Buscar:f world

The latest release from the music project "Tokimeki Records," which has garnered worldwide attention for its covers and unearthing of classic J-pop songs
from the 80s and 90s, with a focus on city pop, is a cover of the 1987 hit "Tsuteibo" by 80s singer and gliding writer Nina Atsuko.

Tokimeki Records has taken the original song's arrangement, which evokes the classic 80s AOR, and created a sparkling, summery 2025 sound.
The groovy medium beat and brass ensemble are a perfect match for the seaside at the end of summer.
Hikari (Mime) features on vocals. Based on a neo-soul style, the lyrics and melody evoke 80s city pop, and are expressed in a cool and solid way.

The jacket is an artistic surf photo by surf photographer Sasao Kazuyoshi, which seems to capture the world of the song.
This single is from the surf music compilation "SALT... meets ISLAND CAFE -Sea of ​​Love 3-," supervised by the magazine "SALT...," which proposes new
values ​​for beach lifestyle and surf culture.

The now-classic duet of ‘Peace On Earth / Little Drummer Boy’ with David Bowie from Bing Crosby's 1977 television special, ‘Merrie Olde Christmas’ is back on a brand new, collector's edition, picture disc 12” vinyl.
The picture disc features the iconic image of David Bowie and Bing Crosby at the piano. "Peace on Earth/Little Drummer Boy" is a Christmas song performed by David Bowie and Bing Crosby. Recorded on September 11, 1977 at ATV Elstree Studios near London for Crosby's television special Bing Crosby's Merrie Olde Christmas, the song features Crosby singing the 1941 standard "The Little Drummer Boy" while Bowie sings the counterpoint tune "Peace on Earth", written by the special's musical supervisors Ian Fraser and Larry Grossman, and scriptwriter Buz Kohan, specifically for the collaboration.
The duet was one of Crosby's final recordings before his death in October 1977. Following the special's broadcast during the 1977 holiday season, ‘Peace on Earth/Little Drummer Boy’ went unavailable for many years. It was eventually released as a single by RCA Records in November 1982 and was a commercial success, peaking at number three on the UK Singles Chart. It was Crosby's final popular hit. It became one of the best-selling singles of Bowie's career, with total estimated sales over 400,000 in the UK alone.
The song has since become a Christmas classic in the United States, Canada and United Kingdom and has been referred to by The Washington Post as "one of the most successful duets in Christmas music history“.

Blang Records are thrilled to announce another two vinyl album re-releases from Jeffrey Lewis's back catalogue: The debut classic The Last Time I Did Acid I Went Insane (originally Rough Trade 2001) and The critically acclaimed 4th album 12 Crass Songs (originally Rough Trade 2007). 12 Crass Songs (VV004LP): Astonishingly transformed covers of songs originally written by the band Crass in 1978-1984, this 2007 LP is the most rare and sought-after vinyl in Jeffrey's catalogue and is also now completely out of stock. "Weird? Very_ _ but it's also downright inspiring" (4 of 5 stars) - Rolling Stone. "The record presents Crass's lyrics calmly, often demonstrating how sane and practical they are; it proves once again, and kind of thrillingly this time, that no music is immune to interpretation" - The New York Times. "Folk maverick raids anarchist commune and finds catchy tunes_ Works wonderfully" - Spin "Jeffrey Lewis' talents appear without end_ (on 12 Crass Songs he) magically makes the anarcho-rockers' anti-establishment savagery his own, by wrapping their barbed sentiments in his trademark mottled tea-towel warmth" - NME. "12 Crass Songs succeeds utterly_ eerily beautiful and strangely affecting" - Plan B Magazine "He's taken hold of any number of my old stormy favourites and breathed fresh life and fire into them. . . Man, I'm in awe of Jeffrey right now. Who'd have thought he could have done that?" - Everett True/ Village Voice "Quite brilliant" - (4 of 5 stars) MOJO. "It's no mean feat to transform such abrasive harangues into lush, tuneful folk_ without defusing their righteous anger_ but Crass's intelligent and indignant screeds could not hope for a more sympathetic translator." (4 of 5 stars) - THE GUARDIAN. Blang Records and Jeffrey Lewis have history: before Blang was a label, it started life as a live night at the 12 Bar Club in Denmark Street, hosting many a set of the NY Antifolk artists over on UK shores, including Jeffrey Lewis. Now 20+ years since Jeffrey first played Blang. Native New Yorker Jeffrey Lewis is a comic book writer/artist and a musician. A cult hero birthed from the now infamous antifolk movement that sprung up on Manhattan's Lower East Side in the 90s, Jeffrey has released dozens of albums showcasing his unique blend of bleakly witty observations, scratchy, lo-fi punk and croaky folk/anti-folk, all firmly rooted in a strong DIY sensibility. Jeffrey and his band have toured the world multiple times over, released albums on Rough Trade, Moshi Moshi and Don GIovanni Records, and have been featured by NPR, The History Channel, The NY Times and more.

Blang Records are thrilled to announce another two vinyl album re-releases from Jeffrey Lewis's back catalogue: The debut classic The Last Time I Did Acid I Went Insane (originally Rough Trade 2001) and The critically acclaimed 4th album 12 Crass Songs (originally Rough Trade 2007). The Last Time I Did Acid I Went Insane (VV001LP) : The fragile poetry and lo-fi warmth of JL's home-recorded debut paint vivid scenes of downtown Manhattan life with cracked sincerity, comic book absurdity and charm. This groundbreaking album continues to charm listeners but has completely run out of stock. Press Quotes: "Jeffrey Lewis: `The Last Time I Did Acid I Went Insane' - Best Indie Album of 2002; like his drawings, his music is witty, animated and true." - New York Daily News "Bizarre but brilliant_ slugging it out to be New Rock capital of the universe, Jeffrey Lewis could well be New York's ace in the hole."- Uncut "Modestly brilliant." [Critic's Choice]- The Village Voice "He claws through the bullshit and pretence ingrained in society. [Jeffrey Lewis' work] _should be cherished."- TimeOut London "Jeffrey Lewis isn't simply a singer, but a creative comic mastermind_ brilliant_ a staggering work of_ genius." - (9 stars of 10) Addicted to Sound Blang Records and Jeffrey Lewis have history: before Blang was a label, it started life as a live night at the 12 Bar Club in Denmark Street, hosting many a set of the NY Antifolk artists over on UK shores, including Jeffrey Lewis. Now 20+ years since Jeffrey first played Blang. Native New Yorker Jeffrey Lewis is a comic book writer/artist and a musician. A cult hero birthed from the now infamous antifolk movement that sprung up on Manhattan's Lower East Side in the 90s, Jeffrey has released dozens of albums showcasing his unique blend of bleakly witty observations, scratchy, lo-fi punk and croaky folk/anti-folk, all firmly rooted in a strong DIY sensibility. Jeffrey and his band have toured the world multiple times over, released albums on Rough Trade, Moshi Moshi and Don GIovanni Records, and have been featured by NPR, The History Channel, The NY Times and more.

Born in the sewers of Montreal in 2018, it all started with a simple goal : blending old fashioned death metal and modern hardcore together in a city where technical death metal reigns supreme. It didn't take long for the band to make a name in the underground tho. Fast, old school riffs, pummeling mosh parts mixed with energetic stage presence quickly earned ST attraction, especially in the hardcore scene. Initially formed by tattoo artist Vincent PL on vocals and axeman Philippe Leblanc, ST has now its hardest lineup to date by adding Miguel Lepage (ex- Blind Witness, ex- Obey the Brave) on bass and Émile Savard (Profane Order, ex- Malebranche) on drums, turning the band from another local act into an absolute fucking weapon. The time has come to follow the path of Cryptopsy, Quo Vadis and Despised Icon and show the world that Montreal is still to this day a reckless, unrelenting force of death metal.

Originally released in 2009, Céu"s Vagarosa is a landmark of 21st-century Brazilian musicc- a lush, genre-blurring journey that weaves samba, dub, psychedelic soul, and electronic textures into a sound cboth timeless and futuristic. Now reissued on vinyl, this essential album invites listeners to rediscover its warm, analog charm. From the opening track "Sobre o Amor e Seu Trabalho Silencioso," with its cavaquinho and vinyl crackle, to the dub-infused "Cangote," where organ swells and basslines intertwine, Vagarosa showcases Céu"s ability to blend traditional Brazilian rhythms with global influences. Her reinterpretation of Jorge Ben"s "Rosa Menina Rosa" transforms into a psychedelic swirl of reverb and phasing effects, maintaining its breezy essence. The album"s closing track,"Espaçonave," features rainforest sounds and multi-tracked vocals layered over fuzzed-out guitar, reminiscent of the art-pop sensibilities of artists like Natalia Lafourcade. Critically acclaimed upon release, Vagarosa reached No. 2 on the US Billboard World Music chart and was nominated for a Latin Grammy Award for Best Brazilian Contemporary Pop Album in 2010. Its innovative production and Céu"s ethereal vocals have cemented its status as a modern classic in Brazilian music. This vinyl reissue captures the album"s rich textures and sonic depth, offering both longtime fans and new listeners an opportunity to experience Vagarosa in its full analog glory. Remastered by Colorsounds Paris.

Originally released on Mon 22 August 2005, the Furries’ third and final album to be recorded by Epic Records, Love Kraft is to be reissued on double vinyl, 2CDs, including the 22-track bonus CD, Kiss Me With Apocalypse and digital formats on Fri 24 October 2025 via the Cardiff-based independent label, Strangetown Records. Four previously unheard tracks are drawn from the vaults, including the squidgy ELO-stomp of drummer, Daf Ieuan-led Rock ‘N’ Roll Flu, plus the distorted space-jam of Cae Marw, the band’s deep-bass sketch of Palo Alto and ghostly, percussive morsel of Bedw Arian.

The album followed six previous albums by the band, including their statement debut album, Fuzzy Logic in 1996, melding an attention-demanding mix of literary, narcotic and musical influences. Maintaining a shape that was ill-fitting in the jigsaw of other 90’s guitar bands, their follow-up, UK Top Ten album, Radiator brought the hooky squelch of the bona fide indie dancefloor classic, The International Language of Screaming. The next decade saw the release of the first Top 20-charting, Welsh language album, Mwng (2000), followed by further experimentation and commercial success with Rings Around The World (2001) and Phantom Power (2003).

Love Kraft’s sense of cohesion, collaboration and free-flow of rich harmony has been credited to the five-piece escaping Wales to record in the shimmering heat of Figueres, Catalunya. Bringing famed Beastie Boys producer, Mario Caldato Jr along with them for the ride, the travelling band’s stay in the Catalonian hometown of Salvador Dali included found sounds, boozy petrol stations, gastronomic revelations and, finally, a rich album of strings, synths and opulent vocal harmonies.

While eventually finding their way to Baha, near to Rio di Janeiro to mix the album Love Kraft’s story began in Wales and Pleasure Foxxx Studios, where the band began to craft the album’s songs. Embracing the landmark of a seventh album, notably coming after the 2004 release of their first ‘best of…’ package, Songbook: The Singles, Vol. 1, Super Furry Animals pooled ideas and affected further democracy in their songwriting, taking a load off traditional lead-writer and front man, Gruff Rhys, and sharing in lead vocal duties (aside from the microphone-averse bassist, Guto Pryce).

Love Kraft was the first Super Furry Animals album recorded to hard disc instead of multi-track tape, and found the band typically explorative and open to happenstance. Zoom’s opening splash into the recording studio’s swimming pool is accompanied by the on-location, pool table samples found elsewhere on the album.

Updated packaging features the original, meticulously built diorama design by long-time collaborator Pete Fowler. Constructed by hand in his studio, complete with bulb-lit illumination, then photographed, the sleeve’s depiction of a monolith-rich desert landscape reflects the sense of other space and time depicted by Love Kraft’s woozy songs. The final sleeve design again comes courtesy of Mark James.

Berlin-based Swedish singer-songwriter Nadya Albertsson returns with her most personal work to date, Swaying, released via Rebecca"s Records. Blending diaristic storytelling with lush, layered instrumentation, the track captures a fleeting, transformative moment of queerself discovery. Serving as the first glimpse of her forthcoming debut album Half Silk Half Blade set for release in October 2025, Swaying offers an emotive introduction to the world Nadyahas crafted.

Five years after the enigmatic Phylax Society, the ever sonic wanderer Sutja Gutierrez returns with Asystole Flatline, a new full-length odyssey to be released on Lumière Noire Records. Gutierrez delivers a work that slips between worlds - part reverie, part vertigo - haunting the threshold between what"s ending and what"s yet to come. With Asystole Flatline, Lumière Noire reaffirms ist commitment to fearless, genre-defying voices that challenge conventional boundaries.

Punk pioneer/Eater main-man, Andy Blade's 7th solo album and follow up to 2024's critically acclaimed & heavily rotated, Sparks bros endorsed "Being Alive Is Fun". It is imbued with the usual left-of-centre Blade-ism's & themes: star maps, UFO's & a slightly twisted nod to tragic 70's heroine Karen Carpenter. You get what you deserve with Blade, and with Tiny Specks you are rewarded with a rich code to decipher at your leisure. Most of all, however, it is all about the quality of his songwriting. Opening track 'Karen Is The Drummer' (featuring Blade's regular singing collaborator - PseudoPomp's Katerina Sharkova) seems unsettlingly self-explanatory, but all does not seem well in the Carpenter M.O.R world - 'It's just her & her brother & her folks indifference to that girl'. Occasional Dinosaur Jr vocalist Tiffany Anders gives 'I'm Not Myself' a poppy but eerie nuance. PollyPikPocketz's Myura Amara pops up on the short but very sweet 'About That'. Matilda Scotland, Quick Romance's uber-cool punky-chanteuse - adds her Gen Z aura to the summery 'I Like It When You're Happy'. Former Generation X guitarist Bob 'Derwood' Andrews, with whom Blade has worked with consistently of late, once again features heavily on 'Tiny Specks'_ Like with Katerina Sharkova's voice, Derwood guitar lines interweave with Blade's honeyed vocal as though they made for each other. 'This Place' is another key track, capturing the claustrophobic-genocidal mood of what has been taking place in Gaza/Palestine for over two years now, and counting. 'This is not so much a protest song as it is the noise in my head'. If John Lydon is the Widow Twanky of Punk, and Billy Idol, its Elvis, then Andy Blade must surely be the Sinatra of Punk.

Returning after four years, Los Angeles indie-pop band Massage unveil Coaster, a luminous 10-track album steeped in melodic depth and emotional honesty. Widely recognized for their infectious pop sensibility, the five-piece approach the turbulence of adulthood through shimmering pop songs that capture both nostalgia and growth. Drawing inspiration from The Cure, Big Star, Echo and the Bunnymen, and The Go- Betweens, Massage now transcend their influences, offering a sound that's uniquely their own. Coaster is a testament to the band's evolution-embracing the "inbetween," writing pop songs that linger. What makes compelling is how three musicians take on writing and vocal duties, leading to stylistic shifts between tracks while maintaining a cohesive, signature sound. Across the record, the band's lyricism explores the messiness and resilience of adulthood-resolving to keep moving forward, even when life is uncertain. The recording process mirrored these themes: a willingness to make mistakes, hit reset, and chase down the unique world within each song. This is the soundtrack of five friends navigating life's unpredictability together. Their chemistry and shared history create moments of spontaneous brilliance- whether in the driving interplay between guitars, the pulse of vintage effects, or the heartfelt harmonies threading the album. Coaster is more than a collection of standout pop songs; it documents growth and camaraderie, bridging nostalgia with honest self-reflection and crafting melodies that linger long after the final note.

- 7 Tracks aus dem Open-World-RPG-Actionspiel von 2025
- Artwork von Ubisoft und Maya Kuroki

Ubisoft und Laced Records haben ihre Zusammenarbeit erneuert, um die Musik von Assassin's Creed Shadows auf Vinyl zu veröffentlichen.

"Assassin's Creed Shadows" entführt die Spieler:innen in die reiche Kulisse des feudalen Japans und wird von einem Soundtrack untermalt, der traditionelle Instrumente mit verspielten, modernen Techniken verbindet. Die in Montreal ansässige Band TEKE::TEKE wurde beauftragt, der flinken und verstohlenen Protagonistin Naoe mit ihren eindrucksvollen "Needle Drop"-Story-Momenten Leben einzuhauchen.

Die Surf- und Psych-Rock-Einflüsse der Gruppe passten perfekt zur Ausrichtung des Spiels, da die Entwickler bei der Suche nach Musik für "Shadows" an einen Soundtrack von Quentin Tarantino dachten. Die Band hatte die Aufgabe, Jesper Kyds ikonisches Serienthema "Ezio's Family" zu interpretieren - ein Fan-Favorit, der normalerweise als Teil der Filmmusik adaptiert wird.

Die Mitglieder von TEKE::TEKE sind durch ihre japanische Herkunft eng mit dem Setting des Spiels verbunden. Passenderweise hat die Band durch ihre Recherchen und die Einbindung in das Projekt die auch im Spiel zentrale Philosophie der Shinobi, "Shinobi-Do", aufgegriffen.

- 7 Tracks aus dem Open-World-RPG-Actionspiel von 2025
- Artwork von Ubisoft und Maya Kuroki

Ubisoft und Laced Records haben ihre Zusammenarbeit erneuert, um die Musik von Assassin's Creed Shadows auf Vinyl zu veröffentlichen.

"Assassin's Creed Shadows" entführt die Spieler:innen in die reiche Kulisse des feudalen Japans und wird von einem Soundtrack untermalt, der traditionelle Instrumente mit verspielten, modernen Techniken verbindet. Die in Montreal ansässige Band TEKE::TEKE wurde beauftragt, der flinken und verstohlenen Protagonistin Naoe mit ihren eindrucksvollen "Needle Drop"-Story-Momenten Leben einzuhauchen.

Die Surf- und Psych-Rock-Einflüsse der Gruppe passten perfekt zur Ausrichtung des Spiels, da die Entwickler bei der Suche nach Musik für "Shadows" an einen Soundtrack von Quentin Tarantino dachten. Die Band hatte die Aufgabe, Jesper Kyds ikonisches Serienthema "Ezio's Family" zu interpretieren - ein Fan-Favorit, der normalerweise als Teil der Filmmusik adaptiert wird.

Die Mitglieder von TEKE::TEKE sind durch ihre japanische Herkunft eng mit dem Setting des Spiels verbunden. Passenderweise hat die Band durch ihre Recherchen und die Einbindung in das Projekt die auch im Spiel zentrale Philosophie der Shinobi, "Shinobi-Do", aufgegriffen.

- 29 Tracks aus dem Open-World-RPG-Actionspiel von 2025
- Artwork von Ubisoft

Ubisoft und Laced Records haben ihre Zusammenarbeit erneuert, um die Musik von Assassin's Creed Shadows auf Vinyl zu veröffentlichen.

"Assassin's Creed Shadows" entführt die Spieler:innen in die reiche Kulisse des feudalen Japans und wird von einem Soundtrack untermalt, der traditionelle Instrumente mit verspielten, modernen Techniken verbindet.

Das Komponistenduo The Flight (Joe Henson und Alexis Smith) kehrt zur Assassin's-Creed-Reihe zurück und liefert einen Soundtrack, der traditionelle Instrumente mit zeitgenössischen orchestralen und elektronischen Elementen verbindet. So entsteht ein unverwechselbares Gefühl für Zeit und Ort, während spielerisch auf die Science-Fiction-Themen der Serie angespielt wird.

Die beiden Protagonisten von "Assassin's Creed Shadows" werden mit unterschiedlichen Instrumenten und musikalischen Ansätzen dargestellt: Die verstohlene Shinobi-Adeptin Naoe wird mit dem Instrument ihrer Wahl, der Tonflöte (Tsuchibue), und dem körperlosen Flüstern während der Stealth-Momente dargestellt. Der legendäre Samurai Yasuke wird mit den schärferen Klängen der Shamisen und rhythmischer Intensität dargestellt.

Für die Darbietung der japanischen Instrumente hat The Flight auf Meisterspieler wie Keiko Kitamura (Koto) und Hibiki Ichikawa (Shamisen) zurückgegriffen. Weitere Interpreten sind die Sängerin Akari Mochizuki, die Flötisten Kristin Naigus, Oriol Singh und Andy Findon sowie Michael Georgiades, der musikalische Mitarbeiter von The Flight bei Assassin's Creed Odyssey.

Yazmin Lacey returns with Teal Dreams - her soulful, fearless second album, rich with real-life storytelling and sonic flair.

Following the breakout success of her debut album Voice Notes, praised by Billboard, Fader and Pitchfork (who likened her to Erykah Badu and Lauryn Hill), Yazmin’s star continues to rise. Last year saw her headline London’s Village Underground and KOKO, as well as perform with Ezra Collective on Strictly Come Dancing and Radio 1’s Live Lounge, the unforgettable voice behind firm festival favourite “God Gave Me Feet for Dancing.”

With Teal Dreams, she builds on her signature sound blending soul, ska, lover’s rock and indie into a vivid, emotionally sharp record shaped by real life, late-night reflections, and a last-minute trip to Thailand.

Collaborating with some of the best in class Miles James (Lotus), Barney Lister, Matt Maltese and more, Yazmin has expanded and elevated her sound on this album. Teal Dreams is a bold, honest evolution, and proof that Yazmin Lacey is only just getting started.



Classic and timeless, the Teal Dreams 12” black vinyl LP comes housed in a beautifully designed sleeve with a foldout lyric booklet. Artwork shot by Wukda brings the album’s mood to life with bold, striking design from Lauren Harewood.

Teal Dreams eco-friendly digipack CD, featuring an 8-page lyric booklet. Elegant photography by Wukda and striking design by Lauren Harewood complete this elevated package.

"In Your Eyes" ist einer der hypnotischsten Songs des Sängers Johnny Osbourne, ein Ohrwurm den er 1982 mit den Roots Radics im Channel One Studio aufnahm und durch vielfachen Einsatz als Sample von Drum & Bass / Jungle Künstlern auch außerhalb der Reggae Szene bekannt wurde. Hier ist die Originalversion, erstmalig als authorisierte 7-Inch Single mit der "Wins The World Cup" Dub Version auf der B-Seite, abgemischt von Overton "Scientist" Brown in King Tubbys Studio.

Le Motel and Bruce Wijn met at school, during a school art trip to Munich. They went separate ways for a long time.

Hailing from Brussels, Le Motel's world is a vortex of sight and sound that takes in the many and varied corners of the planet. As a music producer and film composer his versatility has taken him to festivals and clubs in every direction as naturally as he has ventured out to the less accessible areas of the globe as a field recordist. It's somewhere in between these spaces that Le Motel operates, gathering unique experiences and sounds to channel through his studio.

Bruce Wijn is a Brussels-based guitarist who played in several postrock kind projects such as Sound Film, 52 Commercial Road, or more shoegaze Lazy Sin. These collaborations gave him the opportunity to perform in various locations in Belgium, France, England, and the USA. As a musician, his focus has always been attracted by progressively built rhythmic melodies, which would eventually turn into long reverberated or distorted swells, or the otherway round.

All these experiences brought them both to the idea of scoring movies with different yet similar approaches.

That's how their first collaboration happened as Le Motel was working on the soundtrack of the movie Binti, and invited Bruce Wijn for the track Exode, in 2018. Since then, they've been working on other scoring projects, such as the feature film 'Aller Retour' more recently.

Alongside the movie scoring activities another audiovisual live project was born, in collaboration with Antoine de Schuyter and his mesmerizing images.

This one is more focusing on tape textures, field recordings and glitchy effects in order to build atmospheric tracks that they decided to bring together in a first E.P. 'MAAR'.

'MAAR' is elaborated as a soundtrack for an imaginary journey between cold seas and volcanoes explorations.

From the first echoing sounds of playing kids on the shoreside in the opening track 'La Perche' Le Motel & Bruce Wijn let you slide in a technicolor dreamworld, reverbing slowly innocent childhood memories into a chilled, out of range, future.

'MAAR' dives deep into a kaleidoscopic microcosmos watching Nautilus playing hide and seek with 'Captain Ahab' floating on sonic breaking waves, while seagulls gently spread their wings flying through the breezy and misty clouds of Blankenberge.

Lava vulcanica slowly melts in the sad euphorica of the cold North Sea, crystallizing sounds only Le Motel and Bruce Wijn can deliver.

Pruillip is a new Belgian band founded by Louis Evrard (Bert Dockx Band, Grid Ravage, Ottla) and Annelies Van Dinter (Echo Beatty, Takh & Naga Ghost). The duo started about 2 years ago after a request to play at De Nor, the open air sculpture park and venue of Dennis Tyfus. For this occasion Annelies and Louis decided to do a position switch and play each other's instruments: Annelies beating the hell out of the drums and Louis ripping up the guitar.

Pruillip: the record

Visceral meditation: that's what the self titled debut album of Pruillip is all about. Eight songs channeling elemental emotions, kickin' deep into the internal organs of the body. Low end frequency swagger droning up from Louis Evrard's amp, ready to slip into 'Place All Your Cards', slow burning sludge nugget, bolstered by the steady drum kicks of Annelies Van Dinter, where every note and strike seems to carry the weight of the world. Navigating through life, seducing you with her gloomy voice. Entering a quest into the unknown, a place you don't want to leave. A feeling increased by the abrasive and brutal 'Boterham': a punk sludge anthem for the hungry and the wild at heart, countered with the reverb-shrouded murmur 'Distracted Enthusiasm'. The lonely 'Zonnedauw' sets the mark of an apparently more resigned B-side, stretching the Pruillip universe with primitive, but so addictive, riffs in 'Mirrors', echoing vibes of 90's desert sessions while 'Offload' and the lucid state of Ataraxia seems to drift on raw emotions and a sweaty claustrophobic tension, which would fit perfectly in Wim Wenders Paris Texas movie. A whirlwind of a record, straight to the bone, leaving you flabbergasted and wanting for more.

Skylax Records is proud to welcome one of Germany’s deepest and most respected producers to the family: Sascha Dive, with his stunning Cosmic Ritual EP, featuring house music legend Robert Owens and Zimbabwean vocal virtuoso Vusa Mkhaya. From Frankfurt to the world, Dive has spent nearly two decades carving a unique space where deep house, Detroit techno, and spiritual soul converge—this new release is a testament to that lifelong mission. On A1, Owens delivers an uplifting sermon on the irresistible "Don’t Let No One Or Nothing Stop You", a timeless piece of motivational house drenched in analog warmth. A2’s “Deep Connection To Detroit” is exactly that: a hypnotic, percussive journey into Motor City groove science. Flip the record for “Take Your Time”, another Robert Owens collab that slows things down into deeper, more introspective terrain. Then comes "Cosmic Ritual (Vocal Mix)", where Vusa Mkhaya’s voice channels ancestral energy over shimmering pads and tribal percussion—pure transcendence. Closing things off is “Ultimate Mind”, a stripped-back, late-night cut for meditative floors and after-hours revelation. All tracks are deeply rooted in the vinyl tradition, made for DJs, dancers and dreamers. With this EP, Sascha Dive reaffirms what real house music is all about: soul, message, rhythm, and ritual. Limited 12” vinyl – no repress.

Following on from 2024's "Distant Landscapes EP" alongside Tensal, Amorphic returns (solo this time) to James Ruskin's Blueprint Records with a new ten-track album released digitally and as two four-track vinyl EPs released simultaneously.

Amorphic is a pseudonym of Scottish artist Vince Watson to explore more raw and hypnotic signatures. Launched in 2022, Amorphic has featured on labels such as Token, Symbolism and Modularz as well as the two labels Vince runs himself: Amorphic and Morph.

With almost 30 years in the industry, Vince has released over 1000 tracks, which has allowed him to work and gig with some of the very best in that time including Laurent Garnier, Richie Hawtin, Carl Craig and in this year, Vince will release an LP with Carl Cox on his label Awesome Soundwave. As a touring musician has been able to play at some of the world's best clubs as both Amorphic and Vince Watson, including a residency at Tresor Berlin, DC10 Ibiza with Carl Cox, Berghain and Womb Tokyo as well as being a current resident of 909 Festival in Amsterdam.



earth had been watched by the keepers of the secrets for millennia.
the human experiment had evolved into chaos.
the subjects had destroyed themselves and the planet they were gifted.
a few were taken, leaving a dying planet behind.
the rest of human history was deleted.
the gods sought a new order.
the year zero...

Out on Madrid's leading label for braindance, breakcore, acid, and experimental electronics, it marks a fearless new chapter in electronic music. Amidst a sea of mediocrity and plagiarism, I'm Not Here stands as a testament to the uniqueness of the Cornish Braindance scene, which has given rise to some of the greatest producers in electronic dance music. Here, Benjamin James demonstrates that he is the torchbearer of that legacy, delivering anthems for a world spiraling in self-alienation--where identity flickers between screens and silence.

“Daniele Baldelli: A Cosmic Life” is a documentary that tells the life and career of Daniele Baldelli, a pioneer of Italian and international dance music. The film pays homage to the creator of “cosmic sound,” a musical genre that revolutionized club culture in Italy and worldwide. It traces his career through archival footage and testimonies from artists and producers, showcasing how his vision influenced entire musical scenes.

The film, along with its soundtrack, highlights Baldelli’s ability to blend electronic, funk, Afro, rock, ethnic, and experimental music, creating a unique sound that has made four generations of young people dance in iconic venues around the world.

The record primarily includes new tracks specifically created for the film and the dancefloor, alongside his classics such as “Isotropo Funk,” “Funk Me Again,” and “Diffrazione” which are now difficult to find on vinyl. It also features an unreleased track produced for the film by his trusted collaborator Marco Dionigi.
– Lose yourself in the Cosmic Sound –
LP with insert.

The Sator Arepo, or Sator Square, is an ancient word puzzle comprising five palindromes that's etched on various historical sites throughout the Western world. Its origins are unknown, but the square has long been thought to hold magical properties, used as a charm against illness and evil, to cure insanity or to determine whether someone was guilty of witchcraft. Self-styled "punk ethnomusicologist", acoustician and musician Julien Hairon uses this mystical symbol as the starting point for his debut Judgitzu album in an attempt to reconnect with his Celtic heritage, exploring how its hallowed messages might harmonize with contemporary Tanzanian dance music.Hairon has been traveling across the world for over a decade, collecting field recordings from countries such as Indonesia, Australia, Cambodia, China and Bangladesh, and presenting them on his Les Cartes Postales Sonores label, re-issuing any curious cassettes and CDs he came across on the PetPets' TAPES imprint. It was during this time that he became fascinated by rituals that involved spirits, prompting him to examine his own ancestry when he returned to Brittany. "Many artifacts in the landscape remain," Hairon explains, "and the power of spirits is still palpable." He represents this Celtic mysticism on 'Sator Arepo' with murky drones and magickal synth tones, using xenharmonic scales (tuning outside of standard 12-tone equal temperament) that reach back to the ancient world. These sounds are augmented with fast-paced, sci-fi rhythms informed by his time in Tanzania; "Singeli has contaminated me," admits the producer.The most astonishing example of this is 'Miracle', a thrusting soundsystem experiment that layers serpentine, bagpipe-esque electronic wails over extravagant clusters of blocky percussion. Driven by the frenetic 175BPM pulse that echoes through the streets of Dar Es Salaam - popularized globally by forward-thinking producers like Sisso, Duke and Jay Mitta - Hairon opens up a rare conversation, seeking to draw parallels between today's most urgent dance forms and the archaic rituals of antiquity. On 'Vitalimetre', Hairon drives his sonic palette into the red, harmonizing with Dutch hardstyle and gabber, and splaying distorted drones over maddeningly blown-out kicks and ratcheting percussion. 'L'or Des Fous' takes a more meditative route, prioritizing Hairon's eccentric tonality with expressive sheets of pitch-warped sound that ghost walk across energized, rattling beats.If you heard Hairon's last Judgitzu release 'Umeme / Kelele', described by Boomkat as "one of 2019's deadliest dancefloor sessions," then you'll know how mindboggling this material can be. And with 'Sator Arepo', the French producer deepens his reach, grasping a world that we've almost forgotten and juxtaposing it with a landscape most of us barely comprehend.

VARIOUS ZBROYI COMPILATION ONE, opens with Orlesko’s break mix—offering a fleeting glimpse into the untamed world we are all part of. The journey deepens with a hypnotic remix by Polish underground heavyweight Gathaspar, pulling us further into its immersive pulse. The B-side shifts the atmosphere. Here, Montreal-based Maurice Giovannini delivers a crisp, clean cut that locks the dancefloor. Closing the release is a beautiful, introspective segment from Mexico’s experimental deep-sound explorer Never Alone In A Dark Room, wrapping the compilation in emotive nuance.

Thanks to the artists and everyone involved in bringing this series to life.

Vinyl LP pressing. Electroacoustic saxophonist, improviser, and composer Cole Pulice traffics in shimmering, otherworldly beauty. On the meditative ambient jazz of Land's End Eternal, Cole adds a welcome new texture with the introduction of the electric guitar, an instrument previously unheard in their music, which took on a central role as a compositional and sonic tool for this record.

DINTE's third mixtape in partnership with Philadelphia punk archivists World Gone Mad, this time focused on the late 1980s/early 90s punk & hardcore scene in Medellín, Colombia.

"There are moments in which art perfectly reflects the surroundings in which it was born. This is the case of the entire hc/punk/metal scene in late 80s/early 90s Medellín. It was, at the time, the most violent city in the world because of drug cartels, corruption, oppression & poverty. This violence was the reality of daily life & is reflected in the music that flourished in Medellín during the time period. It is some of the most authentically violent, aggressive, noisy, raw & abrasive hc/punk/metal to ever exist. This tape is a sonic snapshot of those times."

Another cassette-only mixtape in Death Is Not The End's series in partnership with Philadelphia's World Gone Mad, this time surveying South American punk and post-punk between '81 & '90 - featuring bands from Colombia, Peru, Ecuador, Chile, Paraguay, Uruguay and Argentina.

Ameel Brecht returns with ‘EXODUS’, the third installment in his series on the theme of sleep and focuses on the bounding realities of sleep and awakening.

Sleep as a boundless, recurring valley. A place of wandering where you disappear among wild grasses and hungry dreams. Wake-up equals exodus: a bittersweet goodbye to half-remembered, distant worlds.

Shadows fold into colour. Memory dissolves into noise. You brush up against the walls of the mind. Touch is soft as breath. On ‘B side’, Areliz Ramos follows her work’s current into its more “fantastic and elusive… and even romantic” side; a place where fantasy loosens the bolts of reality and memory, and emotion is alluringly refracted into musical collages and loose-strung compositions. Across the album, voices drift in and out of an intimate space, while pensive guitar lines stumble and bloom like scribbled unresolved notes in a diary. Beneath its icy, often chaotic surface, ‘B side’ radiates a deep sense of joy and fragility. Ramos sketches out an entire world by free association, collaging notions and echoing quiet thoughts into deeply honest snapshots of daydreams.

Areliz Ramos is a Peruvian producer living in London, recognized for an evocative palette weaving lo-fi and downtempo threads into dreamlike, abstract emo narratives. While her debut ‘Frío’ (Where to Now?), orbited around homesickness and estrangement, ‘B side’ embraces imperfection, incorporating her guitar (named "Frank"), pedals, synthesizers, and her own vocal textures for the first time, privileging emotional immediacy over technical precision. The creative process behind this album reflects a conscious decision to let go, loosen control, let intuition lead, and engage her own ‘B’ side.

Rather than constructing a safe haven from hardship, Ramos offers a cracked mirror, staring right at it, embracing that vulnerability. The gentle and beautiful ‘B side’ explores fleeting satisfaction, or the elusive comfort sitting just out of sight.

English composer Andy Cartwright aka Seabuckthorn uses picking & bowing techniques combined with various open tunings on string instruments to form a mixture of approaches, often with layered accompaniments. Generally the songs lean towards to the experimental genre, whilst on the edge of the ambient and folk.

Having grown up in Oxfordshire, Cartwright studied sound engineering in Cornwall and then lived in the cities of London, Paris & Bristol working as a broadcast wireman. He now resides in the French Southern Alps making music.

Cartwright has been actively touring internationally for several years performing in festivals and events throughout Europe. Since 2009, he has released several releases on some labels such as Lost Tribe Sound, IIKKI, Fluid Audio and recently Quiet Details. Various songs have featured in documentaries, film, websites and contemporary dance, as well as making original scores for film.