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Focusing on bringing people some fresh air from the island that we produced with its own unique character. Our artists provide an escape to somewhere full of energy to drag you back from the so-called chaotic world. There are plenty of spaces, it’s a sharing for everyone!

As you may know, Koh is a word in Thai that means ‘island’. We want to represent the sound of our characterized island and tell the story through it. For this collection, we want to present the island under the ground which represents the different perspective of life reflecting our music scene in reality.

We gave the word “Clockmaker” as a hint to the artists.
It’s a simple, even mundane concept—something easily overlooked and not immediately eye-catching. It also suggests waiting, as it often takes time for people to return to the shop. But time itself holds meaning, and the clockmaker always has something hidden beneath the surface.

With that in mind, “The Photo Sticker Machine” and “Chucheewa” present their first original track: “Galactic Love.”

Alongside it are five vibrant remixes by artists we deeply admire—from Mogwaa (Korea) and Retromigration (Germany) to three incredible talents from Thailand’s local scene: Kova O’ Sarin, Chalo, and Saranmy.

Yore Records proudly presents Yore 060 by DJ Alone Again from NYC - four deep, driving cuts channeling the essence of 90s New York House. Fusing raw groove, crisp percussion, and soulful undercurrents, this EP delivers pure dancefloor authenticity with a modern touch.

Spanning recordings from 2018 to 2025, Archive Vol. 1 is a curated collection of outtakes, alternate versions, and previously unreleased tracks that didn’t find a home on the band’s three studio albums. The band describes the project as “an album that came together almost by accident,” born from revisiting forgotten demos and half-finished ideas that, when assembled, revealed a cohesive and emotionally resonant body of work.
The album features 18 tracks, including fan-favourite live staples and experimental interludes.
With its blend of shoegaze textures, new wave energy, and introspective songwriting, Archive Vol. 1 offers a unique glimpse into the creative process behind Pale Blue Eyes’ evolving sound.

15 years since their fantasy disco scene-defining 1st volume, Johnny Jewel’s IDIB lasso Sally Shapiro, Desire, Farah, Lovelock and the kreme of their field for a 27-song, 2-hour re-up



Where previous volumes took their sweet time to arrive, ‘Volume 4’ graces the ‘floor only two years since the last, and nobody’s complaining. From its slo-mo, dry-iced covers of Jennifer Lopez’ ‘Waiting For Tonight’, Don Henley’s ’Boys of Summer’ and even flipping R.E.M.’s ‘Losing My Religion’, thru to exclusive pearls by our disco queen crush, Sally Shapiro, and Johnny Jewel as Desire, it’s the ideal soundtrack for late summer into silly season.

In der Evolutionsbiologie beschreibt der Begriff ,Spandrel" die Merkmale eines Organismus, die nicht fürs Überleben wichtig sind und keinen offensichtlichen Zweck haben. Das Wort kommt aus der Architektur und bezeichnet die dreieckigen Räume in den Ecken eines Bogens: kleine ästhetische Elemente, die für Symmetrie sorgen und Grenzen markieren. Die Musikerin und Sängerin Evita Manji stellt auf ihrem Debütalbum eine undurchsichtige Frage und fragt sich angesichts eines großen Verlusts, welche Teile von uns zum Durchhalten beitragen und welche vielleicht nur Deko sind. Ihre Tracks, die aus den Dämpfen zeitgenössischer Clubmusik, Barock-Pop und experimentellem Sounddesign zusammengesetzt sind, sind für Manji eine Möglichkeit, ihre Beziehung zur Welt im Allgemeinen und zu sich selbst im Besonderen zu untersuchen, Kontrollsysteme zu zerlegen und die Vernetzung hervorzuheben. Manji ist seit einigen Jahren eine ätherische Präsenz in der Szene und arbeitet als Soundkünstler und Kreativdirektor mit zahlreichen Künstlern zusammen. Letztes Jahr starteten sie ihre eigene Plattform myxoxym, wo sie zwei Singles aus ,Spandrel?" veröffentlichten und eine ambitionierte Fundraiser-Compilation mit Rainy Miller, Palmistry, Cecile Believe und anderen zusammenstellten, um Geld für den griechischen Tierschutzfonds ANIMA zu sammeln. Manji trat weltweit auf Festivals wie Unsound, Lunchmeat und Rhizom auf, spielte in Clubs in Berlin und London und wurde ausgewählt, die Plattform Shape+ im Jahr 2022 zu vertreten. Diese Erfahrungen fließen in ,Spandrel?" ein und helfen ihnen, ein komplexes künstlerisches Gewebe zu weben, das weit unter die Oberfläche des Daseins blickt und versucht, das Unheil des globalen Klimawandels mit Themen wie Selbstverwirklichung, Liebe und körperlicher Autonomie in Einklang zu bringen. Das Album beginnt mit dem Titeltrack, einer einleitenden Zusammenfassung, die die Zuhörer auf das vorbereitet, was sie gleich hören werden. Manjis Gesang schwingt mit einem eingestöpselten Gefühl kybernetischer Melancholie und filtert die Flut von Rhythmen und harmonischen Themen der Welt zu geschmeidigem, clubtauglichem Pop, der von ihrer fortschrittlichen Klangwelt getragen wird. Von dort aus werden wir in die Traurigkeit des atmosphärischen Klagelieds ,Pitch Black" hineingezogen, einer Meditation über den Tod, die tiefe Bässe unter Schichten von choraler Glückseligkeit versinken lässt und an die Kirche und die Tanzfläche erinnert, ohne die Kraft der beiden gegensätzlichen Elemente zu opfern. Ihre Dunkelheit wird in ,Oil Too Much" von innen nach außen gedrängt, einem Kommentar zur Ölindustrie aus der Perspektive des Tierreichs, der gleichzeitig als neonfarbener Ausdruck der zeitgenössischen Depression dient. Aber in ,Body/Prison" klingt Manji am offensten, spricht ehrlich über die dunkelsten Momente ihres Lebens und gesteht ihre tiefsten Gefühle über sengende, von Trance inspirierte Synthesizer und groteske Percussion. ,Spandrel?" ist ein Album, das Zeit braucht, um sich zu entfalten, und Manjis Themen hallen durch eine Geschichte wider, die älter ist als die Popmusik. Es ist tragisch, romantisch und poetisch und weigert sich entschieden, sich von den drängendsten Themen unserer Zeit abzuwenden.

White Vinyl. Shine is the sophomore album from Grammy Award–winning songwriter and artist Tobias Jesso Jr.

Neon Yellow Vinyl

High Roller Records, neongelbes Vinyl, limitiert auf 450 Stück, 425 g/m² schwerer Kartonumschlag mit 5 mm Rücken, Textblatt, 8-seitiges Booklet, Poster. Transfer, Audio-Restaurierung und Mastering durch Patrick W. Engel bei TEMPLE OF DISHARMONY im April 2025. Schnitt durch SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen. Die ultimative audiophile Neuauflage!

Die hochgeschätzten Euro-Metal-Pioniere OZ wurden 1977 in der kleinen finnischen Stadt Nakilla ursprünglich als Cover-Band gegründet. Die Band bestand aus Mark Ruffneck (bürgerlicher Name Pekka Mark) am Schlagzeug, Sänger Ape DeMartine (Tapani Hämäläinen), Bassist Tauno Vajavaara sowie Kario Elo an der Gitarre.

Nachdem man in jedem Winkel des Heimatlandes Finnland live gespielt hatte, zogen OZ 1983 nach Stockholm um und unterschrieben einen Vertrag bei Börje Forsbergs Label Tyfon Grammofon AB Börje Forsberg, auch als The Boss bekannt, war der Sohn von Bathorys Quorthon.

In der Folge avancierten OZ zu einer der wichtigsten Heavy-Metal-Bands Skandinaviens und nahmen insgesamt fünf Studioalben auf, eher im Winter 1991/92 das Ende kam.

Nach »OZ« (1982), »Fire In The Brain« (1983) sowie »III Warning« (1984) war »Decibel Storm« 1985 das vierte Album der finnischen Schweden.

This remastered vinyl reissue of Blind Ear reintroduces The Celibate Rifles' urgent, socially aware punk-rock energy, cementing its place as a cornerstone of Australian alternative rock. 1989 is where The Celibate Rifles take their punk instincts to the next level-garage muscle, surgical precision, and a rock'n'roll pulse that sounds more urgent than ever today. Formed in Sydney ten years ago, the band appears here in full flight: two guitars in constant dialogue, a rhythm section with newfound dynamic range, and a razor-edged vocal that bites without losing melody. The remaster opens up the stereo image, sharpens the six-string detail, and restores to the turntable the physical punch this record demanded from day one; it's the definitive way to (re)discover a key title from the Australian school. The tracklist is pure traction: "Some Kind of Feeling" hits the ground running with speed and focus; "Wonderful Life '88" nails an instant hook and a clear-eyed critique of yuppie culture; and the closer, "O Salvation," lands as an expansive, cathartic statement of intent. Two tracks unusual in Australian rock for their subject matter-"Sean O'Farrell" and "Belfast"-tackle the Northern Ireland conflict head-on and underscore the band's social gaze, while the rest of the album maintains a no-filler intensity. This edition preserves the original LP sequence (the two bonus tracks existed only on the period CD) and stands as an essential piece for collectors and front racks alike: ideal for in-stores, listening bars, and classic alternative rock playlists. If your audience connects with BORED!, Radio Birdman, The New Christs, or The Saints, Blind Ear is an unequivocal yes.

Five years after legendary Dutch rock band Golden Earring called it a day (after 50 years of recording and touring), their ten most loved songs and worldwide biggest hits have been brought together on one album: Essential Earring

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!

This 2xLP is available for the first time on vinyl and blends his signature jazz and R&B mastery into a meditative soundscape. Glasper himself describes the album as a sanctuary, stating, "It's just something that quiets the world and allows you to see what's within." The album features Meshell Ndegeocello, Chris Sholar, Kendrick Scott and Burniss Travis.

On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project. One of the creative forces was APP long-time guitarist Ian Bairnson. The concept of the album revolves around the history of airborne exploration.

The theme of “Too Close to the Sun” is escaping the labyrinth of the Minotaur. “Brother Up In Heaven” is an emotionally driven song, about the unfortunate death of Ian Bairnson’s cousin. “One Day To Fly” is a song about Leonardo da Vinci’s search to design a flying machine.

A who’s-who of lead vocalists are featured on this album; Christopher Cross, Eric Stewart, Neil Lockwood, Steve Overland and Graham Dye. The amazing looking artwork was recreated for this vinyl edition by none other than Peter Curzon of Storm Studios. Although On Air might be the most underrated Alan Parsons albums, many consider this as one of his best albums. The package includes an insert with lyrics and pictures.

Originally released in 1994, GVSB’s second full-length release for Touch and Go Records, Cruise Yourself, is characterized by catch vocal lines wrapped in a sonic double-bass low end. Guitars filter in and out of songs driven by heavy powerhouse groove drumming. There is noise, there is melody. “Tucked In” churns, “Kill the Sexplayer” pounds relentlessly, “(I) Don’t Got A Place” glides, and “Psychic Know-How” blows your head off… but you regain it immediately in the ominous groove of “Explicitly Yours.”

Originally released in 1994, GVSB’s second full-length release for Touch and Go Records, Cruise Yourself, is characterized by catch vocal lines wrapped in a sonic double-bass low end. Guitars filter in and out of songs driven by heavy powerhouse groove drumming. There is noise, there is melody. “Tucked In” churns, “Kill the Sexplayer” pounds relentlessly, “(I) Don’t Got A Place” glides, and “Psychic Know-How” blows your head off… but you regain it immediately in the ominous groove of “Explicitly Yours.”

A duo album by guitarist Kazuma Fujimoto and pianist Masaki Hayashi

A sonic dialogue between two artists creating a trend in Japan's quiet music scene.
This acoustic duo, characterized by tranquil, ever-changing tones, has been mastered for vinyl and will be released on vinyl! "Unfolding in Time," a duo album
by guitarist Kazuma Fujimoto and pianist Masaki Hayashi, has been mastered and released!

Time when listening to music is a strange thing; it doesn't progress linearly. Sometimes it passes by in the blink of an eye, and other times it feels as if time has
stopped. Rather than simply playing a song, Kazuma Fujimoto's guitar and Masaki Hayashi's piano manipulate time, slowly enveloping the listener in the resulting
space. This music never ceases to captivate, no matter the situation. This seems to be the ideal form of duo performance, the ultimate expression.

Strong one on Voyage Direct from Rotterdam's Benny Rodrigues...TIP!

The label say "Benny Rodrigues seems to delight in confounding critics. Since making his debut alongside Darko Esser with 2007's Underwater Records-­-released 'Paradox', the Rotterdam-­-based DJ has surprised and excited at every turn.

Variously delivering woozy tech-­-house, rave revivalism, stripped-­-back minimal, jackin' acid, wide-­-eyed deep house and, under his occasional ROD alias, shirts-­-off warehouse techno. Along the way, he's released music on some of Europe's most prestigious labels, including Desolat, Soma, EC Records, Be As One and Wolfskuil Records.

Here, he makes his debut for Tom Trago's Voyage Direct imprint with two undulating, hypnotic, heads-­-down tracks that blur the boundaries between house and techno. Rhythmically loose but impressively tough - like all of Rodrigues' best productions - both cuts are built around mesmerising late night grooves and intoxicating chords.

'Master French' kicks things off, lacing nagging shakers, subtle synth strings and fluttering chords over a robust, shuffling tech-­-house groove. Rodrigues works the mix like a master, bringing elements to the fore before sliding them into the background. It's a simple, heads-­-down, 4am groove, but it's executed brilliantly.

'Z', on the other hand, is an altogether breezier affair, with repetitive, new age-­- inspired synthesizer melodies seemingly drifting over a rock solid house groove. Notable ride cymbals and warm beats proper the track forward, giving it a humid, tropical feel. This is music to move the body, mind and soul. "

Hiver completes a trilogy of EPs on Gudu with ‘Blue Hell’, another transmission of space-age machine funk from a duo who are truly shaping their own soundworld.

If you’ve followed Hiver, you should know the deal by now: they’ve spent the last decade honing a sound that draws heavily from dance music history – namely the starry-eyed synthesizer funk of classic techno and electro – that drips in colour and emotion without ever feeling retrograde. ‘Blue Hell’ is their third EP for Gudu, and maybe their most accomplished yet.

In Hiver’s words, “this EP was shaped by a mix of late night club energy and the more introspective, melodic ideas we’ve been exploring in the past years. A big part of it also comes from the tension between how people connect today. This constant, hyper-connected flow of networks, media, and online exchanges and our own way of creating music, which is very physical and personal. We’re always bouncing ideas through messages and files, but the real magic still happens when we meet in the studio, face to face. That contrast between digital connection and human presence became a sort of hidden theme behind the EP.”

“With Blue Hell, our third chapter on Gudu, we wanted to capture a moment of clarity, something direct yet still drifting. In a way, this release completes the excursion we began with the first two records: three points that trace the contours of the sounds we’re drawn to. Each track feels like a fragment of that journey, grounded in rhythm but always leaning toward depth and escape.”

After collaborating with Answer Code Request on Delsin early 2024, Amotik now strengthens the relationship with a first solo EP for the Amsterdam based label. Delsin is known for working the sweet spot in between emotive electronica and dancefloor functionality, and it feels like the perfect place for Amotik's new EP 'Raat'. The Berlin based producer has been pushing his highly effective techno tools via his own imprints for over a decade and doesn't make an appearance on external labels often. So for this special occasion he adds new layers of deepness and emotion to his palette. An effortless combo of punchy techno grooves and soothing pads together form a well rounded pack of dancefloor euphoria. The remarkable bleeps and playful rhythms of Amotik's highly effective techno are deftly transformed into four pieces of excellent eyes-closed techno felicity.

Pacific Northwester Drew Sullivan is the man behind the Slow Dancing Society and on his latest album, he interrogates nostalgia with clearer eyes while sculpting analogue glow, treated guitar and patient ambience into scenes that breathe. Tracks drift like headlights through snow - hums, howls, bass rumbles, rain-veiled keys all feature, each motion subtle, deliberate and devastating. The record's power lies in restraint: chord changes feel meteorological, melodies arrive as messages, then vanish. It's ambient music with a spine, grief without spectacle. By the time 'Blue Suburban Skies' lifts into Twin Peaks-levels of ache, Sullivan has rebuilt a world you want to hide away in forever.

Flick Wilson's "School Days" album has long been one of our all-time favorite LP's through it's killer combination of super heavy Roots Radics rhythms, wild Scientist mixing, and the Flick's unique alternating falsetto style. Never widely available and only ever released in NYC, it's now deservedly reissued.

Paperbark is the ambient project of Jon Mulville, who has been shaping rhythmic and textural soundscapes since 2016. His music is rooted in memory, as a way to process emotional fragments. Guided by time spent in nature and created in response to a culture that often feels lacking empathy, his work aims to create space for reflection.

He has released eight albums, primarily on Seil Records, as well as Constellation Tatsu. 'Light Behind Me' marks his first CD release and only his second appearance on vinyl.

“Innovative, hooky and full of depth” - Far Out Magazine

“Songs that lodge into your brain in the opening ten seconds” - Brooklyn Vegan

“Breezy, melodic… a clear ear for a hook” - UNCUT

“Playful and unexpected, emotional but not overstated” - CLUNK

‘Crows’ is the new single from Bristol’s Langkamer and the first to be revealed from their new album ‘No’, which is due for release on 22nd January 2026. Their fourth album in as many years, ‘No’ saw the prolific band taking to the mountains at the invitation of veteran producer Remko Schouten (Pavement, Personal Trainer, Bull). The much loved Bristol band holed up for a week in the wilds of Southern Spain at his brand new Zarzalico studio. Over a week, under the Murcian heat, they laid down the perfectly formed eleven tracks that make up ‘No’.

Since the band’s conception, Langkamer have worked out of anywhere affordable and available, whether it be the basements of renowned venues (‘West Country’, ‘Red Thread Route’, ‘Langzamer’) or secluded cottages (‘The Noon And Midnight Manual’). Over the years, their frenetic pace and quality of writing has earned them fans across the world, plaudits at UK media, and built an ever-growing musical community around them - not least via Breakfast Records - the independent label that is home to Getdown Services - formed by Langkamer’s Dan Anthony and Josh Jarman in 2006 alongside acclaimed singer-songwriter Jasmine 4.T.

To call Langkamer ‘your mid-level indie bands favourite mid-level indie band” sells them short. They have always scraped by on irregular incomes, plagued both by daily financial pressures and the occasional cash sinkhole so well known to any musician in the current impossible climate. Once Schouten offered to host them at his new studio (Zarzalico), they couldn’t refuse. A relentless recording schedule found the group only breaking for the daily long lunch and to occasionally fire an airgun across the hills. If the last half a decade had been a pressure cooker of constant touring and recording, their brief time in the remote Zarzalico could not have been more symbolic. Lead single ‘Crows’ perfectly captures this nervy balance and is a wiry slice of atmospheric proto-punk, drawing from the shadows of the late-70s UK landscapeit also defies these conventions, striking an anthemic chord from beginning to end. From the scaling chromatic guitars at the breakdown, to the final chants of ‘suffer’ and ‘struggle’, there’s a loud desperation and defiance to ‘Crows’ that lends it an unparalleled urgency. As singer/drummer Josh Jarman states:

“Crows is a song about the crazy shapes we contort ourselves into trying to create art in the era of late-stage capitalism. Working a thousand jobs. Writing songs with the left hand while writing emails with the right hand. Your day is already doomed the moment you open your eyes. Everything’s a bad omen.”.

With ‘No’ arriving early next year, ‘Crows’ is the perfect introduction to Langkamer, a band that has only taken new bold steps with each release, always hiding a keen experimentalism behind a charming hook. It is also the surest sign yet that they are ready to step up, and take on the road once again vision unclouded.