the late ‘90s.

Those themes continue on “That I Would Be Good,” a confident reflection that takes stock of one’s mental, physical, and emotional state in the face of both changing and unpleasant circumstances — and concludes with Morissette performing a flute solo, further exposing the raw intimacy of the introspective tune. She channels relatable simplicity and joy on “So Pure,” with her invocations of “dance” and “freestyle” speaking to the freedom of expression that courses throughout Supposed Former Infatuation Junkie. And perhaps no song finds Morissette showcasing her refreshed attitude toward life and opening up more than the relationship-themed “Unsent,” whose unconventional structures and lack of a chorus only add to its directness.

Akin to many albums that were ahead of their time, and despite the critical and commercial accolades afforded it upon release, Supposed Former Infatuation Junkie attracted new appreciation and perspective as it got older. Issued during an era where its ideas of serenity, absolution, tranquility, and contentment seemed largely alien, the record — akin to the ways its predecessor foreshadowed a movement — now functions as a visionary beacon that foretells of way to maintain sanity, dignity, and goodness amid a contemporary landscape filled with constant distractions, polarizing views, and incessant calls to purchase, promote, and produce without questioning the what-for purpose.

Supposed Former Infatuation Junkie dares to ask the questions and, at its best, supplies meaningful answers and alternatives that lead to longed-for enlightenment, healing, and laughter. For these reasons alone, it’s a record that never goes out of style.

Experience the Double-Platinum 1996 Album in Audiophile Sound for the First Time
Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set Is Sourced from the Original Analogue Tapes
1/2” / 30 IPS analogue master to DSD 256 to analogue console to lathe

If great art, as many believe, is inherently polarizing, then the Stone Temple Pilots’ Tiny Music… Songs from the Vatican Gift Shop easily ranks as the California-based band’s finest album. Simultaneously celebrated and castigated upon release in spring 1996, the group’s third full-length finds vocalist Scott Weiland and company expanding their “grunge” palette with a smart blend of glam rock, psychedelia, jangle pop, and other related styles. Having benefited from long-view reassessments that shed the biases and meanness of initial criticisms, the double-platinum effort is now largely and rightly seen as a creative masterwork. All the more reason why it deserves reference-grade production.

Overseen by producer Brendan O’Brien, Stone Temple Pilots used bedrooms, hallways, bathrooms, and the lawn to capture a broad blend of textures, spaciousness, and ambience that helped underline the group’s obvious (and somewhat unexpected) leap from normal “alternative” status to an artist whose aspirations went beyond that of many of its contemporaries. You can hear the multitude of details and tonalities with previously unattained clarity, presence, and scope on this fantastic reissue, which also delivers the impact and punch every rock record deserves. Another tremendous asset: The depth, grain, and pitch of Weiland’s voice.

For all the contagious choruses and glossy melodies that help make Tiny Music… Songs from the Vatican Gift Shop sparkle, the vocal performances of the late singer arguably rank as the best that the much-missed Weiland committed to tape. None other than the Smashing Pumpkins’ Billy Corgan — who, like many peers and critics, felt a pressing need to reevaluate the record as both time marched on and the self-importance attached to the “alternative” scene faded — praised Weiland’s efforts by noting: “Like Bowie can and does, it was Scott's phrasing that pushed his music into a unique, and hard to pin down, aesthetic sonicsphere.”

Smooth and diverse, those traits are everywhere on Tiny Music… Songs from the Vatican Gift Shop. From the clever combination of emotional closeness and distance he brings to the catchy albeit ultimately melancholic “Lady Picture Show”; to the lounge-fly balladeering that causes “And So I Know” to lightly swing akin to a bleary-eyed house band’s final number at a 4 A.M. bar; to the effortless cool and laissez-faire casualness he articulates on the grinding “Pop’s Love Suicide”; to the dimensional raspiness, defiant energy, and let-loose wail that sail through the crunchy “Big Bang Baby.”

The latter tune, the record’s first single and per Weiland a conscious attempt by the band to deconstruct its prior approaches, clearly borrows from the Rolling Stones’ “Jumpin’ Jack Flash.” Because of it, the song drew all kinds of barbs from naysayers. Their disdain extended to most material on Tiny Music… Songs from the Vatican Gift Shop, which indirectly references other prized acts such as the Beatles, Cheap Trick, T. Rex, and Lush. Those cynics failed to grasp that Stone Temple Pilots were paying homage and having a blast, with even Weiland, then battling serious substance-abuse and legal issues, getting in on the action.

Stone Temple Pilots’ skeptics also turned a deaf ear to the records’ stellar pop craftsmanship, sticky hooks, and sly commentary on music-industry machinations and fame. Not to mention the band’s intent, made clear from the outset. In an interview conducted in 1994, guitarist Robert DeLeo stated: “The last thing I wanted to do with this band was make everybody believe we invented something.”

Seen through that lens and the hindsight afforded history, and appreciated independent of the self-righteous authenticity standards of the day, Tiny Music… Songs from the Vatican Gift Shop sounds borderline fearless while authoritatively checking all the right boxes for fun, flavor, and finesse. Part winking send-up, part tribute to the glitter rock age, and part middle finger towards the hip crowd that didn’t know what they were missing, this mid-90s classic repeatedly invites you to drop the needle and press play.

Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP Set Plays with Authoritative Tonality, Airiness, and Clarity:
Pressed on MoFi SuperVinyl and Strictly Limited to
3,000 Numbered Copies
1/4” / 15 IPS Dolby A analogue master to DSD 256 to analogue console to lathe

Joni Mitchell is the only artist who could’ve made Hejira. The legendary singer-songwriter said as much when discussing the album decades after its release. Yet that fact seemed obvious from the moment the gold-certified effort streeted in fall 1976. An adventurous travelogue, probing narrative, and offbeat homage to freedom, Hejira remains an inimitable entry in the catalog of recorded music — a spare, gorgeous, meditative series of sonic vignettes comprised of floating harmonic pop, cool jazz, soft rock, and sensitive vocal elements that beckon feelings of motion, discovery, and self-examination.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set presents the record ranked the 133rd Greatest of All Time by Rolling Stone with definitive detail, richness, accuracy, and directness. Marking the first time the revered LP has received audiophile treatment, it's one of six iconic 1970s Mitchell records Mobile Fidelity is reissuing on vinyl and SACD.

Playing with a virtually nonexistent noise floor, dead-quiet surfaces, and superior groove definition, this collectible reissue reproduces in enveloping fashion the tones, textures, and craftsmanship that help Hejira function as the equivalent of a liberating trip down an open road with nothing but blue sky, natural landscape, and fresh air in the immediate vicinity. Passages bloom, carry, decay as they do amid an acoustically optimized environment. Soundstages extend far, wide, and deep, with black backgrounds and pinpoint images adding to the realism.

The reference-grade immediacy, airiness, and presence put in transparent perspective Mitchell’s dense strings of words, stream-of-conscious-like phrasing, and unhurried albeit forward momentum. Likewise, the instrumental contributions of her A-list support musicians — a cast that includes L.A. Express members John Guerin, Max Bennett and Tom Scott, plus Neil Young, Victor Feldman, and Abe Most — emerges with breathtaking clarity and dimensionality.

While Mitchell, whose intimate vocals and abstract guitar parts center everything, Mobile Fidelity's restoration of Hejira further reveals the visionary breadth of guitarist Larry Carlton and bassist Jaco Pastorius. Though heard on only four tracks, Pastorius' fretless bass epitomizes the fluid, subtle, flexible, roomy, and shape-shifting characteristics of songs that often appear to transpire out of nowhere akin to the formation of a puffy cumulus cloud overhead. In sync with Mitchell’s voice, Pastorius’ fusion hovers and floats, suspended in a fog you want to deeply inhale. The "grace notes" Mitchell desired on Hejira can now be heard in full. Ditto the luxurious tapestries of alinear lines, fills, and supplements unreeled on Carlton’s six-string.

Visually, the packaging of this UD1S set complements its identity as the copy to own. Housed in a deluxe slipcase, the LPs come in foil-stamped jackets with faithful-to-the-original graphics. This version is for listeners who desire to become immersed in everything about Hejira, including the unforgettable album cover — a pastiche of 14 different photos Mitchell used a Camera Lucida to assemble into one image that’s anchored by a portrait of her in a stoic pose — and the interior shots of Mitchell skating on a frozen Wisconsin lake wearing a pair of black skates, black shirt, and fur cape.

The notion of skating, feeling an awakening wind whipping against your face, and losing yourself to the surroundings are extremely apt for Hejira, which Mitchell wrote after a sequence of trips and relationships prompted her to reflect on the complicated conflicts between independence and marriage, success and satisfaction, duty and desire — and, more specifically, “the cost of being a woman.” The Canadian native delved into such themes before. But never as she does on Hejira, whose liberating, running-away aura doubles as another of Mitchell’s rejections of tradition as well as a suggestion of a better alternative.

At once observational and personal, expansive and insular, cheerful and poignant, Hejira spans a sea of human conditions, emotions, and circumstances. It addresses drifting, isolation, pleasure, place, time, and surroundings with strikingly poetic discourse matched with music that, save for the crooned ballad “Blue Motel Room,” forgoes conventional structures and choruses.

The jazz-based arrangements, marked by scaled-down percussion and all manner of bent, rounded, and unsettled notes, hint that Mitchell has no exact destination in mind. Excursions such as the moody “Furry Sings the Blues,” funky “Coyote” and edgy “Black Crow” throw open previously locked doors to possibility and journey. They signal it’s time for a welcome departure from norms and the past, one that leads to a heightened sense of clarity and perspective. Or, as Mitchell said upon choosing the album title, it’s time for “leaving the dream, no blame.”

A1: Chinese Eyes (40th Anniversary Version)
A2: Fly Me High
B1: Chinese Eyes (7’’ Version)
B2: Chinese Eyes (Extended Version)


Dieses Jahr feiert der 80er-Jahre Italo-Disco-Klassiker „Chinese Eyes“ unfassbares 40-jähriges Jubiläum.
Anlässlich dessen erscheint hierzu am 01.08.25 eine strikt auf 1000 Exemplare limitierte Auflage des unkaputtbaren Hits auf einer hochwertigen 10‘‘ rot-transparenten Vinyl.
Fancy war seiner Zeit stets voraus und Pionier in vielerlei Hinsicht. In einer Zeit, in der Anderssein noch
weitaus stärker polarisierte als heute, schaffte er es willensstark und zielgerichtet auf die unterschiedlichsten
Bühnen der Welt.
Als Produzent (von u.a. Siegfried & Roy), Arrangeur, Komponist, Parodist, Zauberer und Buchautor
arbeitete er mit den größten Namen der Pop-Welt, wie z.B. Michael Jackson und den Pet Shop Boys,
zusammen und prägt bis heute nachhaltig unterschiedlichste Szenen und Subkulturen mit seiner Pionierarbeit.
Auf der Re-Edition sind neben der originalen 7‘‘, sowie der partyerprobten Extended Version auch zwei
brandneue Songs mit dabei. Eine, zum Anlass des 40ten Jubiläums, von Fancy selbst produzierte Version
von „Chinese Eyes“, mit überraschendem Intro, sowie der bislang noch nie von Fancy selbst eingesungene,
aber seinerzeit von ihm für Linda Jo Rizzo (The Flirts) geschriebene und produzierte Euro-Disco-Evergreen
„Fly Me High“.

Foehn & Jerome feat. Sonya Zlo - Macho Madness (PFFD003)

Berlin, Summer 2025 - A raw, hypnotic, and deeply conceptual collaboration is about to make waves. Austrian DJ and producer duo Foehn & Jerome, residents of Berlin's iconic Club Der Visionaere and founders of the Perfumed Freedom label, team up with Ukrainian artist and producer Sonya Zlo to present "Macho Madness" - a wild and genre-bending release born from an unfiltered studio jam that spiralled into something bigger. In addition to their experimental project Space Curls, with which the three artists also perform live shows, Sonya, Fabian, and Jerome have been working on their new techno/house project.

In a world where stereotypes wrestle for power, "Macho Madness" challenges everything we thought was normal. Overblown masculinity, the illusion of strength, and staged rituals of dominance – that is what we call the "Macho Madness".

Foehn & Jerome, known for their electrifying DJ sets, have been shaping Berlin's underground scene for over a decade. Sonya Zlo, who moved to Berlin from Kyiv in 2022, stumbled upon their gig by chance - and what started as a conversation about track ID's turned into a full-on collaboration.

"Working with Foehn & Jerome has taught me so much," says Sonya. "I come from a jazz background, so this was completely new territory for me - but bringing my melodic instincts into this heavy, industrial sound was crazy exciting".

Following Perfumed Freedom's recent releases "The Frisbee of No Return" and "Hermanngirl", the new record "Macho Madness" will be released in summer 2025. Play it, stream it, or pick up the limited vinyl - just don't expect anything ordinary.

Bob Marley & The Wailers' Rastaman Vibration Analogue Productions' UHQR, the pinnacle of high-quality vinyl! 45 RPM 2LP Ultra High Quality Record release limited to 4,500 copies Mastered from the original tapes by Ryan K. Smith at Sterling Sound Pressed on 180-gram at Quality Record Pressings using Clarity Vinyl® Includes "12 x 12" 8-page booklet featuring new liner notes by musician and Marley biographer Leroy Jodie Pierson (APO Records Direct-To-Disc AAPO 005), plus exclusive photos by Kim-Gottlieb Walker Purest possible pressing and most visually stunning presentation and packaging!

When Rastaman Vibration was first released in America in 1976 it did what some in the music industry considered nearly impossible at the time. It took Bob Marley into the Top Ten alongside disco records and corporate rock, points out Rolling Stone, which rates the album 4 stars. Despite the good cheer of the title track and the upbeat "Roots, Rock, Reggae," Rastaman Vibration contains some of Marley's most intense images of oppression, paranoia and despair. Tracks such as "Who the Cap Fit," "Crazy Baldhead" and "War" are offered by the Wailers with dire urgency as Marley's brutal visions are echoed by his own church choir, the I-Threes.

More than four decades later, neither Marley's music nor his message has lost its sting. Now, Analogue Productions presents perfection — Rastaman Vibration cut at 45 RPM in UHQR format on 180-gram 2LP Clarity Vinyl. This Ultra High Quality Record release will be limited to 4,500 copies, with gold foil individually numbered jackets. For Bob Marley, 1975 was a triumphant year. The singer's Natty Dread album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit "No Woman No Cry." The follow-up Live set, a document of Marley's appearance at London's Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for Rastaman Vibration (1976) at legendary studios run by Harry Johnson and Joe Gibbs.

At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. Of the material on Rastaman Vibration, "War," for one, remains one of the most stunning statements of the singer's career. Though it is essentially a straight reading of one of Haile Selassie's speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of "Rat Race,""'Crazy Baldhead," and "Want More."

These songs are tempered by buoyant, lighthearted material like "Cry to Me," "Night Shift," and "Positive Vibration." Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, "Cry to Me" seems like an obvious choice for a single and remains underrated. This UHQR is remastered at 45 RPM by Sterling Sound's Ryan K. Smith from the original analog master tapes. Each UHQR will be pressed at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center.

Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a custom clamshell box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. In addition to the UHQR booklet the package will contain a 8-page 12" x 12" booklet containing new liner notes by musican and Marley biographer Leroy Jodie Pierson as well as exclusive photos by Kim-Gottlieb Walker. Pierson is a past performer for Blues Masters at the Crossroads, the two-night historic blues festival at Blue Heaven Studios in Salina, Kansas. He's also recorded a Direct-To-Disc blues album for APO Records. (AAPO 005) Rastaman Vibration — now a landmark production on 180-gram 45 RPM Analogue Productions UHQR Clarity Vinyl!

An elusive and quiet figure amidst the Portuguese electronic scene, Timóteo Azevedo aka Random Gods releases his debut album on Discrepant's sub label Souk after his killer appearance in the long sold out 'Antologia de Música Atípica Portuguesa Vol. 2' compilation back in 2019.
With two previous EPs on Danse Noire and ZABRA, Random Gods' futurist visions project themselves through a scavenger-like body music assembled from the hopes and debris of these uncertain and dread-inducing times. Rituals conjured from metal shards, blunted kickdrums, submerged basslines, reverberating textures, cut up vocals and lazer guided melodies.

The orchestral runs of opener 'Abertura' as a glimmer of nervous light into the deep end bass weight meditations on syncopated kicks and grimey synth stabs of 'Somatiga'. Slow burner 'Pneuma' conjures neon synth lines into its halfstep flow, while 'Acervo' complicates the rhythm further with its profusion of crumbling kickdrums, tossed off claps and tonal percussion. 'Prumoo' dwells deeper into post-industrial ardkore nuum with its merciless drum patterns and molten basslines and 'Alvoro' feels like footwork taken into those same wastelands, with a nervous percussive backbone from some ancient future - take that as you will. Closer 'Ex.Tejo' brims with a certain sunrise melancholy among the storm as if there's still some hope after all.

Let's hold on to it.

2024 Repress

Prana glistens into existence as ethereal pads drift by, giving way to a subtle, almost deep house beat that pulses nicely, backed by tribal-esq percussion. A gently staccato synth pattern flutters in and out toying with the idea of techno ever so slightly yet keeping well within the realms of his usual sound. Simplicity is the key in this track and Deepchord allows it to evolve slowly and he toys with sweeps of reverb and FX giving the track a lush, organic sound.

Tantra gives off a tougher vibe than it predecessor. Gently layered, deeper, edgier synths open the track as percussive elements, swathed in FX form the basis of the groove. Bolstered by a typical Deepchord dubbed out bass line this track once again evolves perfectly almost without the listener noticing the subtle changes that give Tantra a deep and emotive flow.

Never one to sit still and be pigeon holed into a genre, Deepchord easily turns his hand once again a brings two beautifully crafted tracks in his own inimitable style

Spaceous and oblivious FM-synthesizer based New-Age & Dark-Ambient LP collaboration by Vera Dvale & Psykovarius. Dusty cosmic sonics interfere with slow growing pads, one-hit-percussions, metalic clanks, synth-flutes, psychedelic-SPA-melodies, dark long driven drones with monophonic bass drops, deep church organs and arpeggios. Execute time to listen to fog and space.

Deeply rooted & slowly explosive, Estonian Andres Lõo slides from loud guitar skanks to rumbling toms, all capturing periods of dub, jazz, folk music and the drama of an orchestrated band surrounding the Estonian Seto peoples musical background. B-side carries a generously beautiful xylophone, played, recorded and manipulated gently. Both sides highly polarizing his debut album Skeletons on Rock (Laton, 2009).

The duo Spill Gold blends drums, synths and vocals into a sonic journey that invites listeners to explore realms of energy exchange. Nina de Jong on drums and Rosa Ronsdorf on vocals and synths joined forces in a collaboration that transcends genres. The music of Spill Gold serves as a woven tapestry of (unheard) voices, inviting you to lean in. The result is a fusion of psychedelic echoes, danceable rhythms, and intricate percussive layers. Their newest album is a result of a need for hope that longs for an anti-anthropocentric and non-patriarchal world. The duo's compositions navigate through cyclical patterns, echoing snakes biting their own skin, volcano's starting to errupt, witches fingers that crumble towers and birds of steel and feather. They invite you into a world where the concept of 'the first' or 'the best' fades away and to join them on their musical journey with no clear beginning or end.

2025 Repress
L.F.T. returns to Mechatronica with his unique, signature blend of new wave and breakbeat influenced electro for the mind, body and floor. Boldly shaped by distorted drum machines, gut-wrenching grooves and haunting vocal chops, the KeyGenerator EP comes backed by an explosive IMOGEN remix and an occult collaboration with Cardinal & Nun. A spellbinding record on its own, and another crystal clear testament to L.F.T.s razor sharp sonic vision and ability to generate new styles from the past, present and future.

Der mehrfach mit Platin und siebenmal mit Diamant ausgezeichnete R&B- und Popstar The Weeknd kommt mit seinem Album „Hurry Up Tomorrow“ zurück. Nach seinem 2020 erschienenen Erfolgsalbum „After Hours“, welches auch das am häufigsten gestreamte R&B-Album aller Zeiten ist, und dem 2022 veröffentlichten Album „Dawn FM“ bringt The Weeknd die Trilogie mit „Hurry Up Tomorrow“ zu ihrem Höhepunkt. Dieses Album hebt seine künstlerischen Erzählungen auf ein neues Level und fängt existenzielle und selbstreferenzielle Themen des Sängers ein. Titel wie „Dancing In The Flames“, „Timeless“ mit Playboi Carti und “Sao Paulo” mit Anitta werden bereits seit dem Sao Paulo Konzert von den Fans gefeiert. Im Jahr 2023 wurde The Weeknd vom Guinness-Buch der Rekorde zum „Beliebtesten Künstler der Welt“ ernannt.

Moto Music proudly presents Time Synthesis, a sonic collaboration of the living legends Dan Piu and DJ Estimulo, creating a future past guaranteed to last. Experience the dynamic aurora of class, seamlessly guiding your senses through savory flavors of funky Detroit and atmospheric Techno hybrids to the smoothest of sunset coastal Deep House designs marinated to move bodies on the dancefloor and influence the mind. Indeed a synthesis of good times where the future of authentic house and techno was never left behind. Perhaps the dreamy chords and confident bassline of Strobes" unlocks your center of rewards via groovy techno modes, or its the Estimulo Ambient class pass of Wayne" that's the perfect sound for your late spring sunsets and nights in the rain; never the less with Moto Music since 1994, complete quality is here to adore in this ep menu of four…

Written and produced by Dan Piu & Estimulo

Berlin-based Colombian DJ, producer, and curator Edna Martinez presents a sonic journey into the electrifying world of Picó—the vibrant and dynamic sound system culture that has defined the streets of Cartagena and Barranquilla for decades. More than just a musical movement, Picó is a way of life, a bold expression of identity, community, and resistance. From its roots in the working-class neighbourhoods of Colombia’s Caribbean coast to its deep connections with Africa and the Caribbean, this compilation captures the pulse of a culture where music is played at full volume, rhythms travel across oceans, and dance is both a form of celebration and storytelling. For those unfamiliar, Picós are hand-painted sound systems, often adorned with dazzling colours and striking imagery, each with its own name and sonic identity. These mobile discos became the heart of neighbourhood bailes, where the sounds of champeta, highlife, soukous, mbaqanga, zouk, soca, and cumbia would turn every street corner, market, and terrace into a dancefloor. Initially built by local craftsmen using modified speaker components, Picós became legendary for their powerful bass and exclusivity, with DJs sourcing rare vinyl from African and Caribbean ports and rebranding them with unique piconemas—new names adapted to local slang, making the tracks instantly recognisable within the community.

This compilation brings together a carefully curated selection of these rare and sought-after tracks, tracing the deep-rooted musical exchanges between Colombia, West and Central Africa, and the Caribbean. Featuring artists like Los Corraleros De Majagual, Peacocks International Highlife Band, Pedro Lima, Zaïko Langa Langa, and more, the album also includes edits by Edna Martinez, reimagining these timeless rhythms for contemporary audiences while staying true to their original spirit.

Strut presents ‘Picó! Sound System Culture From The Colombian Carribbean’ across 2LP Vinyl, 1CD & Digital focusing on a celebration of the raw, undiluted energy of Picó culture. Through Edna Martinez’s curation, and extensive liner notes, this compilation offers a powerful and authentic glimpse into one of the most vibrant musical traditions of the Colombian Caribbean

Following their debut album, Bay Area industrial duo Gridlock quickly pushed their creative boundaries. They restructured their live setup, incorporating new technology that expanded their sonic possibilities.

Their first experiment with upgraded digital tools resulted in the track Enzyme for Pendragon Records’ Quadraphobia compilation. Soon after, they embarked on a short West Coast tour before returning to the studio to craft their next album, Further.

Embracing real-time audio editing, Further developed rapidly, defined by its signature distorted percussion. Initially met with little feedback from their label, the album gained final approval after a live performance at the CMJ festival.

Released in early 1999, Further exceeded expectations, earning critical acclaim and charting in the the RPM charts. It became a landmark in the evolution of industrial music, blending emotional depth and cerebral complexity with brute force.

Gridlock continued evolving through two more albums before disbanding, leaving their work rare and highly sought after. Now, in tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s music with the blessing of Wells’ family.

Following the 2024 reissue of The Synthetic Form, Further will be released on July 11th on clear vinyl with greyscale splatter. Half of the proceeds will go to the American Foundation for Suicide Prevention in Wells’ honor.

Analogue Productions' UHQR, the pinnacle of high-quality vinyl! 45 RPM Ultra High Quality Record release limited to 5,000 copies Mastered from the original tapes by Ryan K. Smith at Sterling Sound Pressed at Quality Record Pressings using Clarity Vinyl® Purest possible pressing and most visually stunning presentation and packaging!

By the time Bob Marley died, he was one of the world's first global superstars, famous and lauded from Europe through Africa and the Americas. Some even saw him as not just a reggae singer but as a folk hero, a sort of freedom fighter, and to this day his enduring image feels greater than the music he made, writes Pitchfork. In the 21st century, Bob Marley is a global cultural icon and the first Jamaican inducted into the Rock & Roll Hall of Fame. 1977's Exodus — recorded in London exile after a failed attempt on his life — turned out to be Marley's biggest-selling studio album.

Time magazine named it the greatest LP of the 20th century. Other Marley discs had bigger hits and still others had better album tracks, but the balance Marley strikes between politics, religion, and romance on Exodus — compare and contrast the urgent title track and the laid-back "Jamming" — shows a pop star at the peak of his powers.

Now, Analogue Productions presents perfection — Exodus in UHQR 45 RPM format on Clarity Vinyl. This Ultra High Quality Record release will be limited to 4,500 copies, with gold foil individually numbered jackets. After the success of 1974's Natty Dread and 1976's Rastaman Vibration, Bob Marley was not only the most successful reggae musician in the world, he was one of the most powerful men in Jamaica. Powerful enough, in fact, that he was shot by gunmen who broke into his home in December 1976, days before he was to play a massive free concert intended to ease tensions days before a contentious election for Jamaican Prime Minister.

In the wake of the assassination attempt, Marley and his band left Jamaica and settled in London for two years, where he recorded Exodus. Exodus represented a subtle but significant shift for Marley; while he continued to speak out against political corruption and for freedom and equality for Third World people, his skill as a songwriter was as strong as ever, and Exodus boasted more than a few classics, "including the title song, 'Three Little Birds,' 'Waiting in Vain,' and 'Turn Your Lights Down Low,' tunes that defined Marley's gift for sounding laid-back and incisive at once," writes AllMusic. This UHQR is remastered at 45 RPM by Sterling Sound's Ryan K. Smith from the original analog master tapes. Each UHQR will be pressed on 180-gram vinyl at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a custom clamshell box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

Joe Bataan's extensive discography was expanded in 2022 with the release of some old recordings from the King of Latin Soul that had never been previously published. After the success of his album "Riot!" (1968), Bataan had easy access to a studio whenever inspiration struck to record a new song sketch or even a complete track. Sometimes, he would finish the recording entirely and offer it in its final version to Fania for release. This usually worked, although on some occasions, the song was rejected. In the case of 'Drug Story,' the track was recorded without a clear final purpose, even though Bataan hoped it would become part of an album. When the Fania executives heard the result, they immediately rejected it, thinking it promoted drug use. The tapes were filed away and lost in oblivion until they ended up in a thrift store in New York. From there, they were rescued by a Latin music specialist and later sold, eventually making their way to the Vampisoul archives. The song was finally released in its entirety in 2022 on the LP "Drug Story" by Now Again. It features a long, slow vocal intro that evolves into a more uptempo track with two very distinct parts, to the point that it almost feels like two different songs. It transports us to the best moment of Joe Bataan's career, with all of his classic ingredients, delivering a track as good as his most famous songs. Bataan himself takes on the lead vocals and piano, Bobby Rodríguez handles the flute, sax, and bass, Pete 'Choki' Quintero plays the drums, and William Howes Jr. plays the electric guitar with wah-wah effects. Vampisoul strongly believes that the song deserved to be released as a single as well, and that its structure was perfect for each side to have a separate identity. So here it is, for the first time on a 45, 'Drug Story,', parts one & two, the long lost track by Joe Bataan. Pure Latin soul, recorded at the peak of the artist's career!

"tilt your back
pay respect
hand on heart

we were raised without table,
without manners,

where is it we gather this time?


In ‘Of No Fixed Abode,’ Saint Abdullah and Eomac extend their experimentation with genre dissolution to press upon the tensions that exist between culture, place, and migration. This fourth collaborative LP addresses the inherent fluidity of cultural memory, accepting our inability to remain fixed in the past, and explores how best to carry its spirit forward into an ambiguous future.

Through extensive research into 50 years of Persian pop, they meticulously reinterpret the legacies of artists like Andy, Hayedeh, and Fereydoun Farrokhzad, refracting samples by way of gritty beat work-outs akin to more contemporary musicians like Rezzett and Madlib. Through extensive archival research and sampling, they recontextualise these iconic melodies, placing reverie and frenetic drum programming in conversation with one another in a fashion that seeks to express a sense of two disparate tendencies cohabiting together, all while refusing homogenization. This reimagining extends beyond mere homage, serving as a conduit for exploring the narratives of migrant experiences, both in the UK and globally.

Sonically ‘Of No Fixed Abode’ plays with new sampling techniques, utilising the quick-fire intensity of the Roland SP404 with the cool precision of digital DAWs, and features collaborations with drummer Jason Nazary, sound artist Aria Rostami (both New York based), New Zealand-based mHz, and a vocal collaboration with London-based artist and musician Raheel Khan."

Friction’s best-selling album "Afterdark" just got even bigger.

Back by popular demand, the legendary Drum and Bass pioneer returns with a brand-new deluxe edition featuring 4 exclusive remixes from some of the scene’s most cutting-edge producers.
From high-energy reworks to deep, atmospheric flips, these fresh takes breathe new life into the tracks you love, while staying true to the pulse-pounding spirit of the original.

Whether you're a longtime fan or new to the world of Friction this is a must-have addition to your collection.

Wegen der großen Nachfrage: die DAG-Tradition der Picture Discs wird auch mit dem neuen Album fortgeführt! 39 Jahre nach ihrem Debutalbum und 13 Jahre nach "Welcome Back To Insanity Hall" veröffentlicht eine der legendärsten original Psychobilly-Acts um den charismatischen, außergewöhnlichen (manche würden sagen "frenzy") Bandleader Mark "Sparky" Philips ein Dutzend neue Songs, oder sind's nicht doch 13? PSYCHOTIC MUTILATION! Schon von jeher scheren sich DAG einen Dreck um den klassischen Psychobilly-Purismus: Ihr Sound ist immer noch eine einzigartige Mischung (Hellbilly) und kombiniert Elemente von Rockabilly, Punk, höllischem Rock'n'Roll mit mal Country-esken Einflüssen oder dunkelsten Blues, alles immer geprägt von Sparkys rauem, giftigem Gesang. Und als ganz besonderer Gast tritt Emanuela Hutter von The Hillbilly Moon Explosion wieder im Duett mit Sparky bei ,Cast A Lonesome Shadow" an. Eine wilde und schräge musikalische Reise durch menschliche Abgründe, Wahnsinn und dunkle Sehnsüchte. "Psychotic Mutilation" mit genau den Songs, die diese kranke Welt verdient. Simply a masterpiece!! Die Pressung der LP-Erstauflage dürfte ein jedes Sammlerherz höherschlagen lassen, denn neben 180g Vinyl, klassisch schwarz oder Multicolour, gibt es noch ein Plakat und am Ende der endlos B-Seiten-Rille ein verstecktes Special zu finden, oder genauer gesagt: ganz in der Mitte der B-Seite....lasst euch überraschen. Hellbilly ist zurück! Dies hier ist die limitierte Picture Disc-Vinylversion, in ausgestanztem Sleeve und ohne Poster.

GASTEROPODES KILLERS présente Poison Ideas son nouvel album aux sonorités punk-rock-ska. Nos Escargots Tueurs se sont formés il y a 33 ans en Seine St Denis, avant de ramper, lentement mais sûre-ment, jusqu’en Charente sans bave ni lé-zard !
Amateurs de punk-rock, de hardcore et de ska, ils revendiquent haut et fort leurs influences : Clash, Parabellum, Mano Negra, Bérurier Noir, Garçons Bouchers, Wampas, La Souris Déglinguée, Madness, Bad Manners, Specials, Total Chaos, Exploited, Agnostic Front et autres Poison Idea.
Ces Assassins à Coquille se composent de Nath (chant & basse), de Droopy (chant & guitare), de Drunk (choeurs & guitare) et de Boul (batterie & chant). Chacun puise dans l’actualité, son quotidien, ses expériences personnelles ou dans le cinéma pour produire chansons et musiques tranchantes. Et puis, si le dessinateur Chester assure la pochette, alors l’humour est aussi de mise.
Attention, nos Colimaçons Criminels n’en sont pas à leur première sortie discographique et connaissent le « Do It Yourself » sur le bout de la langue. Maîtres dans l’art de la reptation et en totale indépendance, les GASTEROPODES KILLERS ont enregistré et mixé ce neuvième album dans leur studio La Coquille 2.

C’est le retour des Mollusques Terrestres Meurtriers, il est temps de relever vos antennes et de prendre la coquille en marche !!!

Jung Jaeil's haunting and innovative score for Netflix's global sensation Squid Game finally arrives on vinyl this summer! For three seasons, Jung's (of Parasite and Mickey 17 fame) iconic music has been essential in creating the intense atmosphere and emotional impact of the series. For this vinyl release, Jung Jaeil has exclusively compiled the best moments from three seasons of Squid Game. On this double LP, you'll hear Jung's mastery of blending classical, electronic and minimalist elements to create a soundscape that reflects the psychological tension and moral complexity of the show. From eerie piano motifs to unsettling ambient textures, the soundtrack heightens the suspense and emotional gravity of the survival drama. Tracks such as “Way Back Then” and “Pink Soldiers Redux” have become iconic for their chilling simplicity and dramatic impact. Squid Game's soundtrack not only complements the show's gripping visuals, but also stands as a masterclass in modern TV scoring. Jung Jaeil's work has received widespread acclaim, cementing his reputation as one of the most visionary contemporary composers. Squid Game is a limited edition of 3000 individually numbered copies on green (LP1) & pink (LP2) coloured vinyl. The records are housed in a limited edition POP-UP sleeve and include a 4-page booklet with liner notes by Jung Jaeil.

Jung Jaeil's haunting and innovative score for Netflix's global sensation Squid Game finally arrives on vinyl this summer! For three seasons, Jung's (of Parasite and Mickey 17 fame) iconic music has been essential in creating the intense atmosphere and emotional impact of the series. For this vinyl release, Jung Jaeil has exclusively compiled the best moments from three seasons of Squid Game. On this double LP, you'll hear Jung's mastery of blending classical, electronic and minimalist elements to create a soundscape that reflects the psychological tension and moral complexity of the show. From eerie piano motifs to unsettling ambient textures, the soundtrack heightens the suspense and emotional gravity of the survival drama. Tracks such as “Way Back Then” and “Pink Soldiers Redux” have become iconic for their chilling simplicity and dramatic impact. Squid Game's soundtrack not only complements the show's gripping visuals, but also stands as a masterclass in modern TV scoring. Jung Jaeil's work has received widespread acclaim, cementing his reputation as one of the most visionary contemporary composers. Squid Game is a limited edition of 3000 individually numbered copies on green (LP1) & pink (LP2) coloured vinyl. The records are housed in a limited edition POP-UP sleeve and include a 4-page booklet with liner notes by Jung Jaeil.

Anile returns with his first release since the 2019 No Code. Ceremonial represents a welcome return for the UK based producer. The 4 track EP reflects the varied style of the producer who has previously released albums on Hospital Records imprint ‘Med School’ as well as releases on The North Quarter and this represents the return to footnotes.

An understated return avoiding the over exposed nature of modern music promotion the EP has already received DJ support from DJ’s such as Marky, Workforce, Jubei, LSB and Pola & Bryson

Bringing together over 50 of Jamaica's greatest session musicians, whose work spans from the birth of reggae in the late 1960s until today, Roots Architects is the largest gathering of Jamaican musical talent on one all-instrumental album. Never before have so many veterans, who helped create the immortal rhythms that made reggae internationally successful, been assembled to play on new material without vocals. This project aims to celebrate and pay tribute to the unsung heroes of reggae music: the rhythm builders or Roots Architects. Following the outstanding success of the first chapter of the project, From Then 'Til Now (2024), Fruits Records is pleased to reveal the dub album From Dub 'Til Now. A veritable immersion in the mythical sound of Kingston studios in the late 1970s. Dub master Roberto Sánchez sublimates the work of the Roots Architects with wildly inventive sound experiments. Reminiscent of the finest years of King Tubby, Lee "Scratch" Perry and Scientist.

The project is the brainchild of Swiss keyboardist and producer Mathias Liengme. In 2013, he travelled to Kingston, Jamaica, to produce The Inspirators project, an all-star album gathering Leroy ”Horse-mouth” Wallace, Lloyd Parks, Earl ”Chinna” Smith and Sangie Davis, the four of them acting both as musicians and vocalists. This first experience in Kingston studio life paved the way to what would become the Roots Architects project. In February and March 2017 Mathias Liengme travelled for the fifth time to Kingston to record as many of reggae’s greatest living veteran musicians as he could. With the help of a few of these Architects like Robbie Lyn, Fil Callender or Dalton Browne, he managed to gather over 50 session musicians aged 60 to 85 on nine instrumental songs.

Roots Architects are legends back together in Kingston studios doing what they do best: creating in-strumental music all together!

Madlib’s WLIB AM: King of the Wigflip Returns on Double Vinyl via BBE Music BBE Music is thrilled to announce the long-awaited rerelease of WLIB AM: King of the Wigflip, the final installment in the legendary Beat Generation series from none other than Madlib. Originally released in 2008, this masterful collage of dusty loops, raw beats, and left-field soundscapes remains a high-water mark in the Stones Throw producer’s sprawling discography.

Now, for the first time in years, fans can experience the album in all its analog glory with this deluxe double vinyl edition, carefully remastered to preserve Madlib’s signature warmth and grit. A tribute to pirate radio culture and late-night airwaves, WLIB AM weaves together a rich tapestry of hip-hop, jazz, and soul, featuring an all-star cas t of collaborators, including Talib Kweli, Guilty Simpson, MED, and Oh No. Each track showcases Madlib’s uncanny ability to blur the lines between genres, effortlessly flipping obscure samples into hypnotic, off-kilter rhythms. From the hypnotic bounce of “Blow the Horns on ‘Em” to the smoked-out groove of “The Plan Pt. 1,” this is Madlib at his most playful, unpredictable, and inspired.

This special double vinyl edition, released exclusively via BBE Music, brings one of the Beat Generation series’ most celebrated albums back into circulation for crate-diggers and collectors alike. With original artwork and a high-quality pressing, this rerelease is a must-have for Madlib aficionados and vinyl lovers who appreciate raw, unfiltered beat craftsmanship. Don’t miss your chance to own a piece of hip-hop history—WLIB AM: King of the Wigflip is back and sounding better than ever.

Cosmic JD kicks off the EP with the subtle and elegant Just Smoked it I Don't Know, a track ideal for the warm-up phase, combining delicate melodies with raw drums.

Ildec's Give Me is a hypnotic and analogue-sounding track with bass lines and repetitive electro elements that maintain tension.

Felipe Valenzuela & Dani Casarano with Odyzer, a track designed to address the peak of the night where drums and bass intertwine with surprising variations.

Dani Casarano & Matías Puente with Bass Mod, a composition that expertly captures the essence of the 80s, fusing percussion with immersive bass and atmospheric pads to create a thoughtful ambiance.

Splattered Vinyl - 180g - Limited Edition of 150 - no colored repress!

Following a successful, vital surgery, Ozzy has left little time to unveil details of his upcoming thirteenth studio album, and follow up to 2020's triumphant, 'Ordinary Man'. Later this year, we'll be introduced to the world of, 'Patient Number 9', which boasts a ludicrously impressive array of guest features from the likes of Zakk Wylde, Jeff Beck, Pearl Jam's Mike McCready, Chad Smith (Red Hot Chili Peppers), Robert Trujillo (Metallica), Duff McKagan (Guns N' Roses), Eric Clapton and the late, great Foo Fighters drummer Taylor Hawkins. Black Sabbath guitarist extraordinaire, Tony Iommi, shall also make his Ozzy solo album debut, which essentially everyone can agree, has been a long time coming. Utilizing his own approach to morality and legacy, the great grandfather of all things metal and malevolent appears eager to whisk us around his hallowed ground yet again.

Swiss percussionist Julian Sartorius and UK electronic artist Dan Nicholls team up as Clay Kin, presenting their debut record on Squama.
They had never planned to make an album yet through pure improvisation and spontaneity, Clay Kin have crafted Vevey. An album of seven tracks, distilled from over seven hours of improvised percussion and electronics. Recorded mostly outdoors––on pedalo boats, up mountains and deep in forests near the namesake Swiss town of Vevey, it is imbued with the soft fascination of birdsong, rushing water and chattering children.
Vevey resists genre. As musicians, Sartorius and Nicholls bridge the divide between acoustic and electronic soundscapes. Sartorius’ raw, organic percussion interweaves with Nicholls’ keyboard-triggered samples and harmonic landscapes, creating a dialogue where the lines between rhythm, melody and noise dissolve. Clay Kin identify their outfit as an audio-visual collective, with visual artist Lou Zon (Louise Boer) rounding out the group, creating videos to accompany both the recorded music and the live experience.

JOE T. VANNELLI, one of the world's leading exponents of house music, creates
two new remixes featuring two House DIVAS, two powerful and iconic voices:
LOLEATTA HOLLOWAY and EARTHA KITT! Loleatta Holloway's track "Sensation,"
in Club and Melodic House versions, makes the dancefloor vibrate thanks to
Vannelli's touch, offering two high-impact versions aligned with current global
trends. On the B-side, EARTHA KITT and her scratchy voice are remixed in the 2025
version of "Where is My Man" with electronic and funky sounds in the first track,
and in the iconic version that became famous in the Milanese nights of New York
Bar (1999) in the second.

SOULMEEX is excited to unveil Groovin’ High, the debut release on the label from emerging electronic artist Frederik Neu. With a fresh approach to house and disco, Frederik merges textured melodies and compelling rhythms to craft an immersive sonic experience that stands out in today’s dance music landscape.
The release gains extra dimension thanks to exclusive remixes by acclaimed producers Kasper Bjørke and Michael Lane. Kasper Bjørke’s reinterpretation infuses an acid and trippy vibe while Michael Lane adds his signature euphoric and hypnotic touch, offering fresh perspectives on Frederik’s originals.
This collaboration highlights SOULMEEX’s dedication to nurturing innovative talent and bridging the gap between established artists and newcomers. Frederik Neu’s Groovin’ High is a promising addition to the label roster, poised to captivate listeners and DJs alike with its emotional depth and dancefloor appeal.
Prepare to discover a new sound that balances nostalgia with forward-thinking production.

Wonderful weird manouevres from Thomas Cox's QED, here releasing its first album. Expect dubbed up echofests and reggae sound system sirens ('Crushed By A Speaker Stack'), grungy distorted bassline rumbles ('Riot In The Dancehall') and sparse machine funk ('Spikes & Studs & Chains'). Like the musical lovechild of a leftfield 90s Vienna session a la Mego or Cheap, and a dubby take on the Berlin's Digital Hardcore Recordings sound, those who loved their electronics on the wayward, limit-pushing side, should find this a rather special listen.

Following a successful, vital surgery, Ozzy has left little time to unveil details of his upcoming thirteenth studio album, and follow up to 2020's triumphant, 'Ordinary Man'. Later this year, we'll be introduced to the world of, 'Patient Number 9', which boasts a ludicrously impressive array of guest features from the likes of Zakk Wylde, Jeff Beck, Pearl Jam's Mike McCready, Chad Smith (Red Hot Chili Peppers), Robert Trujillo (Metallica), Duff McKagan (Guns N' Roses), Eric Clapton and the late, great Foo Fighters drummer Taylor Hawkins. Black Sabbath guitarist extraordinaire, Tony Iommi, shall also make his Ozzy solo album debut, which essentially everyone can agree, has been a long time coming. Utilizing his own approach to morality and legacy, the great grandfather of all things metal and malevolent appears eager to whisk us around his hallowed ground yet again.

Basel-based producer Tim Shatnyy made a welcome return to his home label, Resonance, with a massive and satisfyingly complex body of work. The media ecosystem of Beyond Dualism combines a game, an Instagram bot, generative radio, and a full-length album at the forefront of the high-concept universe. The rhizomatic blend of web development, sound engineering, and conceptual framework does not diminish the joyous energy of Tim Shatnyy's sonic adventures. Beyond Dualism's digi-charms coalesce into a dynamic tension of minimalist electronic music, funky glitch, club-ready heaviness, and a boundless, idiosyncratic approach of disorientating arrangements.
Beyond Dualism is the result of Shatnyy's deep, ongoing process of inner listening, constant change, and spiritual inquiry. It is a perfectly closed cycle of artistic creation, featuring hyper-realistic sound design and visionary manipulation on meta-levels of composition. Beyond Dualism offers the listener a continuous experience, revealing a nearly tactile and visual experience of a sound. Going beyond dualism is a journey. The way the artist has transformed his perception going through this path is reflected in the album's development and its structures.