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The story follows a protagonist through an alternate-history space race, imagining a future where humanity settles on the moon and leaves a dying Earth behind. Musically, the record delivers the tight, energetic, hook-driven sound that appeals to fans of Delta Sleep and Snooze. This special edition includes the 10" record in a proper 10" outer sleeve and a custom 12" slip mat in its own 12" outer sleeve. The artwork of the 10" aligns with the slip mat design to create the appearance of an ink or blood stain when displayed together. Only 50 copies were produced.

The wild lunar landscape of Lanzarote is the dreamy frame in which Populous paints his new album, “Isla diferente”.

An instrumental trip between cumbia and latin ambient music through the mysterious and magical landscape of Lanzarote, with some gloomy vocal interventions from Fuera (Italy), Javier Arce (Costa Rica), Eva de Marce (Mexico) and Esotérica Tropical (Puerto Rico).

An organic mixture of sweet ethereal melodies and experimental electronic sounds which the artist himself labeled as “latin ambient”.

Here’s an expanded edition of one of Nurse With Wound’s most intense, unique opuses, so unique that for long-time fans it was a strange, chaotic loundge bizzarie when it first came out. For the first time, all four audio sides are complete (originally, there were only three sides). And to crown it all, a magnificent new cover by the great and talented Babs Santini, who is none other than Steven Stapleton behind his pseudonym of plastic artist, still in the luxurious tradition of the “silver collection” at Rotorelief Records.

Nurse with Wound’s album Huffin’ Rag Blues is unique in NWW’s discography. Stapleton teams up with composer, producer and multi-instrumentalist Andrew Liles, his co-creator of musical terrorism, to tackle the exotica and lounge genres, crushed into a cacophonous mess. Long-time NWW friends Colin Potter and Matt Waldron are also on board. Blues, jazz, crime films, bachelor pads and soap opera music are processed and discarded, then chopped up and recycled in a mix that contains a ton of space, but also overflows with dynamic tension, hilarious asides, sexually suggestive poetry and a certain rock & roll abandon.

This is a very surprising opus for long-time fans, is like a soundtrack that could illustrate a David Lynch film It’s brilliant, maddening, hilarious and sinister enough to earn a place in any collection with a little quirkiness and eccentricity. Huffin’ Rag Blues incorporates more familiar musical elements – including instruments (played live, even), rhythm and vocals – than almost any other Nurse With Wound album to date. The album’s main concern is, as always, to create environments for lucid dreaming rather than to create music as such.

Tough UK Bleep/Breakbeat Techno classic from 1989 (!) - an essential part of early rave history. TIP!

Killer Groove Records proudly presents the debut 45 by Italian cinematic funk trio Atabasca. A syncopated journey where funk, psychedelia, and cinematic groove merge into a timeless narrative suspended between rhythm and vision.


"Cacopoulos" and "Kundela Mawedi" mark the birth of Atabasca's sonic universe: the first two singles from the upcoming self-titled debut album,which will be released on March 27 in limited-edition LP, CD digipack, and digital formats.

On the A-side, "Cacopoulos" is an impetuous, visionary ride that fuses the power of instrumental groove with the evocative imagery of library music and Italian golden-age soundtracks. From the first beat, listeners are drawn into a dry, dusty landscape driven by a primal drum groove and the acid twang of a guitar that evokes the spirit of classic Westerns. Indeed, "Cacopoulos" pays homage to I Quattro dell'Ave Maria (Ace High) and to the legendary Eli Wallach, the sly outlaw who turns deception into revenge, a subtle yet powerful nod that ties the trio's sound to imagery steeped in dust, dreams, and redemption.


On the flip side, the sound of an old lap steel guitar evokes the gentle waves of the sea, opening the doors to "Kundela Mawedi", a dreamy track with exotic tones and heavenly atmospheres. The sonic journey unfolds through hypnotic rhythms and echoes of ancient cultures, where ethereal voices and warm, entrancing bass lines intertwine with psychedelic riffs and evocative guitar melodies, merging into a soundscape rich in warmth and mystery. The chorus, with its unexpected choral chant, adds a spark of magic. An elegant twist that gently stirs the dreamlike mood and transports the listener into a new sonic dimension, steeped in mysticism and tribal vibrations. "Kundela Mawedi" is more than just a song: it's a sensory experience, a musical ritual where tradition meets psychedelia, sand meets sea, and the soul dances upon the waves of time.


Recorded in a single take, the session captures the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer, and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the tracks at Velvet Room Mastering Studio in Brighton.


A killer double-sider, blending psychedelic and funk moods with percussive, jazzy textures. A must-have gem for every groove-loving DJ.


Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment: this is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals), and Valerio Pompei (drums, percussion, vocals). Individually active for over twenty years on both national and international scenes, the three musicians came together in 2023 to create a project that merges experience, experimentation, and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.


Atabasca's sound moves through jazz-funk, world, and cinematic territories, weaving together afrobeat, desert, and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture, and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


Fans of Khruangbin, Surprise Chef, and instrumental psych-funk, take note!

Will Butler, known for his work with Arcade Fire, has composed the original score for the Broadway play Stereophonic. The play, set in the 1970s, explores the dynamics of a rock band on the brink of success or collapse. Butler’s score authentically captures the era, using period-specific instruments and recording techniques to evoke the raw energy of 1970s rock.. He recorded the parts with the original cast from Stereophonic, including Will Brill, Andrew R. Butler, Juliana Canfield, Eli Gelb, Tom Pecinka, Sarah Pidgeon, and Chris Stack. The production received acclaim from critics and no less than 13 nominations at the 77th Tony Awards, taking home five, including Best New Play. Stereophonic now holds the record for the most Tony nominations by a play. Stereophonic is available as a limited edition on translucent yellow coloured vinyl and includes an insert.

Ltd. Coke Bottle Green Vinyl

Die LP-Erstauflage kommt als Sub Pop Loser Edition auf Coke-Bottle-transparent-grünem Doppel-Vinyl im Klappcover mit speziellen Innenhüllen und mit Inlay. Die 14 Songs des Albums verteilen sich auf die ersten drei LP-Seiten, denn Seite 4 des Albums enthält ein Etching. Mit "Death Jokes" wendet sich der in New York City lebende Damon McMahon, zum ersten Mal seit der Gründung des Amen Dunes Projekts im Jahr 2006, mit seinen spirituellen Reflexionen und Meditationen von sich selbst ab und wendet sich direkt der Welt zu. Das Album ist auch musikalisch und thematisch eine drastische Wendung, verwurzelt in der elektronischen Musik der Raves und der Rap-Musik, mit der er aufgewachsen ist, von der er sich aber nie vorstellen konnte, dass er sie machen könnte. Durch Samples und Texte wirkt es wie ein vernichtendes elektronisches Essay über Amerikas Kultur der Gewalt, der Dominanz und des zerstörerischen Individualismus. Die Arbeit an "Death Jokes" begann nur wenige Wochen vor der ersten Nachricht von der Pandemie im Winter 2019; sie wurde drei Jahre später abgeschlossen. Die Bedeutung des Albums wandelte sich mit dem Fortschreiten der Pandemie, zunächst als Reflexion über unsere Verbundenheit mit der Form und mit uns selbst, dann als feierliche Anklage gegen die blinden Flecken unserer Kultur, wenn wir falsch urteilen und angreifen, wenn sich Egozentrik und Selbstgefälligkeit als Moral ausgeben. "Death Jokes" ist das erste Album von Amen Dunes seit "Freedom" aus dem Jahr 2018, das von Pitchfork als ein "bestes Album des Jahrzehnts" bezeichnet wurde.

Back in stock soon!

Dan Piu wrote this album during the "dark, dystopian times" of the last year. The record's themes take in nature, human life, sci-fi, cyborgs and plenty in between with opener 'Tru Confession' being a robust house track stacked with throwback breaks, futuristic synths and old school vocals. There is a real warmth and soul to the machine sounds of 'Un-X-Plored Exodus' while a certain sense of 90s New York house colours 'Upgrade System M59'. 'System Of Ethics' shows off a fine mastery of synth craft that brims with emotion and 'Asteroid Blues' is like a lost Kerri Chandler cut. Essential.

Don Cherry, armed with a voracious musical appetite and boundless imagination, first made a name for himself - though not always fully understood - alongside Ornette Coleman, playing trumpet or cornet. In Los Angeles and then New York, he stood at the heart of a revolutionary approach to improvisation based on melody rather than harmony, later baptized "Free Jazz," the final structural development of American jazz. Over time, he became a champion of improbable fusions - gradually integrating into his style a whole array of "exotic" instruments, and more importantly, the cultures from which they originated. Among them: India, Brazil, Africa, Indonesia, and even China. The time had come for the emergence of "world music": in hindsight, a patchwork rich in imagination and seduction, but once the novelty wore off, often lacking in substance.

In Don Cherry's case, however, the commitment ran deep - tied to his personal engagement with a global vision of art and the human condition. Ustad Ahmed Latif Khan, from the Delhi gharana (a musical lineage), was part of a new generation of accompanists - percussionists, sarangi players, flutists, etc. - who had extended both the technical and conceptual possibilities of their predecessors to gain recognition as soloists and soon to venture onto the international scene. Among them, Latif stood out for his taste for irregular, highly syncopated rhythmic patterns - rich in variety and originality. Don and Latif had never met before the recording session, but the two quickly recognised one another as kindred spirits - calm, focused... and full of laughter. Don clearly knew what he wanted to create, and nothing seemed to pose a challenge for Latif, who grasped the American's intentions immediately, warmed up his fingers at astonishing speed, and with his perfect pitch, naturally took on the role of tuning Don's diverse instrument collection to match whatever was found in the studio - from concert piano and Hammond B3 organ to chromatic orchestral timpani.

2025 Repress

The breakthrough dance collective of the year bar none! Having made a name for themselves creating the evilest drum&bass music the world has ever seen, in recent months Noisia have been seen DJ-ing at house clubs, releasing singles with prominent house labels and most recently remixing for the likes of Robbie Williams! However, it wasn't long before they decided to go back to the dark side and join forces with good friend Mayhem (USA) to come with something more disgusting than ever, oh and they got KRS-One to provide the vocal!

A truly breathtaking intro bursting with evil foreboding sets the scene, before Noisia and Mayhem unleash the darkness with their signature drum programming alongside futuristic never heard before beats and breaks. Be sure to wait for the hip-hopesque interlude that features the immense vocal talents of none other than KRS-One. If you're not nodding your head by that point, you best check your neck isn't broken!

Comes in standard full colour Vision Recordings repress sleeve.

The representative work of Khsuke Mine, the powerful album "Daguri," originally released in 1973, is reborn in January 2026!
Kosuke Mine, having gained recognition in the Masabumi Kikuchi Group, recorded this work with his regular ensemble. Featuring emerging musicians including
Fumio Itabashi,
the performances are both weighty and vibrant, with a momentum and clarity that suggest the dawn of a new age. During this period influenced by Coltrane, Mine’s
playing brims with insight and scale, delivering transcendent melodies in tracks like "Thirsty" and "Daguri." With its combination of dynamism, lyricism, and exoticism,
this is truly a work worthy of being called one of Mine’s masterpieces. All tracks are composed by Mine himself. Recorded in 1973.

Bruit's sound is a tectonic collision of raw noise and patient, cinematic structure: layers of metallic percussion, low-end rumbles and fractured melodic fragments that creep, accumulate and then converge. Balancing soaring melancholy and industrial grit with meticulous dynamics, they turn long-form pieces into physical architectures where silence, resonance and sudden force are equally important. In this reissue of their staggering debut EP `Monolith', Bruit give us the opportunity to rediscover their first ever release, the completely self-produced and recorded record that defined their direction and introduced their world-shattering sound. `Monolith' is an epic portrayal at the centre of the human experience, the band's use of melancholia, industrial textures reimagined through patient dynamics, sculpted resonances, and a singular attention to momentum gives listeners access deep and power terrains. `Monolith' is the first expression of Bruit's exploration of material sound and human scale. Building on the dense palette of integrity and compositional mastery, Bruit interrogates what long-form composition can hold: memory, pressure, and a cinematic coalescence. Bruit's sound captures the exorbitant nature of the times, the outrageousness of humanity at a moment in time that is grotesque in scale and overwhelming in scope. Two long tracks for FOR FANS OF Hans Zimmer * Nils Frahm * Godspeed You! Black Emperor * Balmorhea * Max Richter * Olafur Arnalds * A Silver Mount Zion * Boards Of Canada

Bruit's sound is a tectonic collision of raw noise and patient, cinematic structure: layers of metallic percussion, low-end rumbles and fractured melodic fragments that creep, accumulate and then converge. Balancing soaring melancholy and industrial grit with meticulous dynamics, they turn long-form pieces into physical architectures where silence, resonance and sudden force are equally important. In this reissue of their staggering debut EP `Monolith', Bruit give us the opportunity to rediscover their first ever release, the completely self-produced and recorded record that defined their direction and introduced their world-shattering sound. `Monolith' is an epic portrayal at the centre of the human experience, the band's use of melancholia, industrial textures reimagined through patient dynamics, sculpted resonances, and a singular attention to momentum gives listeners access deep and power terrains. `Monolith' is the first expression of Bruit's exploration of material sound and human scale. Building on the dense palette of integrity and compositional mastery, Bruit interrogates what long-form composition can hold: memory, pressure, and a cinematic coalescence. Bruit's sound captures the exorbitant nature of the times, the outrageousness of humanity at a moment in time that is grotesque in scale and overwhelming in scope. Two long tracks for FOR FANS OF Hans Zimmer * Nils Frahm * Godspeed You! Black Emperor * Balmorhea * Max Richter * Olafur Arnalds * A Silver Mount Zion * Boards Of Canada

Gagaku is the oldest of the Japanese performing arts, with a history more than a thousand years old. The term refers to Japanese classical music and dance, traditionally performed by families of musicians linked to the ancient Imperial court, and later passed down in Buddhist temple ceremonies and Shinto shrines. Shiba Sukeyasu, founder and director of the Reigakusha ensemble, descends from the Koma clan, whose origins date back to the end of the 10th century. The recordings partly reflect repertoires borrowed from Chinese music between the 5th and 9th centuries. The incredible variety of timbres of the instruments greatly amplifies our exotic imagination: the eternal breath of the flutes (ryuteki and hichiriki) creates a sort of suspension of time, together with the hypnotic and hallucinatory atmosphere of the mouth organs (shō). The meditative tone of the string instruments (bika and koto) that punctuate the voids and silences is impressive, as is the enigmatic percussion section, with the tolling of the gong (shōko) and the calibrated beats of the drums (taiko and kakko).

We the cyber ants
survivors of the post human era
by smashing dystopic hegemonies
together in colonies we cooperate
through a chemical communication strategy.
Crossing underground labyrinths
as clever roots
in symbiotic relationships we live and
in freaky spirals we dance 'til down.
Catching electricity with feelers
we destroy the buildings of
the enemies of love.
We're a neglected community
an unconquered moltitude of
Yessensis
Longicornis
Solenopsis and Subterranean
Martialis Eureka
Colobopsis Explodens and more.
Souls inside exoskeletons
we don't need your past
'cause we are your future.

Celebrating its 10th anniversary in 2025, Emi Okamoto's debut mini-album "Strike!" is being released on vinyl LP with a newly remastered "10th Anniversary
Edition"!

Singer-songwriter Emi Okamoto is a multifaceted artist, active not only as the lead vocalist of the band Friends, but also in dramas, writing songs, and supporting
and guesting at RIP SLYME's live shows. Her fourth album, "Ten City," commemorating the band Friends' 10th anniversary, will be released in September 2025
and is generating rave reviews. Also celebrating its 10th anniversary in 2025, her debut solo album will be released on vinyl LP with a newly remastered"
10th Anniversary Edition"! Written and composed by herself, this album showcases her unique style, spanning everything from cheesy electro-pop to
Idol-esque tracks, '90s R&B, exotic pop, and emotional rock ballads. Also included as a bonus track is the remix "Hit Number - Evisbeats and Punch Rmx"
by Evisbeats and Michel☆Punch. The single-LP release of "Strike!" sold out immediately, skyrocketing in price even on the used market and making it
difficult to find, so this vinyl release is a welcome surprise! Guest appearances include Kouki Okamoto (Gt./Okamoto's) and Keisuke Okamoto (Dr./Kuroneko
Chelsea).

E-style single jacket / Japan pressing / 33 RPM / Lyrics included

Money Chicha, the Austin-based collective featuring members of the Grammy-winning Latin orchestras Grupo Fantasma and Brownout, unveils their third full-length album, "Onda Esotérica". Recorded at New Orleans' Marigny Studios, the album deepens their signature psychedelic cumbia amazónica sound with exotic textures, vintage organ swells, and inventive reinterpretations of classics such as 'Cumbia Arabe'. As KUTX puts it, "Listening to Money Chicha feels a bit like taking a hit of acid, downing a couple shots of Tequila, and hopping a plane to 1960s Peru_ it's the kind of music that rewires your brain, awakens your spirit animal, and takes you places you've never been." Add in some South Texas swagger and bruising Latin funk, and "Onda Esotérica" emerges as the band's most adventurous and transportive work to date-a kaleidoscopic journey equal parts ritual and revelation.

Etheral acid trippin sounds... Epic tunes with a very 90's psychedelic influence ! Great ambiance in a pure style

Babau is the pantropical project of Artetetra founders Matteo Pennesi and Luigi Monteanni in which a fascination with exotica, world music 2.0 and field recordings meets the compositional and improvisational techniques of computer music. Their latest work, the album »Stock Fantasy Zone«, was recently released on Discrepant and they have been nominated Shape artists 2023. The duo has participated in various Italian and non-Italian festivals such as Fusion, Club to Club, Nextones, Outernational Days, Camp Cosmic and Saturnalia.

»Flatland Explorations« is an ever-growing collection of completely improvised attempts at mapping the surface and irregular shapes of Babau's sonic flatland by means of audio manipulations and digital sorceries. Joining live recordings with studio material and field recordings, the duo crafts its unique sound made of granular illusions, midi extravaganza, wind instruments' acrobacies, and vocal calembours. The results have been remarkably described as 'the sound of a continent moving, ethnicities, animals, plants and mineral included.

Out of the stack, the flatland has no boundaries.

Die ungarischen Groove-Metal-Ikonen EKTOMORF kehren mit HERETIC zurück! Ihr bisher persönlichstes, intensivstes und emotional erschütterndstes Album. Nach dem gefeierten VIVID BLACK und ihrer bisher größten Headliner-Tournee liefert Frontmann Zoltán „Zoli“ Farkas einen klanglichen Exorzismus, geprägt von einer persönlichen Tragödie: dem Verlust seiner Mutter und seines geliebten Hundes Wuffa. Produziert von seinem langjährigen Weggefährten Tue Madsen, ist HERETIC eine niederschmetternde Reminiszenz an die Outcast/Destroy-Ära der Band – nur düsterer, wütender und noch unerbittlicher!

"Heretic" steht nicht nur für einen musikalischen Wendepunkt. Es markiert auch die Rückkehr von Ektomorf zu Bleeding Nose Records. Nach vielen Jahren des Experimentierens, des Ausprobierens und Entwickelns ist die Band nun wieder da, wo sie hingehört.Ektomorf haben mit Heretic nicht nur ein weiteres Album geschaffen, sondern sich selbst neu erschaffen. Der Sound kehrt zurück zu den besten Zeiten von Outcast und Destroy, mit brachialen Drop-B- und Drop-A-Tunings, brutalen Riffs und dem unverwechselbaren, wuchtigen Groove.Doch gleichzeitig geht das Album noch einen Schritt weiter. Es ist wütender. Es ist dunkler. Es ist kompromissloser. Die Gitarrenwände sind massiver als je zuvor, verstärkt durch den gleichen Mesa Boogie Dual Rectifier, den Zolischon auf Outcast verwendet hat, nur diesmal mit einer modernen, brutaleren Klangdimension, die alles bisherige in den Schatten stellt. Doch es ist nicht nur der Sound, der Heretic so außergewöhnlich macht. Jeder Song auf dem Album erzählt eine Geschichte von Schmerz, Verlust und der Wut auf eine Welt, die alles zerstört, was einem wichtig ist.

Sierra Levesque is a 20-year-old, award-winning singer, songwriter, and multi-instrumentalist who is rapidly establishing herself as one of rock’s most
exciting rising stars. Gen Z’s Most Ambitious New Guitarist” and named among “10 Young Shredders Shaping Rock and Metal Today,” Sierra Levesque has also been prominently and in Guitar World Magazine, which declares she “stakes a claim as the future of rock ’n’ roll.” Her sound is a fusion of pop, rock, and metal,
drawing inspiration from legendary artists such as Avril Lavigne, Heart, Joan Jett, and Scorpions.

With a rapidly expanding global fanbase, Sierra has
amassed over 2 million Spotify streams, 450,000+ music video views, and 250,000+ social media followers. Sierra’s growing list of accolades includes winning four MyFM Spirit Awards for “Best Local Musician,” being a finalist for 'Artist of the Year' at the 2024 Ottawa Awards, earning a nomination for 'Song of the Year' at the 2025 Ottawa Awards, and receiving the prestigious King Charles III Coronation Medal for her outstanding contributions to the arts. Sierra Levesque’s debut album NEW GENERATION delivers 13 original, self-recorded tracks that blend powerful guitar riffs, evocative storytelling, and rebellious energy—establishing her as one of the most exciting young artists shaping the future of rock.

Following the release of the 7-inch "La Tua Amica Più Cara / Corteggiamento Lento" last September, Marengo is thrilled to announce Lumiero's debut LP, Il Primo Grande Disco Di Lumiero. Distributed by Four Flies Records, the album will be available starting Friday 5 December.

Featuring a timeless voice and a sophisticated touch, Lumiero sends poetic postcards from Milan and its Barona district that expertly blend auteur pop, chanson, and 60s exotica. Born in '97, Lumiero is the city's new chansonnier. Drawing inspiration from both the core and fringes of Milanese life, he offers a romantic, nuanced, yet playfully irreverent look at contemporary Italy and its profound longing for new horizons.

Marquis's compositions and arrangements provide the perfect backdrop for Lumiero's captivating melodies, acting as both canvas and frame. Meanwhile, the lyrics explore passionate romances, fleeting summer escapades, and a nation striving to reconnect with its core identity.

Moving between exotic waltzes and theatrical atmospheres, Lumiero's full-length debut is imbued with lightheartedness, underpinned by elegant songwriting and vocals that combine irony and melancholy. Living fully in the present but rooted in tradition, the album's tracks are little musical gems that bridge eras and generations, infusing the classic style of Italian songs with a modern, elegant, and cinematic quality.

And so, as time comes full circle, we find ourselves at a new beginning.

Relive the excitement of SNK's greatest games with this album featuring cult titles arranged entirely for piano!


Arranged and performed by pianist Nicolas Horvath, a Steinway and Sons artist renowned as a leading interpreter of composers such as Philip Glass, Franz Liszt, Claude Debussy, and Erik Satie.



The album contains a rich selection of tracks composed by the legendary SNK Sound Team, ranging from Prehistoric Isle to The King of Fighters 94, Samurai Shodown, The Last Blade, and Metal Slug 3.


Sometimes dark, sometimes bright, the arrangements beautifully and emotionally revisit the melodies that have marked several generations of gamers!


b a2 Intro, Stage 1, Stage Boss Medley [PREHISTORIC ISLE]
[c] a3 Main Theme & Final Boss Medley [PREHISTORIC ISLE]
[d] a4 Dignity Palace (Kain R. Heinlein Stage) [GAROU: MARK OF THE WOLVES]
[e] a5 All Over With Blood (Freeman Stage) [GAROU: MARK OF THE WOLVES]
[f] a6 Fullmoon - A Groan (Gato Stage) [GAROU: MARK OF THE WOLVES]
[g] a7 Destruction Maniac (Grant Stage) [GAROU: MARK OF THE WOLVES]
[h] b1 The Twelve Challengers (Player Select), Exotic Lady (Charlotte) [SAMURAI SHODOWN]
[i] b2 Darkness (Shiro Tokisada Amakusa 2) [SAMURAI SHODOWN]
[j] b3 Banquet of Nature (Nakoruru) - Part 1 & Part 2 [SAMURAI SHODOWN]
[k] b4 Ryuhaku Todoh Stage [ART OF FIGHTING]
[l] b5 The Primitive Age [TIME SOLDIERS]
[m] b6 The Age of Rome [TIME SOLDIERS]
[n] c1 PonPonella [ALPHA MISSION]
[o] c2 Vixen [THE SUPER SPY]
[p] c3 The Super Spy, New World [THE SUPER SPY]
[q] c4 Imputation [THE SUPER SPY]
[r] c5 Game Start, Powering Up [Vanguard]
[s] c6 Stage Medley [Vanguard]
[t] c7 Change (Theme 2) [THE LAST BLADE]
[u] c8 Termination (Ending 1) [THE LAST BLADE]
[v] d1 Bioinformatics (UFO Interior Passage 3) [METAL SLUG 3]
[w] d2 The Cenotaph (Stage 4 Alternative Route~Ancient Ruins), Desert (Stage 4) [METAL SLUG 3]
[x] d3 Secret Factory (Stage 3 Alternative Route~Armory) [METAL SLUG 3]
[y] d4 Into the Cosmos (The Void of Space) [METAL SLUG 3]
[z] d5 Opening, Napolitan Blues, Duel R&D, Yuu, Psycho Soldier "K.O.F Version" [THE KING OF FIGHTERS '94]


[b] a2 Intro, Stage 1, Stage Boss Medley [PREHISTORIC ISLE]
[c] a3 Main Theme & Final Boss Medley [PREHISTORIC ISLE]
[d] a4 Dignity Palace (Kain R. Heinlein Stage) [GAROU: MARK OF THE WOLVES]
[e] a5 All Over With Blood (Freeman Stage) [GAROU: MARK OF THE WOLVES]
[f] a6 Fullmoon - A Groan (Gato Stage) [GAROU: MARK OF THE WOLVES]
[g] a7 Destruction Maniac (Grant Stage) [GAROU: MARK OF THE WOLVES]
[h] b1 The Twelve Challengers (Player Select), Exotic Lady (Charlotte) [SAMURAI SHODOWN]
[i] b2 Darkness (Shiro Tokisada Amakusa 2) [SAMURAI SHODOWN]
[j] b3 Banquet of Nature (Nakoruru) - Part 1 & Part 2 [SAMURAI SHODOWN]
[k] b4 Ryuhaku Todoh Stage [ART OF FIGHTING]
[l] b5 The Primitive Age [TIME SOLDIERS]
[m] b6 The Age of Rome [TIME SOLDIERS]
[n] c1 PonPonella [ALPHA MISSION]
[o] c2 Vixen [THE SUPER SPY]
[p] c3 The Super Spy, New World [THE SUPER SPY]
[q] c4 Imputation [THE SUPER SPY]
[r] c5 Game Start, Powering Up [Vanguard]
[s] c6 Stage Medley [Vanguard]
[t] c7 Change (Theme 2) [THE LAST BLADE]
[u] c8 Termination (Ending 1) [THE LAST BLADE]
[v] d1 Bioinformatics (UFO Interior Passage 3) [METAL SLUG 3]
[w] d2 The Cenotaph (Stage 4 Alternative Route~Ancient Ruins), Desert (Stage 4) [METAL SLUG 3]
[x] d3 Secret Factory (Stage 3 Alternative Route~Armory) [METAL SLUG 3]
[y] d4 Into the Cosmos (The Void of Space) [METAL SLUG 3]
[z] d5 Opening, Napolitan Blues, Duel R&D, Yuu, Psycho Soldier "K.O.F Version" [THE KING OF FIGHTERS '94]

2025 Repress

Wewantsounds is delighted to announce the release of Tokyo Funk Diva, a compilation highlighting the work of Hitomi "Penny" Tohyama, one of Japan"s leading funk voices of the 1980s. Blending funk, boogie and soulful grooves, Penny brought a distinctive energy to Japan"s music scene during the decade. Compiled by Nick Luscombe-who previously curated Tokyo Dreaming for the label-the set marks the first time Hitomi"s music has been compiled outside of Japan. Featuring newly remastered tracks and liner notes by Luscombe, the release offers fresh context to Penny"s work and its role in the evolution of Japanese funk and groove culture.

2026 Repress

There's no need to apologise - not when the vinyl in question is as good as this. If you've seen Ricardo Villabos behind the decks of late you'll almost certainly have heard him drop one or more of these superlative edits, as he's been hammering them practically non-stop. You can't blame him. 'Edit 1' is a hypotonic bongo-fest that shimmers and caresses the dancefloor with absolute confidence. 'Edit 2' is a female vocal-led disco-slanted house affair with neatly trimmed, jazzy keys and a perky bassline, while 'Edit 3' looks to the late 70s/early 80s for inspiration with a supercatchy synth motif that Vince Clarke would give his right hand for and some exotic sounding, continental male vocals that round it off superbly. Imagine that Patrick Cowley and Krafftwerk made a tune together and you're in the right area. Put all three together and, well, you've got quite the package.

RAW, RUTHLESS AND CEREMONIALLY DARK!

Only two years after its inception in 2023, the ominous entity hailing from Germany has come up with their first full-length. Consisting of 6 songs with the first one being an instrumental intro, "Fiery Paths" is a very convincing effort on all levels. Notwithstanding the fact INFERNAL PRESENCE has only been active for 2 years, their hybrid of Black and Death Metal sounds as if it had been composed by a seasoned band. Unlike many outfits whose songs consist of a salad of riffs randomly thrown together, INFERNAL PRESENCE are apt at cleverly composing their material by frequently alternating between different tempi and moods. Fast tremolo picked riffs akin to DISSECTION or MAYHEM are alternated with palm muted Thrash riffs or atmospheric slow-paced arpeggios reminding of WATAIN or ONDSKAPT.

In so doing the two-piece creates dynamic songs that succeed in truly capturing the listener's attention. Just listen to standout tracks like "Eternal Exodus" or the exceptional "Tomb Procession" with its slithering groove and you will see our point proven. Although, only sharing certain musical elements with said bands, the suffocating atmosphere of "Fiery Paths" reminds of NEGATIVE PLANE's first album or early SECRETS OF THE MOON. Fortunately, the production fits the material just splendidly, too. While being gritty and raw, thus emphasising the album’s ferociousness, it's still polished enough so that no detail gets buried in the mix.

INFERNAL PRESENCE unleashed a record suffused with unrelenting darkness! If you consider yourself a fan of some of the bands mentioned above, do yourself a favour and listen to this beast of an album!

Straight out of the local mud of the city of Antwerp comes dancing this next Souvenirs from Imaginary Cities slab of free-flowing bits of electronic wonder : Schönen Abend by Simon B. Just in time to ease you out of this endless winter and right into springtime. Like the previous hit by Purple Uncle, this flower takes some time to bloom and fill up your head and body with it's ear wormy fragrance.

It's hazy and cinematic, makes you think of Italian electronic pioneers and their library magic, Patrick Cowley's School Daze and Haruomi Hosono in some kind of gothic manner. It's quite stripped and lush at the same time, rhythms like minimal mechanics make you fly above the river and land just outside reality. It's a nice place where soft jazz tingles right around the dark corner, and that particular mix of exotica and melancholia — the trademark of this port city's best electronic auteurs is definitely in the air. The river still shines, but she’s deeply poisoned. The old town has lost every bit of fresh air but keeps on digging for old gold. This bitter pill is served with delicacy and lightness, the wound is dressed up seductively — feet in the mud, head in the air. Stuff is sensuous, with quiet places reminding of the good side of those times when the big wheel stopped turning ever so madly. A strange quietness whistles through the leaves. Some things take time to unfold. In or out of C.

Four years in the making, this is the solo debut LP of Simon B, a longtime contributor to Antwerp's improvised music scene (Groovecats Deluxe, Wij Blij Trio ). Primarily a double bass player, he also has a deep-felt passion for offbeat electronica and the rainbowy side of American minimalism, which takes front here. The smoky voice on the last track belongs to Nina-Joy Thielemans, Nina-Joy is part of Particals, a trio working with live electronics and field recordings, releasing an lp on Ultra Eczema later this year. Furthermore, you can hear the tenor and soprano saxophone of Adia Van Heerentals on 4 tracks, deepening out Simon's naturally flowing compositions and playing around with his melodies. You may know her from Bodem and her strong presence in the Belgian jazz scene lately.

Simon's electroacoustic experiments — using a clarinet and some outboard effects — were important tools in finding the very specific colour of this record. There's this airy character, like wind blowing through old layers of bricks and over the river, anchored with a deep sense of bass, gathering ages of dust and memories in these eight elegantly wobbling tracks, forming a perfect whole that’s really coming together in one deep listening from A to Z.

The centrepiece is perhaps Come to Me, instrumental and reprise with vocals, but no fillers on this one. Every part of the mystery is needed to come to its end and back again. It's a record that works in the morning, to open up a day and in the quiet corners of the night, with it's sleazy quirkiness, smiling towards you from the right corner of the eye. A perfect compagnon for your long-form wandering habits, light reflections on a wet surface obsessions, coffee slurping in the morning and the forgotten art of beachcombing. Quite essential these days, witnessing a world going apeshit.

Delights present a new fuzz-driven sci-fi-flavoured double-sider by Voxatone.

Eden Atiya (Rasco) and Ben Avgay (Silvi Jan), also known together as power duo Alligator Ladies, join Shay Landa and Markey Funk for a new sonic excursion into vintage instruments with "vox" in their title. The new 45, "Altair V/Vampyrim", channels the mystique and eerie spirit of the cult 60s sci-fi/horror B-movies, as the four blend groovy psych with space-age surf and otherworldly exotica.

The Fearless Flyers V markiert die Rückkehr von Cory Wong, Mark Lettieri, Joe Dart und Nate Smith mit einer dichten Mischung aus instrumentellem Funk, der sowohl energiegeladen als auch raffiniert ist. Auf acht Tracks und rund dreißig Minuten liefert das Album präzise, strahlende Grooves, die den Wurzeln der Band treu bleiben und gleichzeitig neue Farben hinzufügen: Disco-Einflüsse in „Exotic“, ein Hauch von Blues und Soul in „SKOM“, eine fast rockige Progression in „Autobahn“ und eher kontemplative Stimmungen in „Ventura“ und „Anaheim“, wobei letzteres das Album mit strahlender Sanftheit abschließt. Die knackige, sorgfältig ausgearbeitete Produktion unterstreicht die zurückhaltende Virtuosität der Musiker und ihre subtile Balance zwischen rhythmischer Präzision und kreativer Freiheit. Weder eine Wiederholung noch ein Bruch, bekräftigt dieses fünfte Kapitel die Reife der Flyers und ihre Fähigkeit, ihr Universum zu erweitern, ohne ihre Identität zu verlieren. Das Ergebnis ist ein kurzes, aber intensives Album, das sowohl Funk-Puristen als auch Liebhaber instrumentaler Abenteuer ansprechen wird.

As early as her first album, Retiens mon désir (2016), Cléa Vincent brought us her fresh new pop sound, and succeeded in speaking a universal language through her music – an achievement that she accomplished again in Nuits sans sommeil (2019). Tropi-Cléa 3, which concludes the trilogy with a tropical excursion begun in 2017, represents a new – and bright – demonstration of this.

A souvenir record from her tour in Central America, it draws its inspiration from latin music, from the jazz that makes up Cléa’s roots. Surrounded by her live musicians who participated this time with her in the songwriting, she plunges us into into an exotica à la française, in the legacy of the French Riviera of the sixties, where Cléa’s admiration for Nougaro, Sébastien Tellier, le Gotan Project, Baden Powell, Tito Puente, and Gilberto Gil shines through. As though in mockery of the quarantine, Tropi-Cléa 3 opens a door for us to a festive and salvational escape.

2025 Repress

DJ Koze exists both above and beyond club culture as we know it - his albums and remixes flying free from genre and trend - and symbiotically woven into its heart. Yes, he always abstracts and weirds out the principles of house, techno, hip hop, pop, psychedelia, exotica and so forth, but he does that because he understands them. And when it comes to club-demolishing tracks, he understands those principles as well as just about anybody on earth. Thus he could create an enduring club tune like 2015's 'XTC' that is strange, contemplative, even disturbing, bore little relation to anything around at the time, yet still got bodies moving and sweating better than way more obvious techno bangers. And thus the Knock Knock album, which melts a million genres and none into one another, can comfortably include 'Seeing Aliens". 'Seeing Aliens' unquestionably is a banger, its bass riff snaking around your body like a python, its high-drama strings, pianos and outbursts of noise designed for maximum crowd pressure release. But, again, it sounds like nothing else, and its dynamics and twists unfold over eight and a half minutes in ways that will mess with your head every time no matter how many times you hear it. The exclusive b-side track, 'Nein König Nein' ("No King No"!), meanwhile, is slightly gentler on the face of it: it's less about sonic pressure, more about hip-shaking syncopation. But it too tells strange fairytales in its peculiar and brain-tweaking accumulation of detail, and though you'll hear archetypal sounds from the heart of house and disco in it, every last one of them becomes new and otherworldly.

GATEFOLD DOUBLE VINYL WITH SPOT UV FRONT COVER

Following the skewed-unself-help-brilliance of ‘Sus Dog’ (which marked his first full foray into songs, abetted by Thom Yorke), and its companion piece ‘Cave Dog’, Chris Clark returns to the dancefloor’s simple, but no less affecting pleasures, with ‘Steep Stims’.
“I found it hard to pull away from listening to this record, hard to stop making it, I had to remove myself from the Stims and stop enjoying it at some point. The album feels like nature to me. I love it when electronic music feels more naturalistic than acoustic music, more potent, that’s the devil’s trick, the promise of electronic music.” comments Chris.
“I used an old synth - the Virus on all of the tracks. I used it at Mess in Melbourne - run by my friend Robin Fox - I loved it so much I had to buy one when I got back to the UK, it took a while to find. They’re a bit clunky to program but make some of my most favourite sounds.”
‘Steep Stims’ marks a back-to-basics approach, invoking the early years of gung-ho creativity enforced by limitations in technology at the time. “Most of the tracks on this album capture the spirit of making music on old samplers, which don’t have much memory time”, explains Clark. “It reminds me of making ‘Clarence Park’, my first album, where I would have to finish tunes in the session, as they would be saved on floppy disks and I couldn’t easily go between tracks. This new record is just a few synths and a few choice sounds; the writing is the important thing.”
Made quickly, ‘Steep Stims’ reflects the immediate rave energy of his live show, but that’s not to say it’s basic floor fodder, as it’s rife with personality, synth magic, and knack for melody. Although swift and impressionistically captured rather than laboured over, it’s still formidably deft, with plenty of oddball weirdness lurking beneath the dancefloor.
Soft, orange, scorched, brutal, the opening track ‘Gift and Wound’ captures the classic dance music dread / awe / euphoria combo perfectly, before ‘Infinite Roller’ merges sparkly-minimalism with snarling bass and soft sines, which turn more dense and metallic as it progresses.
The melancholic smoke belch of ‘No Pills U’ gives strong classic vibrations, which is belied by its creation, made in just 20 minutes. “I love working quickly sometimes”, comments Clark. “Inspiration hits, rough and ready. It’s off the cuff but also screams ‘don’t gild the lily with nonsense, keep it simple keep it clean’”. Segueing into its elder brother, the piece becomes bigger and beatier on ‘Janus Modal’, where it permutates for over 7 minutes of fluttering, beatific club majesty.
At ‘18EDO Bailiff’ you inexplicably find yourself at a clearing, things have suddenly got much quieter. You enter a decrepit and eerie old house, and as you move through its unsettling interior, you arrive at ‘Globecore Flats’. A real piano tuned to 18 notes per octave gives the pair of tracks a haunted, olde worlde feel, which promptly gets eaten by a huge tech step tearout monster, birthing a strange but exotic beast.
The white hot ‘Blowtorch Thimble’ is all hooktasm-rave-hyper-amen-energy, whilst acidic flute leaps around like Ian Anderson on pingers throughout the catchily simple jump-up lurch of ‘Civilians’.
“‘In Patient’s Day Out’ is like some sort of Morricone-does-kraut-rock-with-drum-machines, but that’s probably just in my head” says Clark. “I made several versions of this then went with the early mix but cranked through some choice outboard because it just had something.”
Drumless, yet still full of exhilarating-big-trance-drama, ‘Who Booed The Goose’ flashes by in stroboscopic fast forward, then ‘5 Millionth Cave Painting’ gives a palate cleanser, letting “the virus with its delicious broken, luxurious reverb have a moment”, before ‘Negation Loop’ swoops down in all its glory, with Clark’s tweaked vocals leading deconstructed trance breakdowns, tape edits and brutal noisebursts.
An antidote to the bombast of its predecessor is ‘Micro Lyf’, which closes the set on a poignant note, of sorts. Muted staccato gives way to field recordings “that gradually put it in this outside space; alien in a meadow somewhere nameless. It feels like a sinkhole. The record kinda swallows itself up and then is gone”, ends Chris.

n 1Just the One (Feat. Joe Strummer) single Version














[n] 1Just the One (Feat. Joe Strummer) [single Version]














[n] Just the One (Feat. Joe Strummer) [single Version]