This is the Dahmers third album “Creature Feature” and the band continues to dig deeper in to a world of dark things, the things that don't belong, provokes, gives you the creeps or just makes you want to look away. “Our vision has been to explore and develop the bands sound but also to maintain the bands profound and colorful essence. “We want people to get excited when they hear the album, take them with us to another planet and make 'em forget about all the trouble in the world for a while” - Christoffer Karlsson (Lead singer/guitar)
The album was recorded and co-produced by Johan Gustafsson aka “The Johan and only” from the Hives in studio Ingrid in Stockholm. There's a new level and feel to the production with guest musicians on some tracks. With instruments like brass, cello, flute and piano the songs reaches their full true potential, along with added synth elements this gives the band a fresh feel. There's a wide variety of songs on the album where every track has it's very own theme, sound and characteristics. Where deep subjects like darkness, sorrow and alienation are being explored along with the bands continuing homage to the classic slasher and giallo flicks of the 70's and 80's, but also songs about a Swedish fakir, cults, rats and creatures from outer space. This album is a celebration to trash culture and to the underdogs, all delivered with a catchy uplifting chorus that The Dahmers is known for.
Creature Feature will be released on the bands own label Eerie sounds and will be out on February Friday the 13th.
In a world full of cheesecake rappers, one man has assembled a phenomenal team to bring you madness. The original originator, ultramanetic, high-wire rap legend Kool Keith brings a star studded album to the fore. "Feature Magnetic" highlights MF DOOM, SLug of Atmpshere, Mac Mall, Necro, Craig G, Dirt Nasty, Ras Kass and more. This special edition 24 for '24 Artist Series Vinyl also features original oil painting art by KipDaFog for this oen time pressing on tri-color canary cake vinyl.
out of Stock
Last delivered 2 years ago available to reorder, subject to availability
Dean & Britta’s Quarantine Tapes contains songs recorded at home and released digitally in 2020, covers of Kraftwerk, Bee Gees, Luna, the Clash, the
Cars, Dylan and more, with bonus track “The Carnival is Over” (originally
by the Seekers) not on the streaming release.
Tucky Buzzard
The Complete Tucky Buzzard 5 Lp Slipcase Box Set
- Having Come To The End Of The Psychedelic Path, The End Decided On A Change Of Musical Direction And A Change Of Name,
Arising From The Ashes As Tucky Buzzard In 1970 And Retaining The Line-up Of Guitarist Terry Taylor, Organist Nicky Graham,
Drummer Paul Francis, Bassist Dave Brown, And Vocalist Jimmy Henderson.
- The First Album, Recorded With Madrid Philharmonic Orchestra Directed By Waldo De Los Rios, Contained Some Last Vestiges
Of The Band's Previous Existence. But The Second Album, Produced By Old Associate Bill Wyman With Glyn Johns At Olympic
Studios Set Out The Band's Template Of Bluesy Rock, A Leading Genre At The Dawn Of The 70s. Mick Taylor Makes A Guest
Appearance.
- For The Fourth And Fifth Albums, The Band Was Signed To Deep Purple's Own Purple Records. Bill Wyman Continued In The
Producer's Chair, But The Departing Nicky Graham Was Replaced With A Second Guitarist.
- Strictly Limited To 750 Copies, And Housed In A Numbered Rigid Slipcase Featuring Photos From The Collection Of Terry Taylor
(bill Wyman's Right Hand Man In The Rhythm Kings For The Last 25+ Years), All The Original Sleeves (including Two Gatefolds)
Are Faithfully Reproduced. The Inner Sleeves Feature Extensive Annotation By Alan Robinson Based On Interviews With The Band.
"On Suicide's First Rehearsal Tapes, recorded in 1975, Alan Vega and Martin Rev create minimalist aural structures, traces of which would surface on their eponymous debut album, released on the Red Star label in late 1977.
These songs are not a sketchpad of semi-formed ideas. The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definition as they headed further into uncharted territory.
The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. To understand the absolute brilliance of Suicide's first album as well as their sonic adventures that followed, you have to start here with their earliest recordings."
Classic LP reissue - a 17 track double LP set with download code.
Cypress Hill's 4th album originally released 1998, includes Dr. Greenthumb, Tequila Sunrise, Audio X ...
Since its original release, Aging has taken on an interesting wider significance. OCA’s music came to the attention of Kelela, who featured the duo in her Aquaphoria mix before later working with Yo van Lenz and Florian T M Zeisig in their Berlin studio. Those sessions would go on to play an important role in shaping the sound of her acclaimed 2023 album Raven, on which both artists are credited.
2019 Press Release:
Berlin based duo OCA present Aging, their sophomore album and first for Métron Records. Following up last year's Preset Music (recently featured in Kelela's Aquaphoria mix) Aging is an album that focuses on memory, experience and the passing of time.
A collaboration between producers Yo van Lenz and Florian T M Zeisig, OCA formed after the pair met and became friends while studying in Berlin. Originally from small towns in Bavaria, the duo now live and work in the German capital.
Through a series of 10 vignettes, Aging transports the listener on a trip across a series of life events that retain a special personal importance to both of the artists. These emotional touchstones range from the profound to the prosaic - the discovery of something new, the relief from annoyance or the familiarity found in an old companion - and have been fully explored with playful sonic introspection.
Whilst the concept retains a certain ambiguity, it is the sound palette, created solely on an Alesis QS6 synthesiser - that brings these experiences to life. OCA blend and weave classic dance music motifs with shimmering synths, Japanese wet ambient, and even anthemic 80s rock to create a soundscape rich with texture and sensation.
The bass notes and tentative lead of ‘Baby’s First Blade of Grass’ reference the memory of first consciously or subconsciously experiencing something new, whilst the decaying ripples of ‘Stretching in Water’ paired with sounds of flowing streams conjure up images of tranquil pools. Their most developed work to date, Aging showcases OCA as rising stars of progressive pop and modern ambient.
The almighty Joe of the Farr’s is a highly accomplished UK techno DJ, producer and mastering engineer. Originally associated with Bristol's electronic music scene, Joe studied TV and film sound design before building a solid reputation through hard-hitting, technically sophisticated techno releases on labels including Turbo, DSNT, Bloc, Soma and Power Vacuum. His concentrated output combines aggressive club-focused rhythms with melodic and IDM-inspired elements. Now based in Wales, performing internationally and on home turf, he also operates a professional mastering engineering operation of the highest esteem of which RIOT could simply not operate without, as many others will gladly attest too.
Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve finally let loose the screamer of a release, from such an integral member of RIOT HQ, that’s been patiently ‘Left Alone’ and waiting for the right time to unleash its User Experience. Joe’s totally went one step beyond and cranked out a pressure filled release of not only persistent anthemic prowess but one of such rigorous determination, all those on the dance floor MUST ‘Obey’ to its diligent beats. And with Rant & Rave Records boss Maedon serving up such an iconoclastic relentless remix, you will absolutely need to submit complicitly to all things RIOT.
The full digital release also features two bonus meticulously disciplined tracks to fulfil your obedient, subservient requirements.
WARNING: NON STOP BREAKIN’ N’ STOMPIN’ N’ BOPPIN’ TO THE RIOT BEATS WILL MANIFEST ITSELF
For over 30 years the Midwest machine menace that is Paul Birken has been developing and exploring his love for the limitless potential that exists when you chain together synths, sequencers, samplers and beat makers, he is a true audio explorer communicating his own unique sonic exploration through his machines + odd dreams. Starting out back in the day merely with a Commodore 64 computer and a few synths, his studio gear arsenal has constantly evolved over the years into a myriad of unfathomable boxes, cables and bangin’ in his attic allowing him to freely manipulate his random audio creations into the most serious and fun grooves anywhere in the techno realms. Along-with his own imprint Tonewrecker Recordings, Paul’s appeared on a huge stack of the most impressive labels including Don’t Recordings, Fun In The Murky, Earwiggle, Mord and of course a plethora of remixes and tracks on our very own RIOT Radio Records.
From within a tomb in ancient lands comes this 'Bandage Boogie.' A hallowed homage to all things that are non-stop breakin' n' stompin' n' boppin' to the RIOT beats that have now manifested themselves on a 'Mummificated' dance floor near you. This aint street life, this is tomb life, and you'll need as many sacred tanna leaves to keep you movin’ as your fiendish high priest will bestow upon you. This brewed techno fluid that we're administering will ultimately invoke 'The Curse of RIOT’ and you’ll be doomed to eternal bouncin' aboot to its 'Pyramid Pongo' beats that go mysteriously THUMP in the night. Each track on here, and especially in his infamously legendary live sets, are unique in that they get erased from his machines after their creation and won’t ever be spawned again, but ssssssssssssssh, Mummy's the word.
The full digital release also features two bonus immortal tracks delving you deeper into the life-giving sounds of this ‘Mummy Wrapsody.’
WARNING: THESE UNWRAPPED TECHNO BEATS CREATE A WONK-A-THON YOU WILL NOT ESCAPE FROM
Charlotte de Witte now unleashes her slamming three-track EP ‘The Resistance’, featuring Theo Nasa and XSALT, out on KNTXT. It follows the astonishing summer tour of her new audiovisual show ‘The Resistance’, including a spectacular ‘XXL’ version at Belgium’s Rock Werchter in July, for a 40,000 audience watching from inside and outside the tent.
World #1 techno artist Charlotte de Witte’s new show continues a standout year of experimental ventures and celebrations, global pop-up shows, monster street parties, incredible new music (EPs and Deluxe LP)… and most recently ‘The Resistance’ AV show world premier at UNVRS Ibiza and the EU tour. The new ‘The Resistance’ EP is hard, fast, and uncompromising. It features Theo Nasa, whose raw, deep techno EP ‘Lifeline’ was released on her KNTXT label; vocal artist / longtime collaborator XSALT, (previously on ‘No Division’, ‘Overdrive’, ‘Roar’, ‘How You Move’); and Charlotte’s own vocals on a personal track ten years in the making.
‘The Resistance’ EP title track feat. Theo Nasa is urgent, demanding, unapologetic. Juddering main theme, rattling hyperspeed beat, spacey hoover swoops form a matrix for the deep, amused authoritative voice of Nasa – ‘we are unity, we are techno’. The brief ‘The Resistance (Intro Version)’ opens with futuristic FX and Nasa’s voice to the fore introducing the techno credo.
‘Never have I ever teased a track this much as I teased ‘The Resistance’. From the moment the track was being made in the studio, I knew this was going to be a special one. Theo Nasa captures the spirit of the underground and guides you through the essence of club culture like no one did before. An entire A/V show grew out of this feeling, this philosophy. It’s one of the biggest tracks I’ve ever made.’ Charlotte de Witte
‘See Through The Lies’ feat. XSALT: futuristic FX, fast stabby synth theme, and XSALT intoning ‘see through the lies. It’s time to take control’. A message of defiance. ‘XSALT delivers again on ‘See Through The Lies’, offering his own take on the EP's theme. Open your eyes. Break the illusion, see through the lies. Release the pressure. It’s time to take control!’ de Witte says.
‘Another Place’ has relentless pace, twanging pizzicato synth, and de Witte’s whispered phrases becoming full voice. ‘’Another Place’ has been in the making for over a decade. It saw the light of day in Brussels, where the lyrics took shape together with my friend One Track Brain. The track was forgotten and resurfaced years later, leading to an entirely new track created around that magical vocal from all those years ago. This is an EP very close to my heart.’
At the heart of ‘The Resistance’ EP and AV show is a message central to de Witte’s work: Protect Club Culture and the communities that sustain it. That’s why de Witte is donating all proceeds from The Resistance EP to The Nighttime Foundation, a global nonprofit dedicated to safeguarding and shaping the future of nightlife, empowering grassroots communities and promoting nightlife as a vital form of culture worldwide.
COCAG003 is the third release from Tokyo-based vinyl-only label COCAG Records.
The release features two tracks by Tokyo-based DJ and producer Shimpei Watanabe and is limited to 300 copies.
Built around house music, both tracks explore minimal grooves and extended, DJ-friendly arrangements.
In Living Color proudly presents Wasi Wasi EP, the debut label release from
Kenyan-born, Berlin-based artist Emo Rugene.
A striking first statement from one of the most exciting emerging voices in African electronic music, Wasi Wasi introduces Rugene's distinctive sound while reflecting the bold, forward-thinking vision at the heart of Living Color. Blending deep cultural roots with contemporary electronic production, the EP marks the arrival of an artist helping shape the future of the genre.
Deeply rooted in African rhythm and musical heritage, Wasi Wasi is a body of work that embraces the past while looking confidently toward the future. Blending hypnotic grooves, organic percussion, and contemporary electronic production, the EP reflects a new generation of artists drawing inspiration from their roots while carving out their own unique artistic identity.
The release features two compelling vocal collaborations that enrich its storytelling. “Wasi Wasi (Vocal Mix)” features Alai K, whose deep ancestral vocal brings a powerful spiritual presence to the title track. “Sahara Dena” features Soukou, whose soulful vocal performance adds warmth, emotion, and depth, creating a beautiful dialogue between tradition and contemporary sound.
With Wasi Wasi EP, Emo Rugene stands among a new generation of African electronic music artists redefining the future on their own terms. His music is deeply connected to where it comes from, yet unafraid to explore new ideas, proving that heritage is not something to preserve behind glass, but something to carry forward with imagination and purpose.
More than a collection of tracks, Wasi Wasi EP is a celebration of movement, identity, and possibility, a record that honours the voices of those who came before while contributing to the sound of tomorrow.
* long version / previously unreleased on vinyl
** exclusive / previously unreleased
Felix Laband's highly acclaimed electronica masterpiece album "Dark Days Exit" (2005) is now available as an Extended Version 2LP vinyl. Originally planned for last year's 20th anniversary, this special edition features a new design by Felix Laband and includes a double-sided DIN A2 art print. Dark Days Exit features four exclusive tracks, alongside five vinyl-only tracks available for the first time in their original long versions. Listening to the key track, Sleeping Household, on Dark Days Exit is unsettling: like being an impostor rambling around an uncanny house, a Lynchian leitmotif in the form of a young girl divulging secrets that you probably shouldn't hear. Dark Days Exit is an album that paints an interior landscape, an invitation to transgress private thresholds. Made with old-school production tools that require hands-on application, Dark Days Exit is a sound-production tour de force. The music is as wide as the savannah and microscopic at the same time, a lesson in what can be achieved when 'music' is placed on an equal footing with sound as a phenomenon, by an artist who decides to apply themselves without reserve. The masterful manipulation of reverb and delays and hyper-detail was a generation ahead of its time, and Dark Days Exit is preferred by audiophiles for testing their systems. Dark Days Exit is intimate, demanding, and a masterclass in tension, and Laband's ability to use all sound without hierarchy to paint a detailed personal vision — one that is less overtly political and streetwise than on subsequent albums — is unsurpassed. Most discerning listeners are into music because, in the hands of a master, it can manipulate our mood and transport us. Felix Laband opens with a sonic portrait of spring happiness and gradually dismantles the atmosphere in front of our ears, as epitomised by the haunting track Black Shoes. No sooner are we afraid than the artist drops us off where we started. In many ways, the intimacy derives from the tight group of friends and believers whom Laband corralled as contributors: Mark van Niekerk (xylophone, "Miss Teardrop"), Jane Rademeyer (clarinet, "Black Shoes," "Radio Right Now"), Brendon Bussy (mandolin, "Black Shoes"), and Derek Gripper (sampled violin, used throughout) and Alex van Heerden on Minka. The difficulty in categorising Dark Days Exit is probably due to Laband listening mostly to ambient and classical music at the time, and consequently registering the album at the lush, cinematic end of the electronic spectrum. There is poise and restraint in the spare use of beats, and when they do appear, they hit hard. Forged in the optimistic post-apartheid years, Dark Days Exit is music about life and death, spanning hope, despair, terror, tension, with humour and empathy. Twenty one years on, the album's gravity endures, due to its almost perverse authenticity, its timeless themes of hope and despair, and its apex level of technical mastery. The additional, immaculately produced tracks add new rooms to the uncanny house we are invited into.
Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.
BONUS 7”
A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)
Palace Limited presents it’s inaugural release from the early UK tech-house duo, Lo-Kee aka Julian Phethean (aka Mr Cenz) & Rafael de Swarte. The record features long awaited represses of three highly sought-after Lo-Kee records from 1998 - 2003 compiled onto a single 12”.
The record features A1 from Organised Sound 005 titled ‘Second Sight’, A1 ‘Human Affects’ and B1 ‘Earth Humm’ from Organised Sound 003 and the B2 from Affected Music 002. Seminal early UK fusion of house and techno with a minimalist approach which laid the foundations for much that followed.
Written and produced by Julian Phethean & Rafael de Swarte.
(remastered classic incl DL card) Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition. In the late nineties, the budding producers Morgan Geist and Darshan Jesrani bonded over their shared love of slower tempos and '70s and '80s NYC club culture. Obsessed with record digging and the sounds they heard on late-night "club classics" radio shows—and turned off by current releases they saw as artlessly "updating" sublime disco by sampling, filtering and subjugating them with huge kick drums —the duo set out to discover how their favorite old 12" records were made. They naturally gravitated towards extended dubs of songs—full of strange mistakes and echoing backing tracks—instead of the better-known vocal versions. Lacking the big budgets and gear that made so many of their favorite classic records come together, they were forced to take a guerrilla approach. They reprogrammed their techno-oriented arsenal of secondhand synths and samplers, using novel digital recording technology to capture live instrumentation and prioritizing mood over hooks, and the resulting music was just wrong enough to sound unlike anything else being released at the time.After just four underground 12" releases, the duo—now well-known as Metro Area—released their first and only album, Metro Area, in the fall of 2002. Fifteen years later, it's time to celebrate the culmination of their shared history and inspiration once again. Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The 12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition.
Marlon Plein also known as Driven By Attraction, one half of Watching Airplanes is releasing a new solo EP on klakson! Watching Airplanes' 'blue is dope' was already one of the pleasant surprises featured on the klakson 20in20 compilation and the journey continues with 'Last Days Of Innocence'. 4 distinguished contemporary electro funk driven dance floor stompers with an ultra deep twist. Mandatory for serious record bags!!!!!!
Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.
Yuvi Havkin aka Rejoicer returns with an exceptional collaborative album, California Space Craft. On this aptly titled record, he joins forces with seasoned LA bass polymath Sam Wilkes — known for his inspired studio work with Sam Gendel and his dynamic live performances alongside Louis Cole and KNOWER — and drummer Tamir Barzilay, completing the LA-connected trifecta alongside a select handful of key featured guests. The idea for California Space Craft was born out of a series of inspired live sessions in Los Angeles between 2019 and 2022, notably at Listen to Music Outside in the Daylight Under a Tree, where the trio’s natural chemistry first began to bloom. The resulting recordings encompass a wide variety of inspired sound stylings, as one would expect from any of these accomplished artists on their own; however, the sum is truly greater than the parts here, with the fluidity of their freeform improvisations over a dedicated three-day recording session feeling remarkably focused as a cohesive whole. Opening track “Traveling Light” sets the LP’s tone with equal parts Sly & Robbie-style, space echo– drenched rhythms and the cozy kosmische, guitar-led feel of early-2000s genre-fluid explorers like Tortoise. As we continue on to “Ritual in G#,” we are reminded that this is indeed a unique and timeless sonic space the trio has created, as Havkin’s crisp Rhodes chords anchor an ever-evolving psychedelic sound bed. The soaring trumpet of Avishai Cohen adorns the Afrobeat-indebted “Lion Water,” with Barzilay laying down a proper Allen-esque groove, while “Further (with you),” featuring Nitai Hershkovits on keys, offers a defining look at the titular concept of the album — with pure Cali feels coalescing effortlessly into sciNew Release Information fi narrative modes and a proper dose of Rejoicer futurism. Elsewhere, “Her Hair in the Air” shines with fresh polyrhythmic intention, illustrating the balanced bond between the three collaborators at their conversational peak, and the brisk synth strokes of “Early Porpoises,” alongside LP closer “Oceanic Friends” — again ideally named — double as a grand, in-stereo ride into the blissful Pacific sunset horizon. California Space Craft embodies the power of open, collective intention and musical kinship, offering memorable, uplifting moments and an aural glimpse of hope, warmth, and loving melodious calm in an otherwise quite chaotic time for humanity.
Inperimental is a bold return from Lithuanian electronic pioneers Plasma, presenting a meticulously crafted double LP that explores the intersections of techno, ambient, and forward-thinking electronic sound. Every element — sound, structure, and visual identity — is
intentional. This is not a collection of experiments, but a fully realized sonic architecture shaped by decades of experience and analog mastery. This vinyl edition is more than just an audio release — it's a multi-sensory experience.
The gatefold cover and packaging feature hidden artwork that can only be revealed using included red-lens glasses. This visual element isn’t just a gimmick — it reflects the same intentionality that defines the music. With no room for improvisation or trend-chasing, Inperimental is a precisely executed statement in both sound and form. The album blends ambient tones, analogue warmth, and dancefloor rhythms. It demonstrates a refined sound palette: humid techno grooves, cosmic textures, and cinematic depth.
Inperimental is described by the artist as a voyage where technology meets pure emotion — “a realm where warmth intertwines with technology, dreams blur into reality, and pure, authentic sound reigns supreme”. A digital download card is also included with each vinyl copy.
In the spring of 1971, somewhere between Brussels, Paris and a collective pop fever dream, Le Monde Fabuleux Des Yamasuki landed on vinyl. It sounded like nothing else then and it still does not today. More than half a century later, Sdban Records proudly presents a reissue of this singular cult album, available from April 3, 2026 on vinyl.
The album was produced by Jean Kluger and written both by Jean and Daniel Vangarde (aka Bangalter, later the father of Thomas Bangalter of Daft Punk), who were alreadywell ahead of their time, long before electronic music rewrote the rules of pop culture.
Released under the name Yamasuki, also referred to as The Yamasuki Singers, or The Yamasuki's, the project was never intended as a conventional band. It was a studio-born fantasy, a concept album disguised as a pop record. What began as a standalone single quickly expanded into a full-blown pan-cultural pop opera that ignored genres and common sense with joyful abandon.
Musically, the album sits at a delirious crossroads. Psychedelic pop collides with funk rhythms, samba and bubblegum melodies, full of chants and choruses in a phonetic pseudo-Japanese, written with the help of a dictionary. Kluger and Vangarde famously recruited a children's choir to perform the vocals, and for added spectacle, they brought in a Japanese judo grandmaster, whose ritualistic shouts and battle cries erupt throughout the record.
Several singles were released. One of them, Yamasuki, with accompanying dance move, appeared in the United Kingdom and France on John Peel's Dandelion label, a fitting home for a record that thrived on the margins of pop culture. Its B-side, Aieaoa, proved even more potent. In 1975, the song was reborn as A.I.E. (A Mwana) by Black Blood, an African group recording in Belgium, this time sung in Swahili. That melody would travel even further. Aie a Mwana became the debut single of English pop group Bananarama, and in 2010 it resurfaced once more as Helele, an official song of the FIFA World Cup, recorded by South African singer Velile Mchunu with Danish percussion duo Safri Duo. That version became the most widely known incarnation of the song. With Jean Kluger directly involved, it was less a cover than a continuation of the original idea.
The album's afterlife did not stop there. Over the years, Yamasuki has been quietly sampled, covered, and featured across media far beyond the realm of novelty pop. Kono Samourai was sampled in The Healer by Erykah Badu (2007), produced by Madlib, while Yama Yama has found its way into recent pop culture as well: appearing in the television series Fargo, on Angus Stone's project Dope Lemon, and on the 2008 Late Night Tales compilation curated by Arctic Monkeys drummer Matt Helders. Proof, if any were needed, that this strange little record carries a deeper musical DNA than its playful exterior might suggest.
This new reissue of Le Monde Fabuleux Des Yamasuki proves the renewed interest and respect for this cult album, faithful to the original spirit while finally giving it back the physical presence it deserves. In an era obsessed with genres and algorithmic neatness, Yamasuki still laughs, dances and karate-kicks its way past definitions. It reminds us that pop music can be playful without being disposable, strange without being cynical and joyfulwithout explanation. The world of Yamasuki was always fabulous, we are just lucky it found its way back to us!
Discotchari unveils a full deadstock run of this rare 7 inch from 1970, found in original factory boxes and reissued as the first release of the label. It features previously unheard material from oud virtuoso John Bilezikjian and percussionist Raja Zahr, a Burbank via Beirut collaboration. The record will be available on vinyl and digital platforms from November 3rd, 2023.
Recorded under the name Something Different, the duo produced a single 45 RPM that was shelved as their solo careers took off. At just 21, Bilezikjian handles oud, bass and harpsichord, while Zahr delivers rich and inventive percussion.
Side A, Zulu Man, blends late 60s psychedelia with a more experimental edge, closer to underground acts than mainstream rock of the era. Carried by evocative vocals and expressive oud lines, the track unfolds like an epic narrative.
Side B, Chemical Reaction, is harder to define, moving between cinematic moods and rhythmic tension. The track evokes shifting landscapes and contrasting atmospheres, making it as intriguing as it is unpredictable on a dancefloor.
Nintendo and Laced Records are linking up to bring the sweeping music of The Legend of Zelda™: Breath of the Wild to vinyl records with this 8LP box set featuring nearly four hours of music.
This collaboration marks the first time a Nintendo soundtrack has been commercially released on vinyl outside of Japan. This box set features heavyweight LPs that come in printed disc inners and spined inner sleeves, all housed in a rigid board dual slipcase. All packaging is adorned with archival artwork by the team behind The Legend of Zelda: Breath of the Wild. Each disc side is sequenced around a theme, reflecting players’ adventures in the game, whether exploring Hyrule, battling enemies, freeing the Divine Beasts from Calamity Ganon’s hold, or unlocking the mysteries of the Shrines. The unforgettable music of The Legend of Zelda: Breath of the Wild introduced bold new musical textures to the series, while embracing classic themes. From the first spine-tingling piano notes of “Main Theme” to the final choral-orchestral stirrings of “Epilogue”, the soundtrack follows the ups and downs of Link’s epic adventure. Each element of the game enjoys a distinct musical palette, including the iconic minimalist piano of the open world, the alien sounds of Sheikah technology, the tension-filled rhythms of enemy encounters, and the orchestral grandeur of the Divine Beast battles. The pieces were composed by Manaka Kataoka, Yasuaki Iwata, Hajime Wakai, and Soshi Abe. Along with this wonderful soundtrack on vinyl, fans can experience the full digital soundtrack for The Legend of Zelda: Breath of the Wild by downloading the Nintendo Music app.*
Les Disques du Crepuscule presents a new 180 gm vinyl edition of Fidelity, the 1996 studio album by cult Manchester ensemble The Durutti Column.
Limited to just 500 copies, this special double disc edition is pressed on heavyweight 180 gm vinyl and features cover artwork by Crepuscule design director Benoit Hennebert, based on a portrait by Vini Reilly of filmmaker Carol Morley.
Originally released by Crepuscule on CD only in April 1996, Fidelity featured 10 tracks written and performed by Vini Reilly, with occasional guest vocals by Eley Rudge. In addition to Vini’s trademark guitar stylings, the album showcased sleek electronic textures and programmed beats.
This 2019 vinyl re-master features two bonus tracks: My Only Love was originally released in 1995 on a covermount CD with a specialist guitar magazine, while experimental piece The New Fidelity was issued on a Portuguese compilation album from 1992 called Hare, Hunter, Field.
Waage has long been an established force in the dub techno community, and he is no stranger to working with Quantal. This outing on the don of dub techno labels features four tracks that strike the signature mix of meditation and dancefloor tool. 'WM13' is a wide-open underwater dub with a slow-motion rhythm, 'W14' has more hunched over drums and plenty of open space littered with delicate FX and textures, then 'W15' glides on silky drum loops that could play for days and never get annoying. The closer is the most serene and sublime of the lot, with lovely smeared chords drawn out across the frictionless drums.
On Last Night At Marienbad's latest, the imprint brings together three of the brightest souls found within the realms of Jazz, namely Mauricesax, 9ick and Milan93, with their collective talents synergising effortlessly on 'A Garden Between Us', alongside a stellar cast of remixers who add even further delight between the grooves….
As a genre, Jazz has perhaps lent itself the most to other musical universes, in that its curious heart, endlessly experimental nature, and parameter-defying spirit have wrapped itself deep within the core of countless albums, scenes, and music makers. It's a genre that welcomes reinvention, consistently defying its contents and always reaching out to find new methods of expressionism. Electronic music, in its many forms, has truly embraced Jazz perhaps like no other movement of music has, with a truly astonishing array of records surfacing in the past 40 years which have blended Jazz's unique motifs with grooves, chords, and emotive excellence. From 90s Jazz house and UR Techno, through to Future Jazz, downtempo, and Hip Hop, and around many other suns, there remains such an intrinsic and symbiotic relationship between the two musical realms that caters to those who wish to live music both within and out with themselves.
As practitioners of blending electronica and Jazz, few do it like the trio of Mauricesax, 9ick, and Milan93. All three are known for their distinctive soundscapes, yet share commonalities in terms of musical language, feel, and sense of progression. Bringing them together allows for overlaps in their sounds to emerge, and just like Jazz itself, this is where the intrinsicness of sound begins to blossom. 9ick brings his softly evolving vibe to the table, one which was so prevalent and celebrated on his 2025 album 'SMIL'; Milan93 draws from his focal point of exploring fill-laden grooves and a myriad of emotive sensibilities; and Mauricesax draws up his extensive musicality that exists at the corner of jazz, electronic, and experimental music, along with running musical workshops all over the globe.
'A Garden Between Us' represents the trio's core tenets, with this immediately obvious from the record's opener, 'Rhodora'. A gentle solo piano quickly evolves into a series of powerful rhythmic pulses, with brass lines bringing vitality and feel to proceedings. The track shifts gears with purpose, transitioning between musical vignettes of the highest order, with the synth work doing much to bind the transitions together. 'Tulip' emerges slightly differently, with glossy Rhodes tones and an unravelling rhythmic undercurrent setting an enthralling stage. The track flourishes amongst sweeping textures, coming up for air amongst a deeply hypnotic rhythmic section that holds on and never lets up. 'Honeysuckle' lands next, which sees the trio emerge with a boundless, dynamic soundscape. The drums shift within the undertones, as keys, chords, horns and hip-hop vocal samples dance around the pulse, capturing the imagination with their narrative-like placement. Wrapping up the A side comes 'Camellia'. A dazzling array of harmonic sounds converges around the transfixing rhythm section, which emerges from deep below to lavishly roll out over the midsection, with the delicateness of the instrumentation a real highlight here.
The B side features two exquisite remixes, with Pacific Coliseum's version of 'Tulip' landing first. Beginning with a signature four to the floor to get things going, his careful handling of the source material is seen in the tactful introduction of the blissful elements that made the original cut so impactful, with great focus placed on emotive fidelity. The result is a summer-bound house number that reimagines the original in all the right ways, flipping it into a euphoria-driven jazz-laden pacer that reaches for the heavens as much as it drives right into the heart. Teuteu then showcases their take on 'Honeysuckle', and at 9 minutes long, represents the longest cut on the record - and the experience is all the richer for it. Leaning heavily into dance music flavours, Teuteu shifts perspective totally into the realm of the club, with the walls beating hard to the kicks. The sax lines that drift ethereally up top keep eyes closed and souls full, as the dance shifts into the next phase.
An experience that drifts from the daydreaming, to soul-warming through to the club shaking - what else is left to experience, except for 'A Garden Between Us' and how it will brighten up life itself….
SECOND REISSUE ON THIS HEAT’s OWN NEW IMPRINT FOLLOWING ‘THIS HEAT’ (TH01LP) WHICH WAS UNCUT ‘REISSUE OF THE MONTH’ RECENTLY WITH 9/10 REVIEW + 4-PAGE FEATURE WITH Q+A.
*24 bit/96 kHz re-master from original analog tapes.
*Heavyweight 180gm vinyl and heavyweight sleeve with pantone printing to match original 1979 release.
Simon Reynolds on Health and Efficiency:
“For some fans, Health and Efficiency is This Heat’s peak achievement – their most concentrated blast of visceral intensity and wayward experimentalism….Lead track “Health & Efficiency” combines fierce angular rock that fully lives up to Cunningham’s belief that This Heat could become a postpunk King Crimson, with a multi-part babble of vocals, clattering percussive timbres, and found sounds.’’
Flipside “Graphic/Varispeed” is more subdued and hypnotic: a wavering tonescape whose duration depends on whether you play it at 45 rpm or 33 rpm. This reissue reproduces the original release’s striking cover image of a human figure painted in blue by Pete Cobb, along with the cryptic flipside of text in many different languages.
Although widely considered to be Post-Punk’s finest, This Heat actually began performing and recording their music in 1976, the early days of London’s punk era. Within their two albums and an EP they perfected a strange and volatile new strain of avant-garde rock that time has proved to be massively influential, a blueprint for much that would follow: post-rock, math rock, homemade musique concrète, experimental electronica. Numerous critics have recognised the band's influence on the music of Sonic Youth, Glenn Branca, Steven Wilson, Public Image Ltd., Radiohead, Swans, Shellac, Young Knives, Black Dice, Lightning Bolt and numerous other experimental and post-rock bands.
Disbanding in 1982 they have left an undeniable legacy that has only continued to grow in stature and relevance.Having recently passed the 50 year anniversary of their first gig, and the recording of material that appears on their debut album, the group’s surviving members Charles Bullen and Charles Hayward, true to their DIY roots, have set up an imprint to release their recordings for their growing fan base that is increasingly recognising their influential place in music history.
‘They went beyond punk before punk had properly started…the entire album is a controlled explosion of ideas. Nearly fifty years on, This Heat’s debut is something the world has still not completely caught up with.’ - Simon Reynolds
‘Over the years, there have been bands to play as aggressively, or even as strangely, but very few have been able to rise from their collective influences and histories to create music so singularly distinctive and inspiring.’ – Pitchfork 9/10
‘This Heat sounded like the future then ... and still do now.’ - Dan Snaith (Caribou)
‘This Heat had a certain kind of force the post-punk bands were unable to adequately control without falling foul of rawk excess, and which the punk bands—albeit blitzing and rowdy—were too basic in form to build.’ – John Calvert , The Quietus
2026 Repress
Originally released in South Africa in 1983, In The Music......The Village Never Ends is one of those holy-grail African records that barely needs any introduction. Featuring the enormous 'Nomalizo', it's a record that aficionados around the world have been waiting many years for. Now, Be With Records proudly presents the hugely anticipated vinyl reissue of this bonafied classic.
This release is officially licensed and has been lovingly mastered for vinyl by Simon Francis (Claremont 56 mastering engineer) It has been pressed on audiophile 180gram vinyl for the first time and features the original, rarely seen artwork.
South African singer Letta Mbulu possesses one of the most beautiful voices the world has ever known. Her immaculate voice emits a sweetness that radiates from deep within, brimming with a joy of life and inspiring a spirit of hope and happiness. On this album, her voice soars over a strident musical force that veers between disco, soul and pop music of the most incredible kind. The gleaming guitars recall disco's finest hours while the thump of the beats anticipate 80s British soul.
News of this limited reissue has already been causing a significant stir amongst those in the know so do not sleep on this - you have been warned!
American DJ, producer, and Ovum label boss Josh Wink remixes Chris Liebing's 'Eye C' via CLR on 25th September 2026, one of the standout tracks from Liebing's first fully solo-produced LP, 'Evolver', which landed in March. The album featured collaborations with the likes of Luke Slater, Charlotte de Witte, and Daniel Miller, with Josh Wink the latest to rework material from the project. The Philadelphian is an electronic music veteran who has shaped countless releases on his own Ovum, while also remixing the likes of Depeche Mode, Moby, and Radiohead.
Josh Wink showcases his production skills once again with a blistering take on Chris Liebing's 'Eye C', rewriting it with fizzing synth modulations and prickly acid lines. The track grows in intensity as rumbling drums march on, and the synths become ever wilder before pulling back into a deep, atmospheric groove, rebuilding beneath the menacing vocals and icy, incendiary hi-hats.
The original version of Chris Liebing's 'Eye C' is a deep, rolling techno masterclass with pulsing synths and deft percussion peeling away from the groove. It's linear and heady, perfect for the small hours, with unsettling vocal fragments refracted around the mix and subtle hypnotism floating overhead as the drums grow ever harder.
Larry June has built a career on making hard work look effortless, and his album Who Coppin’ stands as a masterclass in smooth, lifestyle-driven West Coast hip-hop. The album delivers a high-grade mix of Bay Area luxury, entrepreneurial motivation, and unbothered charismatic flows. Spanning a laid-back audio palette designed for early-morning juice runs and late-night freeway cruises alike, Uncle Larry balances the discipline of a hustle-first mindset with warm, sun-drenched production anchored by crisp organic instrumentation and heavy-knocking bass.
The album features a tightly curated roster of collaborators who align seamlessly with Larry's signature aesthetic. Spoken-word encouragement from Wallo267 sets an intentional tone on the opener "Go Outside Intro," framing the record around execution and focus. Soulful contributions from Jhené Aiko on "California Dream" and Musiq Soulchild on "Pretty Green Eyes" provide lush R&B textures, while NorCal legend B-Legit and longtime partner DJ.Fresh reinforce June’s deep West Coast roots. Meanwhile, Swizz Beatz injects high-energy bounce into "Flex," offering a vibrant contrast to Larry’s understated, cool-headed cadence.
Behind the boards, top-tier producers like Cardo, Teeko, Beat Butcha, Jay Versace, and June Santana craft a nostalgic yet modern backdrop filled with warm sample flips, smooth G-funk synthesizers, and relaxed soul grooves. The project builds to an emotionally grounded conclusion on "God Got Us (Ain't Too Many)," where June strips away the flexes to offer direct encouragement to his audience, proving once again that consistency, self-belief, and steady progress remain the ultimate luxuries.
The year was 1989, and Derrick May was at a creative peak as both a DJ and producer. Under his Rhythim Is Rhythim moniker, he released a string of landmark records on Transmat, while his residency at Detroit's The Music Institute showcased the distinctive DJ style that would soon take him onto the international stage. Around the same time, he hosted a weekly radio show on Detroit radio station WJLB, alongside influential programs by The Electrifying Mojo and The Wizard (Jeff Mills).
For one of these broadcasts, May assembled a 15-minute megamix in his studio during the week leading up to the show. He opened his radio set with this continuous mix, blending his own tracks and versions into a seamless introduction that reflected his approach to DJing at the time. It includes unreleased versions of classics such as ‘Nude Photo 88’ and ‘Strings Of Life’.
‘All of this is unreleased because I made it as I was playing it on the spot as a special Mayday Mix for my show on the radio station WJLB in 1989, edited together straight from the keyboards live to tape. There is no other recording of these tracks in this form, only here’.
The original WJLB master tapes have since been lost, and no official recording is known to survive. Fortunately, many listeners recorded the broadcasts at home. One such cassette, preserved by Richie Hawtin, eventually made it our way. It has been carefully restored and mastered, with the artist’s approval.
To highlight this remarkable document of techno history, the recording is now available as a limited-edition, one-sided 12-inch release. The mix has been cut as a continuous side, visually divided into eight sections, while the reverse features a custom engraving.
"Collect Records welcomes Byron the Aquarius to the family! Hailing from Alabama, Byron the Aquarius has established himself as one of the most respected names in contemporary underground house music. Classically trained as a pianist, his productions effortlessly blend deep house, jazz, soul and broken beat, earning support from artists such as Theo Parrish, Moodymann, Gilles Peterson and Floating Points, while releasing on labels including Sound Signature, Wild Oats, Shall Not Fade and Atjazz Record Company. Last Dance in Church features five original productions that perfectly capture Byron's unmistakable sound, warm, soulful and deeply musical. From stripped-back dancefloor grooves to rich harmonic compositions, the EP is a timeless journey through deep house, house and jazz-infused rhythms."
The sun sat high above the desert outside Joshua Tree on October 17, 2024, baking the rocks and shrubbery outside the Farrington Observatory as a small group of invited guests ventured up a steep path towards the telescope. Kyle Simon, the artist and printmaker who founded the Observatory, was standing outside the print studio sat below the towering cylindrical building, greeting friends alongside his wife Sarah and lifelong friend Brian Weitz, the musician widely known as Geologist of Animal Collective. Simon and Weitz had spent the previous day testing and retesting a system that would transform the light of the oncoming full moon captured by the gigantic telescope into a signal that would modulate the control voltage of Weitz’s modular synthesizer. As the sun dipped below the horizon line, the audience gathered on a small wooden patio surrounded by speakers while Weitz readied himself behind the array of patches and knobs. Simon addressed the group, presenting the history of The Sirens, the sonic exploration of the night sky’s mystical and scientific significance about to unfold.
The music conjured under the Hunter’s Moon that night is now documented on this first official release of The Sirens, which was conceived by Simon and Weitz as a recurring performance piece and sound installation. Over a decade ago, Simon began immersing himself in literature on humanity’s sonic relationship to the celestial realm, including Homer’s Odyssey, Plato’s “Spindle of Necessity, ” Kepler’s Harmonices Mundi, and the field of astroseismology. He fitted homemade telescopes with photodiodes and optical sensors to make the images audible, finding latent patterns in the noisy sonic signals he began receiving from the stars. With Weitz, the process expanded as the signal was routed through an analog amplifier and set to modulate the pitch, filter, and other elements of his synthesizer. Together they developed a system of improvisation, with Simon adjusting the telescope to change the intensity of the light based on its relationship with the moon’s position (imagine a theremin player moving their hands in subtle, meaningful motion), and Weitz responding to that input in real time: bending it, amplifying it, or letting it stand on its own. The duo debuted the piece at the Integretron in Joshua Tree in 2018, providing a crucial proof of concept for the performance at Farrington featured here.
The first thing the listener hears on The Sirens is the opening of Farrington Observatory, the cranking of motor and metal. As the lens of the telescope is exposed to the evening air, a wavering drone emerges from the synthesizer, flickering at the margins, the tuning of the oscillators adjusting to the rapidly cooling desert air. The piece progresses and the drone becomes a luminous, spherical constant, bathing the listener in pure tone as Weitz draws out harmonically ambiguous melodies that spiral upwards. Electronics crackle and convulse, coalescing into dense dissonance before widening out into an open octave. Just as the moon orbits the Earth and the stars shift as the planet rotates, so each sonic element appears in flux, interrelationships slowly forming and falling away. Divided into two parts, The Sirens flows as a continuous conversation between the artists and the starlight completing its thousand-year journey across the galaxy.
The Sirens belongs primarily to a lineage beyond music: of sea captains navigating by looking skyward, of astrophysicists studying the formation of the Milky Way, of the modern myths of werewolves, of the stories embedded in constellations. As Simon writes in the album’s extensive liner notes, “These stories and explorations reveal a collective yearning to become conscious of our connection to the universe, our deep-seated desire to understand how we fit into it all.” This music underscores the history of the night sky as the place where poetry and science find common ground, where exploration hinges on the imagination. Driven by curiosity and ingenuity, Weitz and Simon look up and wonder.
Over & Even was a breakout album for Joan Shelley. Originally released in 2015 and recorded in Louisville, Kentucky - with Shelley and her then neighbor Nathan Salsburg on guitar. The record was an album of the year at NPR Music and in The Los Angeles Times. Rolling Stone called it, "a masterfully turned set of folk reflections" in their 4 star review. This expanded edition features 8 never before heard demos, performed and recorded solo by Shelley who shared them only with Salsburg so he could learn the songs.
Reissued Rise Against: Revolutions Per Minute (2026) anlässlich der aktuellen Feierlichkeiten zum 35-jährigen Jubiläum von Fat Wreck auf violettem Vinyl gepresst! Ursprünglich 2003 über Fat Wreck Chords veröffentlicht, entstand das zweite Album von Rise Against "RPM" inmitten von Tourneen durch die USA, Kanada und Europa. Nach einigen Wochen im Studio Blasting Room Studio, wo sie gemeinsam mit Bill Stevenson (Descendents) und Jason Livermore die Aufnahmen einspielten, präsentierte sich das Quartett mit diesem von der Kritik gefeierten zweiten Studioalbum. Revolutions Per Minute verbindet auf meisterhafte Weise die rasante Energie des Punk mit scharfen, eingängigen Melodien. Tim McIlraths leidenschaftlicher Gesang transportiert gesellschaftskritische Texte in herausragenden Songs wie "Like the Angel" und "Black Masks & Gasoline". Das Album prägte den Punk der 2000er Jahre maßgeblich, schlug die Brücke zwischen rohem Underground-Hardcore und Mainstream-Rock und gilt heute als Meisterwerk des Genres sowie als das definitive Underground-Werk der Band. Band credited with creating a new sound - branch of melodic hardcore and political punk Rise Against's sophomore breakout album, produced by Bill Stevenson and Jason Livermore at Blasting Room Band has amassed 2 platinum records and 5+ gold records in multiple countries and 5+ Top-Charting Alternative Rock Radio hits Features hit singles "Heaven Knows", "Black Masks & Gasoline" and "Leaving Jesusland" Known for their progressive politics, veganism, and outspoken views
It’s the last W133 release for the summer of ’26 and it’s a big one. Label Papa Pino and Rotterdam’s samwho pair up for a banging, driving, proggy collaboration/split EP entitled “Baobab”. The duo behind W133 bestseller “Jacarandas” unite again for two more collaborative productions, complemented by one solo track each! Samwho starts off the EP with “D’espia”, a highly energetic progger with dreamy pads, crispy dembow percussion and sexy vocal stabs! On A2, we find the first collaboration, “Caramelo”. The two producers return to their signature percussion work, paired with a venomous rolling bassline and mysterious vocal snippets. On the flip side, the second collaborative track, “Lemon Hasj”, bangs in! A highly intense breaker with catchy vocal shots and chart-hit character. To close it off, Pino Peña delivers his solo production “Swarm Mystique”. The tune starts with a laid-back yet energising groove before swarm-like melodic pads creep in mysteriously! The cover artwork features a photograph taken by Philipp in Kyiv, Ukraine, printed on a two-sided cover sleeve. “Baobab” will be released worldwide on vinyl and digitally on 16th October.
Once upoun a time Fat Mike came up with the idea of calling up 101 of the best old and new punk rock band around, have them each record a 30-second long song, then put all the tracks out on one record to make the best punk compilation ever. And guess what, the dream came true. The 101 most famous punk rock bands around doing each a 30 seconds long song Back in print for the first time in ten years! Pressed to Lime Vinyl Features super rare songs (recorded exclusively for this compilation) by Green Day, The Offspring, Blink- 182, Pennywise, Rancid, Less Than Jake, The Vandals, Bad Religion, and more
British electronic music pioneer Dave Angel returns to R&S Records with “A Time And Place”, his first full-length album release for the seminal Belgian label. Arriving thirty-five years after Dave first joined the R&S family, the album reunites one of UK techno's defining voices with the imprint that helped launch his career, renewing one of electronic music's most enduring creative partnerships.
That relationship began in 1991, when R&S founder Renaat Vandepapeliere discovered Angel's ‘Rolling Thunder’ project and invited the young London producer to Belgium. Personally welcoming him into the R&S family alongside a new generation of forward-thinking electronic artists, Vandepapeliere released the landmark “1st Voyage” EP, helping establish Dave Angel as one of British techno's most distinctive new voices. A succession of acclaimed releases followed, including “Stairway To Heaven”, “3rd Voyage”, appearances on the influential “In Order To Dance’” compilation series, and releases on sister imprint Apollo, charting an artistic partnership that helped shape both Angel's career and the wider evolution of UK techno.
Three and a half decades later, “A Time And Place” feels less like a return than the continuation of a conversation left unfinished. Rather than revisiting former achievements, the album reflects the perspective of an artist whose creative journey has continued to evolve. Reconnecting with the label that first championed his work, Angel delivers his most personal and musically expansive statement to date.
Across fifteen compositions, “A Time And Place” reaches beyond the conventions of techno to reveal the full breadth of Angel's musical identity. Drawing on jazz, soul, improvisation and richly textured electronic production, the album balances rhythmic precision with warmth, melody and emotional depth. Reflections on family, heritage, nature and the communities that have shaped his life sit alongside broader observations of the world around him, creating a body of work that feels both intimate and expansive.
That openness is reflected in a carefully chosen cast of collaborators. Celebrated trumpeter Steve Waterman features on both “Réflexion” and “The Yellow Butterfly”, bringing a lyrical, Miles Davis-inspired voice to the album after first catching Angel's attention through his work on Paul Hazel's “Out Of This World”. Elsewhere, legendary Chicago vocalist Robert Owens appears on “Harmony Serenade”, while guitarist Merv Carswell and vocalist Aurii Sky (Dave’s daughter, adding a poignant family connection) add further colour and texture to a record rooted in musicianship and shared expression.
While Dave Angel's influence on British electronic music has long been established, “A Time And Place” reveals another dimension of an artist whose foundations were laid long before techno. Raised in a household immersed in live music and jazz culture, Angel has spent a lifetime absorbing sounds beyond the club, allowing those influences to surface naturally throughout a career defined by curiosity rather than convention.
For R&S Records, the album renews a relationship that stretches back to the label's formative years. For Dave Angel, it reflects both the path travelled and the road ahead. Thirty-five years after “1st Voyage” first announced his arrival, “A Time And Place” reunites artist and label with the same forward-looking spirit that brought them together in 1991, proof that the strongest creative partnerships continue to evolve.
The Rio-based project Pra Gira Girar presents a new interpretation of the song Atabaque Chora, originally made famous by the trio Os Tincoãs. Written by Dadinho and Mateus Aleluia, the piece opens the group’s iconic 1977 album Os Tincoãs —and has now been chosen to mark the beginning of Pra Gira Girar’s own recording journey.
Formed by Alvaro Lancellotti, Michele Leal, and Alan de Deus on vocals, Pedro Costa on guitar, Kassin on bass, Zé Manoel on piano and vocals, Zero Telles (in memoriam) and Anna Magalhães on percussion, and Diogo Gomes on trumpet, the project was born from Alvaro Lancellotti’s long-standing admiration for the work of Os Tincoãs and his wish to create a live show celebrating the legendary trio.
For a year, Alvaro, Michele, Alan, and Pedro made up the core of the group, meeting weekly for rehearsals that became a deep dive into Os Tincoãs’ intricate vocal arrangements. These sessions were essential to recreating the grandeur and complexity of the Bahian trio’s music. Pedro Costa transcribed the vocal lines and, together with Michele Leal — a singer-songwriter with a background in choral singing — adapted the arrangements for a formation that, unlike Os Tincoãs, features a female voice.
In 1990, Pop Will Eat Itself released their third studio album. The British alternative rock band drew on many popular genres of the time, making them their own. Hip hop, industrial rock and alternative dance are all featured on Cure For Sanity.
The band also enjoyed success in the UK Singles Chart, with four singles reaching the top 40.
This album contains 1991 reissue of the album and is now available on a 2LP set for the first time.
Cure For Sanity is available as a limited edition on purple coloured vinyl and includes an insert.
The small print:
• Due to rights restrictions, this item is only available for customers in Europe.
