Search:first

Qadir Bijoux has been honing his craft for years, cooking up something deeply soulful, made of organic ingredients and infused with oriental spices. The Dilla-inspired producer/rapper is set to give you a first taste of his debut MEWE - an album with a jazzy, Madlib-esque sound. For the most part it"s an instrumental, sample-based project. Let the filter bass massage you and be mesmerized by Qadir"s and his partner in crime Ninja Kidsoul"s soothing backing vocals.

After releasing his first beat & instrumental album "Alltimers" in 2020, Berlin based multi-talent V.Raeter is back and kicking off the champagne for his upcoming sophomore LP "Sunday on a Monday" - this time released via Kabul Fire Records, also known as the nourishing home of high class instrumental releases in proud HipHop fashion. Sunday on a Monday is a sample based instrumental gem that pays tribute to the laid-back atmosphere of late summer days.

After releasing his first beat & instrumental album "Alltimers" in 2020, Berlin based multi-talent V.Raeter is back and kicking off the champagne for his upcoming sophomore LP "Sunday on a Monday" - this time released via Kabul Fire Records, also known as the nourishing home of high class instrumental releases in proud HipHop fashion. Sunday on a Monday is a sample based instrumental gem that pays tribute to the laid-back atmosphere of late summer days.

The Mamas & The Papas were formed by husband and wife John and Michelle Phillips, formerly of The New Journeymen, and Denny Doherty, formerly of The Mugwumps. The last member to join was Cass Elliot, Doherty's bandmate in The Mugwumps. The group considered calling itself The Magic Cyrcle before switching to The Mamas and the Papas as apparently inspired by the Hells Angels, whose female associates were called "mamas".

They released a total of five studio albums and seventeen singles over a four-year period, six of which made the Billboard top ten, and sold close to 40 million records worldwide. The band was inducted into the Rock and Roll Hall of Fame in 1998 for their contributions to the music industry.

The band’s first single, “Go Where You Wanna Go”, was released in 1965. The second single, “California Dreamin’”, was released later in 1965 and quickly peaked in the charts. The band’s album, If You Can Believe Your Eyes And Ears, was released in March 1966 and became the band’s only number 1 album on the Billboard 200. The third and final single from their debut was “Monday, Monday”, which became the band’s only US number 1 hit. The song brought the band international success.

Collected is a perfect overview of the multiple classic hits and tracks throughout the career of The Mamas & The Papas and complimented with several popular tracks by Mama Cass Elliot.

Music On Vinyl proudly presents a special edition of The Mamas & The Papas Collected compilation, which is available as a limited edition of 5.000 individually numbered copies on blue vinyl, and includes a booklet with liner notes.

The first OM album, Variations on a Theme, features Al Cisneros bass, vocals and Chris Hakius drums. It was produced by OM and originally released in 2005 on Holy Mountain. Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. Recorded with Billy Anderson.

The first OM album, Variations on a Theme, features Al Cisneros bass, vocals and Chris Hakius drums. It was produced by OM and originally released in 2005 on Holy Mountain. Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. Recorded with Billy Anderson.

Irgendwann um das Jahr 2024 tauchte Vorhex Angel scheinbar aus dem Nichts auf: keine Social-Media-Präsenz, keine Identitäten, lediglich ihr Name tauchte hier und da auf einem Flyer in Nashville oder New Orleans auf. Wer neugierig genug war, um ihre Live-Show zu besuchen, konnte mit einer Vielzahl unerwarteter Dinge konfrontiert werden, die die Sinne anregten: aufwendige Bühnenbilder, Stroboskoplichter (oder alternativ völlige Dunkelheit), brennende Gegenstände, vor dem Auftritt eingenommene Rauschmittel. Die Musik bei diesen Auftritten passte zu dem Mysterium. Sie war laut, unberechenbar und verdammt viszeral. Wenn die beiden Live-Veröffentlichungen der Gruppe und ihr Debüt ,Heavenly" tatsächlich viszeral sind (Raven Sings the Blues nannte sie ja ,Erben des Strudels von High Rise"), dann ist der Nachfolger ,Drain" sicherlich ihr intellektuelles Werk. Seine sieben Tracks führen den Hörer vom Morgen bis zur Nacht, ein weitläufiges experimentelles Doppelalbum mit überlebensgroßen Gitarrensoli, spacigen Drone-Exkursionen und Momenten von kraftvoller Intensität durch das gesamte Werk. Zum ersten Mal sehen wir, wie Vorhex Angel ihren hämmernden Klangangriff gegen stimmungsvolle und dramatischere Gefilde eintauschen. Die Band - bestehend aus den Brüdern Jake und Jamin Orrall von JEFF the Brotherhood und Kunal Prakash von Silver Synthetic - erweitert die Grenzen des Vorhex-Angel-Konzepts, lädt neue Musiker in ihren Kreis ein, geht mehr Risiken ein und erntet dafür umso mehr. ,Drain ist keine Musik, die man im Hintergrund beim Kochen laufen lässt", warnt Kunal, bevor er zwinkert: ,Vielleicht ist sie etwas für besonders abenteuerlustige Köche." Vorhex Angel verspricht, dass noch mehr kommen wird. Mehr Jams, mehr unerwartete Wendungen - allein in diesem Jahr können wir mindestens eine Tour und mindestens zwei (!) weitere Alben erwarten. Vorerst gibt es ,Drain" zu feiern, sich damit auseinanderzusetzen, damit der Hörer wie die Musik selbst ein- und ausatmen kann, mit reichlich Raum für gedankliche Kontemplation. SPA Sometime around 2024, Vorhex Angel emerged seemingly out of the ether: no social media presence, no identities, simply their name popping up in Nashville or New Orleans on a flyer here and there. Those with enough curiosity to attend their live show could be met with any number of unexpected things to spike the senses: elaborate stage dressing, strobe lights (alternatively, complete darkness), burning things, pre-performance ingestibles. The music at those functions matched the mystery. They were loud, unhinged, and visceral as all hell. If the group's two live releases and debut Heavenly are indeed visceral (Raven Sings the Blues did name them "heirs to the maelstrom of High Rise"), then followup Drain is surely their cerebral offering. Its seven tracks guide the listener from morning to night, a sprawling experimental double album with larger than life guitar solos, spaced-out drone excursions, and moments of potent intensity throughout. For the first time, we see Vorhex Angel trade their pummeling sonic onslaught for moody and more dramatic pastures. The band-revealed to be brothers Jake and Jamin Orrall of JEFF the Brotherhood and Silver Synthetic's Kunal Prakash-push the parameters of the Vorhex Angel concept outward, inviting new players into their circle, adding more risk and generating more reward. "Drain is not in-the-background cooking-type music," warns Kunal, before winking: "Maybe it is for particularly adventurous chefs." Vorhex Angel promises there will be more. More jams, more left turns-just this year, we can expect at least one tour and at least two (!) more albums. For now, there is Drain to celebrate, to sit and chew on, to allow the listener to breathe out and in like the music does, with ample room for cerebral contemplation.

Available for the first time on vinyl! ESCAPE THE FATE deliver electrifying melodies and shattering screams with raw emotional force. Their staggering Epitaph debut entitled There"s No Sympathy for the Dead has five songs and every one of them is guaranteed to blow you away. Die anderen beiden Alben, die wir als Backkatalog haben, haben sich auf CD über 3.000 bzw. 5.000 Stück verkauft!!

Following the fast-selling debut of Legend Has It… #1—the first collaboration between Mass Appeal Records and Marvel Comics—Mass Appeal expands the series with a special set of Marvel variant vinyl releases. This collection brings seven iconic LPs to life in vinyl form, each featuring original artwork by acclaimed artists Sanford Greene, Mike Del Mundo, Taurin Clarke, Ariel Olivetti, Edwin Galmon, Greg Land, Salvador Larroca, and Kagen McLeod.

Roland Kirk was an extremely talented multi-instrumentalist, who lost his sight at a very early age, and played unconventional jazz, which was not entirely free but in which melodic and very beautiful phases alternated with moments of complete dissonance and conjured up his urban background, especially reflecting his view of the world as a handicapped man. Kirk was not only famous for his unique sound achieved through his playing several instruments simultaneously and his innovative approach to music but also for his dynamic live performances.

In November 1967 Kirk left EmArcy for Atlantic Records, leading his quartet through a highly introspective, somewhat melancholy programme, which was based in the blues and groove traditions of the mid-60s. Kirk himself played flutes, the stritch, manzello and tenor saxophones, the whistle, clarinet and more – precisely those instruments that had created his unique sound, particularly when some of these instruments were played simultaneously by him. Jazz critics who had previously criticised Kirk’s sound now praised him once they had heard the restrained and elegantly layered "Black And Crazy Blues", the breathtakingly executed Creole "Love Call", the razor-sharp soul in "The Inflated Tear" and the gyrating lyricism of the winds in "Fly By Night" – and quite rightly so.

Roland Kirk convinced his listenership anyway and sold over 10,000 copies of the present LP in the very first year of its release. This is Roland Kirk in his most competent and visionary form; his reading of jazz harmony and capricious sonances is virtually incomparable.

Words have never been my strongest point. I have many ideas in my head, often too many. I can talk a lot about them, but putting them on paper is not really me. I rather just work on my ideas. ‘cause whatever your thoughts are, as soon as it is out there and people start to listen it becomes theirs. What I might have thought up before, and have as concept behind the music, might not be how someone else listens to it. And that’s okay.
If we keep in mind that my music is time focused, and I love it when it isn’t polished too much, so small errors become part of it, the music should speak enough for itself.
“Continuation” is my first studio album since “En de stilstaande tijd” (2019), and shows a rougher sound staying closer to my live sound. I see this as a continuation of my live performances, though this time with various multi-track recordings brought together as a whole, all done in my home studio “Studio De Baviaan” over the course of 8 months.
--- Sietse van Erve / Orphax, Janauary 2026

Few artists arrive as compellingly yet elusively as did Stuart Moxham upon the startling debut of Young Marble Giant's sole studio album, Colossal Youth. Initial excitement was thrust upon the young Alison Statton, who sang songs written by Stuart with a couple of exceptions. The unaffected tone of her voice was in steep contrast to the typical goings-on in that still quite punky time, but it was what she sang that fully sold it. Moxham's lyrics were both intensely personal and woefully oblique. There seemed to be a sort of story in there. Confusingly, that story often felt like it was Alison's rather than the fellow who'd penned it. The unexpected miracle a deal with Rough Trade and the album's subsequent success had the band stymied for a second act and it wasn't long before the group disintegrated, although circumstances often brought members and a few of their peers - among them Debbie Pritchard, Spike Williams, and a third Moxham brother, Drew. - Phil Moxham was the band's bassist - together in odd combinations and pairings. None of the three YMG members have been especially prolific, but it's Stuart's career that has seemed the least straightforward, as if he'd wondered, "What to do when your debut is a nearly perfect artefact?" In the case of his first "solo" full-length in thirty years, Stuart took the unusual step of entering an alien studio with American producer Dave Trumfio (who's also the leader of Pulsars and bassist for Mekons) and allowing him to decide what tracks (of a large number submitted by Stuart) to record, and how they'd be orchestrated. Or not. In this case - save for the writing and composing - it's really Dave's album as much as Stuart's. The tracks went with Dave back to LA, where they were mixed, a few parts added (including subtle backing vocals from the incredible Linda Smith) . . . then later unmixed and reworked by John Henderson and Roni Ayala back in Valencia. Both versions will be made available, and both have a compelling cohesion missing from some of Stuart's work since YMG. Stuart's minimalism is quite intact, the range of emotions quite wide. There are few artists operating today like Stuart Moxham, a composer of the upper echelon of innate talent who combines avant-garde ideas with deceptively forthright personal lyrics, solid hooks, ambience and vaguely off-centre instrumentation which defies the casual marketplace as confoundingly as it ever did to the underground, whatever that is these days. His songs have been admired and / covered by everyone from Lush to Kurt Cobain, adaptations in Japanese and even a French-language hit by Etienne Daho, adaptations by Hole, Galaxie 500, Magnetic Fields, Belle And Sebastian and many others - but a new Stuart Moxham album is a special kind of joy.

50 years ago, Nancy Spungeon reviewed the Heartbreakers relaunch gig for New York Rocker. They"d hired bassist Billy Rath to replace Richard Hell and written new songs. This was the genesis of the L.A.M.F. story. FOUND IN AN ATTIC - a copy master of the original 1977 Track Records tape, without "mud"! This classic punk album, recorded in London by the band featuring New York Dolls Johnny Thunders and Jerry Nolan, along was universally condemned in the music press for having a "muddy mix" - later found to be a mastering fault. When Track went bust the following year, manager Leee Black Childers burgled the Track Records" Carnaby Street 3rd floor office and liberated the tapes that belonged to him and the band. He found everything - except for the master-tape, which remained undiscovered until last year. Other releases had been from outtakes or remixes. First released for RSD in 2021 with not enough copies, and has been unavailable for three years. Now reissued to satisfy the demand for this latterly discovered, acclaimed recording.

Formed in 2022 and already moving with the assurance of a band far beyond its years, Hanry stands at the confluence of atmosphere and impact, restraint and eruption. Hanry return with `What Came From Silence`, their first full-length album that captures the band at a decisive moment in their evolution. Their performance at the legendary Trans Musicales in Rennes, broadcast nationally to an audience of thousands, marked a defining moment, and the forthcoming live session with KEXP signals Hanry's international ascent The new album is a cinematic journey that is all at once introspective, soaring and meticulously curated. Hanry transform restraint into resonance, and `What Came From Silence` is an album that invites immersion; it begins in stillness and slowly, inexorably, unfolds into something vast and luminous Sonically, the album deepens Hanry's exploration of contrast. Clean guitar tones shimmer with crystalline precision, only to dissolve into waves of saturated distortion. Ambient passages feel suspended in time, yet the band resists drifting into passivity. Even at their most delicate, there is motion; subtle pulses and evolving textures that suggest forward momentum. When the band unleashes its full force, the sound remains articulate; each instrument retains its identity within the surge. "The main new element on this album is our collaboration with the pianist Mariposa, who worked with us on the track Phantom Rush. His sensitivity and musical depth brought a new dimension to the piece. He took the composition into a space we likely would not have explored on our own, adding both emotional intensity and richness to the track." (Hanry) FOR FANS OF Explosion in the Sky * Boards of Canada * Massive Attack

Formed in 2022 and already moving with the assurance of a band far beyond its years, Hanry stands at the confluence of atmosphere and impact, restraint and eruption. Hanry return with `What Came From Silence`, their first full-length album that captures the band at a decisive moment in their evolution. Their performance at the legendary Trans Musicales in Rennes, broadcast nationally to an audience of thousands, marked a defining moment, and the forthcoming live session with KEXP signals Hanry's international ascent The new album is a cinematic journey that is all at once introspective, soaring and meticulously curated. Hanry transform restraint into resonance, and `What Came From Silence` is an album that invites immersion; it begins in stillness and slowly, inexorably, unfolds into something vast and luminous Sonically, the album deepens Hanry's exploration of contrast. Clean guitar tones shimmer with crystalline precision, only to dissolve into waves of saturated distortion. Ambient passages feel suspended in time, yet the band resists drifting into passivity. Even at their most delicate, there is motion; subtle pulses and evolving textures that suggest forward momentum. When the band unleashes its full force, the sound remains articulate; each instrument retains its identity within the surge. "The main new element on this album is our collaboration with the pianist Mariposa, who worked with us on the track Phantom Rush. His sensitivity and musical depth brought a new dimension to the piece. He took the composition into a space we likely would not have explored on our own, adding both emotional intensity and richness to the track." (Hanry) FOR FANS OF Explosion in the Sky * Boards of Canada * Massive Attack

When I first heard YELKA play I thought to myself: “I’d like to play in that band.”

In the meantime I have realised that it would not be as easy as I imagined. The fluffy easy sound that gets created is so particular that it would not be so easy to execute those exact sounds of the band. This is mostly due to the unconventional harmonies of the guitar. Daniel himself said he is content with the guitar and added an extra one on almost all of the songs. Which I, as a fan of Daniels anarchic approach to playing, love.

Also Yelka’s groovy smooth bass playing is in the forefront of the album once again. Her sound bounces through the guitar riffs as if it's the most common thing on earth. Once Yelka adds her vocals to the songs, that’s when they almost become pop and reminiscent of Velvet Underground.

Christians drums hold these two together through the track list, with a fun Krautrock and jazz influenced style. Everything was recorded live and it sounds fantastic!

The 6th track of the YELKA album "Jeans" is a highlight with the piano support from Federico Corazzini, who adds lush open jazz chords to the incredible intricate harmonies of the band. Arne Bergner (Studio Popschutz) who is once more responsible for the production of the album, also added a beautiful choir arrangement. The finishing touches completing YELKA´S wonderful sound as always added by Norman Nitzsches Mastering (Mokik Studio).

From top to bottom an amazing album: "King of the World" (Steely Dan cover), a pop song with a fantastic keyboard solo from `the one and only Dan Ra´ alias Daniel Nentwig (The Whitest Boy Alive), "Moon for Now", an atmospheric jazz-ish tune, to "Walking Whispering", a strong 9-minute guitar heavy number... I think there are more than two guitars in this one.

American indie rock/pop/jazz whatever - school (after all, it's the third album in the band's America trilogy) and yet above all Berlin, in its most likeable and perhaps even coolest form.

Masha Qrella

Damian Dalla Torre returns with People Pleaser, a record shaped by movement, collaboration and an ever-deepening relationship with sound as environment.
The Leipzig-based multi-instrumentalist, composer and producer first found wide attention with his 2022 debut Happy Floating, and his subsequent album I Can Feel My Dreams was named the #1 Contemporary Album of 2024 by The Guardian, an accolade that broadened his audience and deepened confidence in his evolving voice. That second album, written between Europe and South America, opened unexpected doors and took Dalla Torre to stages across New York, Japan and Italy. “When you release music, it’s very intimate,” he reflects. “You show your emotions pretty raw. I was kind of scared. But getting so much positive feedback gave me a lot of self-confidence to try out more.”

People Pleaser begins in that quiet shift of confidence.

The title stayed with him for months before he committed to it. “It was a working title for a long time,” he says. “I didn’t actually think I would use it. But this term also felt somehow relevant in connection with the phase of self-negotiation during the development process. Some aspects are related to pressure, others are positive.” The ambiguity felt right. Rather than presenting it as a statement, Dalla Torre leaves it open, an invitation rather than a confession.
At the centre of People Pleaser is collaboration. Guitarist Bertram Burkert, whose playing stretches from classical delicacy to electric abstraction, joined Dalla Torre in the studio for an intensive three-day session, recording a wide palette of textures that would become the backbone of the album. Vocalist Laura Zöschg, a key live collaborator, harpist Babett Niclas, organist Felix Römer, tape experimentalist Markus Rom, marimba and vibraphonist Volker Heuken and Japanese artist Manami Kakudo also contribute, creating a sound that feels intimate yet expansive.

Damian Dalla Torre returns with People Pleaser, a record shaped by movement, collaboration and an ever-deepening relationship with sound as environment.
The Leipzig-based multi-instrumentalist, composer and producer first found wide attention with his 2022 debut Happy Floating, and his subsequent album I Can Feel My Dreams was named the #1 Contemporary Album of 2024 by The Guardian, an accolade that broadened his audience and deepened confidence in his evolving voice. That second album, written between Europe and South America, opened unexpected doors and took Dalla Torre to stages across New York, Japan and Italy. “When you release music, it’s very intimate,” he reflects. “You show your emotions pretty raw. I was kind of scared. But getting so much positive feedback gave me a lot of self-confidence to try out more.”

People Pleaser begins in that quiet shift of confidence.

The title stayed with him for months before he committed to it. “It was a working title for a long time,” he says. “I didn’t actually think I would use it. But this term also felt somehow relevant in connection with the phase of self-negotiation during the development process. Some aspects are related to pressure, others are positive.” The ambiguity felt right. Rather than presenting it as a statement, Dalla Torre leaves it open, an invitation rather than a confession.
At the centre of People Pleaser is collaboration. Guitarist Bertram Burkert, whose playing stretches from classical delicacy to electric abstraction, joined Dalla Torre in the studio for an intensive three-day session, recording a wide palette of textures that would become the backbone of the album. Vocalist Laura Zöschg, a key live collaborator, harpist Babett Niclas, organist Felix Römer, tape experimentalist Markus Rom, marimba and vibraphonist Volker Heuken and Japanese artist Manami Kakudo also contribute, creating a sound that feels intimate yet expansive.

Claus Voigtmann has built his reputation away from excess, favouring precision, patience, and a deep understanding of the dancefloor over trend-led movements. Emerging from a punk background, his approach to music carries that same raw intent, translated into rolling, groove-led sets that blend movement with a stripped-back sense of pressure and release. As co-founder of the influential Toi.Toi.Musik party series, he helped shape one of London’s most respected underground movements, while later channelling his focus into his label Subsequent - a platform for more exploratory, long-form expression that has found its way into the crates of DJs including Zip, Ricardo Villalobos, and Sonja Moonear.

Having already landed on Enzo Siragusa’s FUSE imprint in 2023, remixing the label boss’s ‘Laughing Tones’, and after featuring heavily across the brand’s global events for years, his ‘Elevate’ EP distils his ethos into four direct, function-led cuts. Built with clarity and intent, the record reflects his commitment to music that works in the room first and foremost, resulting in a collection of tracks shaped by experience rather than excess, and where every element serves a clear purpose.

‘Bass Tool’ brings low-end pressure and tightly wound percussion, setting the tone from the off , while ‘Loading Complete’ leans into a more cosmic roll, layering shifting textures over a forward-driving framework. On the B-side, ‘Sidequest West’ keeps the focus in the sub-bass realms while still maintaining focus on groove and flow, before the title cut closes the release by opening things out, balancing weight and space in a way that reframes the EP’s direction and journeys into the late hours.

Step into a candy box of sound: sweet Italo-infused house and tangy, bass-heavy breaks. Some tracks hit like hard candy, daring you to bite, while others are sticky and irresistible, gluing you to the dancefloor. B.Visible tasted all the sweet treats without losing a tooth, but the synths took a proper beating. On this DJ tool, you'll find a track for every part of your set, with a package that nods to '90s electronic music without losing its timeless charm.

B.Visible is a Vienna-based DJ and producer. His sets blend danceable beats with a strong musical vision - ranging from disco and house to breaks and experimental electronics, complemented by rare vinyl discoveries. Each selection is surprising, versatile, and curated with great attention to detail. His productions are just as multifaceted as his DJ sets: warm drums and organic textures meet carefully crafted electronic elements designed with the dancefloor in mind. The result is a distinctive signature style - accessible, diverse, and independent. His music is regularly featured on Austrian radio stations such as FM4 and receives international
support from BBC DJs including Gilles Peterson, Tom Ravenscroft, and Don Letts. B.Visible's music thrives on surprise and depth - whether in the studio or on stage, it always unfolds with a unique dynamic, drawing audiences in from the very first moment.

First released in 2000, 'The Secret Language Of Birds' saw Ian Anderson at his most introspective & stylistically diverse, delivering a deeply personal collection of songs that blend folk, rock, world music & classical influences with effortless grace. Written & recorded at Anderson's home studio, this album stands apart within his catalogue for its intimate atmosphere & organic charm. Across its richly varied tracks, Anderson's signature flute work intertwines with acoustic instrumentation, subtle rhythms & evocative storytelling, creating a soundscape that is both pastoral & worldly. From the reflective beauty of the title track to the playful energy of "The Habanero Reel" & the cinematic sweep of "Panama Freighter," each piece reveals a different facet of his musical language.

The Bobby Lees don't need much in the way of introduction. Within a few seconds of exposure to their furnace-blast live shows or their bottled-lightning studio records, it's easy to hear why they've earned fans in legendary musicians like Iggy Pop, Debbie Harry, and Henry Rollins. They're as uncompromising in their sound and generous with their energy as any of their punk ancestors who first rewrote the rules of engagement back in the 1970s. Led by singer and guitarist Sam Quartin, drummer Macky Bowman, and bassist Kendall Wind, The Bobby Lees bring wildness and danger back into punk rock.

The Definite Article captures the Scientists "Weird Love" lineup (Kim Salmon, Boris Sujdovic, Tony Thewlis, Leanne Cowie) performing live at the peak of their powers at The Triffid in Brisbane on November 4, 2017. The Australian rock legends run through twenty of their best loved songs and captures them at their raucous, swampy, noisy best. The band were so happy with the performance and the recording that they decided to release it on cassette on Emmett Kelly’s Ha Ha label and sell it on tour. With the tape long sold out, In The Red is happy to bring this incredible performance to vinyl for the first time. “I love their records. They wrote fantastic singles and looked like they just crawled out of the ooze. What more could you ask for?” – Warren Ellis “The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink.” – Jon Spencer “The Scientists proved to me that rock 'n' roll could be played by gentlemen in fine silk shirts half-unbuttoned and still dirty, cool and real.” – Thurston Moore

LB Junior is the musical artist name of Lincoln Bloomfield Jr., longtime bass player for Kelakos and, prior to 1975, for Emergency Exit and The Criminals.
His songwriting, vocals, bass playing, and guitar and keyboard work appear on each of the two Kelakos albums, Gone Are the Days (1978) – re-mixed and
released in 2015 as Kelakos Uncorked: Rare Tracks from a Vintage Seventies Band – and Hurtling Towards Extinction (2023). Beginning in 2004 he has performed approximately 15 times in Washington DC, New York, and Cleveland
with the Coalition of the Willing, formed by then-Hungarian Ambassador to the US Andràs Simonyi along with several senior US officials and missile defense advisor Jeff “Skunk” Baxter of Steely Dan and Doobie Brothers renown. The Coalition’s concerts have supported wounded soldiers, New Orleans musicians displaced by Hurricane Katrina, UN Refugee Programs, and preservation of the Maine coastline among other causes. They have been shown on Russian television and Armed Forces Network, and the band was featured in a documentary film, “Rockin’ the Beltway”. Notables including President George
H.W. Bush and President Bill Clinton, Ambassadors from several countries, US Cabinet members and Supreme Court Justices, and actors including Kate
Blanchett and Ben Stiller, have seen them perform. While he has previously released a number of single tunes, Echoes of Dreamworld is his first solo album

A brand new special edition gatefold vinyl run of Nu:Logic's seminal 2013 album 'What I've Always Waited For', which features cult D&B classic 'Everlasting Days (feat. Lifford)' as part of the LP product for the first time ever. Wrapped up in Hospital Records' 30th anniversary celebrations, it was a no-brainer to resurface this integral part of the label's history - one of the many timeless contributions that Nu:Tone & Logistics have graced the label with..

Mana is the International Anthem debut by trombonist and composer Kalia Vandever.

The collection carries the spirit of their first solo album, We Fell In Turn, while entering a new landscape of spacious songwriting. Mana, which in Hawaiian means “foundational, supernatural, or divine power and strength,” reveals more of their voice and words, drawing from yearning, loss, and bewilderment.

Appropriate for the early riser’s first step into the day or the night owl’s weary and quiet walk home.

Mana is the International Anthem debut by trombonist and composer Kalia Vandever. The collection carries the spirit of their first solo album, We Fell In Turn, while entering a new landscape of spacious songwriting. Mana, which in Hawaiian means "foundational, supernatural, or divine power and strength", reveals more of their voice and words, drawing from yearning, loss, and bewilderment. Vandever"s music has quickly and widely gained traction in the last few years despite the fact that their style has been consistently difficult to pin down, boasting a compositional scope ranging from the palatial modern jazz of their quartet work to the synthetic, gauze-like droning ambience of their solo material. Mana leans into the expansion of the latter: solo trombone filtered through a well-dialed pedalboard, manipulated live; spare piano à la the late-career work of Ryuichi Sakamoto; electroacoustic interplay simultaneously echoing and transforming the long-note melodicism of Vandever"s melancholic brass work; head-on, unambiguous, and deeply personal lyricism - a particularly fresh move for the composer... Appropriate for the early riser"s first step into the day or the night owl"s weary and quiet walk home.

Multicast Dynamics aka Samuel van Dijk presents Language of Colours. A substantial set of vibrant, cinematic tracks marking the first release on Language of Colours, a sonic imprint dedicated to conceptual electronic music. 10 tracks moving through organic ambient, reduced downtempo beats, lush soundscapes, and experimental drones. Originally released digitally in 2021, now available for the first time on vinyl.

A four-track EP operating between tension and motion. Man in Static features three original tracks and a remix by Adrià from Cúpula Records, Barcelona. The record explores repetition, signal, and pressure, with the club as its transmission point. Written and prepared throughout 2025, the EP is released in 2026 as the first chapter of a series on the Mozali Records electronic imprint.

The EP was mixed by Taro Venn, aka Georj, keeping the sound close to its original form. Mastering was completed by Viceversa, preparing the record for club systems.

This first entry is intended to be played in full, end to end. Static on the surface, movement underneath.

Even in these most turbulent of times, dub musician and fatigued onlooker Elijah Minnelli remains an inexplicable stalwart on the lower rungs of the Breadminster County Council.

His latest record ‘Clams As A Main Meal’ continues his astute siphoning of council funds, this time with help from the Breadminster Board of Abstinence. As a further mark of respect, the original head of the Board, Dr. K'houldoux, graces the cover art in his infamous ‘Looming Moon of Desire’ guise.*

As fine a backdrop as any for Minneli’s off-brand dub experiments, and ‘Clams...’ is the truest representation of his varied wheelhouse yet...

We find vocal appearances from dub goliath Dennis Bovell and Welsh-language singer Carwyn Ellis. A pair of tracks which build on 2024’s acclaimed ‘Perpetual Musket’, a collection of folk songs reworked alongside reggae vocalists, released by FatCat Records. It garnered glowing reviews, with nods from The Guardian and The Quietus concluding with prominent appearances on their respective yearly round-up lists.

Elsewhere, the album finds Minnelli in a more experimental mode, all wheezing contraptions and cockeyed bass, creaking with the weight of creation, a satisfying tactility laid seam-side up.

As well as ‘Perpetual Musket’, the new album follows years of sold out 7" singles, handmade and self-released. Online, the tracks have amassed global streams numbering in the millions. His tracks have found play across an eclectic range of radio mixes and dance floors, most notably the likes of Andrew Weatherall, Batu, Optimo and Zakia Sewell (BBC6Music).

It is perhaps worth mentioning that this everbuilding interest in his work is at great odds with the growing suspicions amongst his fellow townsfolk, who see his Breadminster County Council Music Initiative as nothing more than an empty cash-grab.

Further Reading on the Breadminster Board of Abstinence

In the late 70s, Breadminster was awash with the last vestiges of the hippy era. Though the flared silhouette of the lower leg remained, the utopian ideals that had once flowed merrily around the youth's shaded ankles had begun to wane. LSD and free love had led to a sharp spike in population and a generation of children raised by air-headed psychonauts unprepared for the bleary-eyed strictures of parenthood.

Aware of the crisis, the County Council entrusted Dr. Paulinque K'houldoux to spearhead a pushback, and it was his pro-abstinence movement - a mixture of education initiatives and radical renutrition campaigns - that came to impact Breadminster's census deep into the new millennium.

Being a pseudo-archipelago Breadminster has fundamentally limited resources, however deep-seated ties to distant coastal villages meant that oysters were a regular part of the local diet. K'houldoux pinpointed this as a factor in the town's overpopulation, and believed that simply replacing these with clams (a “lesser mollusk”) would help lower the erotic urges of the people. It was his “anti-aphrodesia” movement that first championed the idea of “Clams As A Main Meal,” and the slogan “Consider Abstinence” carried the message yet further.

The Breadminster Board of Abstinence soon became involved in all cultural happenings in the area, with K'houldoux MCing at prominent festivals and performances, sometimes dressed as the “Looming Moon of Desire” - an idea of his relating to the tide, seafood, menstrual cycles, and his privately held celestial predilections.

It was in 1981 that it was revealed Dr. K'houldoux had never fully qualified as a doctor and was seeking exile in Breadminster due to a series of botched bracelet heists in which he had previously been involved. K'houldoux was subsequently extradited to Basingstoke, where he served 3 of a 12-year sentence, owing to the lunar-oriented prisoner health campaigns he helped implement.

It has been a strange twist of bureaucratic fate that the Breadminster Board of Abstinence has never stopped receiving public funding, despite its lack of clear utility. And while its roots are tied to a rose-tinted past, the Board continues to sponsor cultural events and projects to this day.

An extract from: Eugeniq Schooner's article in Sydney Parishioner: “Clams, Breadminster and Countercultural Abstinence Trends” (2008)

2026 Repress

- Linen Paper, Foil Printed Box Set
- Includes 6 Double LPs + 1 Single LP, 13 Discs In Total
- All LPs Pressed on Coloured Vinyl
-Each Disc is Housed in a Printed Inner with PMS Print, Finished with Spot Gloss Printing. Each Sleeve Features an Abstract of the Original Album’s Artwork
- Also included are a 4 page Insert + Poster

Skintone Edition commemorates the singular talent of this music pioneer with the re-release of all of his albums released via his own Skintone label.
Over a 20 year period Yokota released 30 albums and countless 12s under a variety of aliases, across more than a dozen pre-eminent labels. Yokota received domestic and international acclaim as a house and techno DJ and producer throughout the nineties. Part of the vanguard of the Tokyo scene, his influential release Acid Mt. Fuji inspires techno artists to this day.

In 1998 though, at the height of his success, he established his Skintone imprint, which came to eclipse all of his previous achievements. Skintone shone a light on the diverse new directions in which his creativity had blown, from delicate, cyclical tape-loop meditations to neo-classical compositions. It also gave him the autonomy to combine his visual and music-making practices and, importantly, to create at his own pace. The label was a great success and his experiments proved foundational in the global 00s ambient canon.

Skintone Edition will be available as 2 box sets - the first volume coincides with the 10th anniversary of Yokota’s untimely death and the 30th year of Lo Recordings. All music has been fully re-mastered. This edition is presented with the generous assistance of the Yokota family.
Albums Included:

Magic Thread 1998
Image 1983-1998 [1998]
Sakura [1999]
Grinning Cat [2001]
Will [2001]
The Boy and the Tree [2002]
Laputa [2003]

Mad Rey is a Paris-based producer and DJ whose universe moves freely between warm house, raw electronic textures, and influences drawn from the international club scene. First emerging through the D.Ko Records collective and label—one of the key forces behind the French house revival of the 2010s—he quickly developed a sensitive and organic signature, blending analog groove, evocative melodies, and a deep dancefloor energy. His notable releases on D.Ko, followed by projects with labels such as Red Lebanese and Ed Banger Records, reflect a singular trajectory at the crossroads of France’s most influential underground and electronic scenes.

Constantly evolving, Mad Rey is now opening a new chapter in his journey. An upcoming EP on Yoyaku affirms a more club-focused and percussive direction, while new productions leaning toward tech house outline a sharper sound designed for powerful systems and late-night dancefloors. This evolution comes with a clear ambition: to carry his music beyond French borders and expand his presence on the international stage.

Balancing production precision, DJ instinct, and an ongoing search for renewal, Mad Rey continues to shape a distinctive artistic world—rooted in the present yet firmly oriented toward the future of the dancefloor.

Early works and first release from Bastian on legendary Acid Orange Sublabel Tanjobi Records from Berlin. Has become more increasingly hard to find the past couple of years since it's been rediscovered by a new generation of DJ's. Perfectly executed tracks in the same vein as Khan and the Cologne posse. If you know you know!!

Let Me In is a sweet drop of musical sunshine, a song of love and yearning distilled in the southern hemisphere and elevated by the dulcet tones of Dub Princess.

The bones were first created by Isaac Chambers in 2015 as a rough sketch, and over the years more elements were added, including a woodwind section played by Jarrod Bremerton and a guitar solo by Prosad Freeman. It stayed as an instrumental until 2020 when Dub Princess added her stunning vocals to lock the tune into its final form.

“I love the long journey this song took to reach the finish line. Some tunes are created quickly and others need to marinate for years before all the ingredients come together” (Isaac Chambers)

On the flip, International Observer is on stellar form, weaving an accordion melody in to the original to create a taut, bass-forward dub mix.

Longtime Observer observers will recognise many of his distinctive production trademarks, originally developed in the eighties and honed further still since his debut release on Different Drummer in the early noughties set audiophiles ears aflame.

"What a pleasure it was to take a deep dive into dub with Isaac and Dub Princess” (Tom Bailey)

Psyché Records is proud to present our first vinyl release, a piece that isn’t just heard—it’s felt, collected, and experienced. Five years dedicated to what we truly love, brought to life in physical form with this release that fills us with pride.

The artist bringing this debut to life is Dani Labb, one of our favorite local artists, who perfectly captures the essence of the label: depth, identity, and journey.

This vinyl represents much more than just music. It is the sound of Psyché brought to life.

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

Each volume in this series dedicated to House influenced by Jazz has been a bestseller.
This volume was previously released only as a double CD, which was long out of print, and now, by popular demand, it has
been released for the first time as a double vinyl.
The sounds here explore not only Jazz but also Soul and Minimal.
All the tracks have never been released on vinyl except the first, a remix by LTJ Xperience, which has long been out of print.
Tracks by Don Carlos, J Boogie, Interanima, Riccicomoto, Guido Nemola, Belladonna, From P60, and Paolo Faz, among others,
are also included.

This is a super funky soul disco vibes from the soul queen of Nigeria
Christy Essien’s voice cuts deep into you, always leaving you wanting more. This a much wanted 45 that has never been released.

A: “You Can’t chance a man” is a timeless disco groove, the groove makes you move!! Massive club track.

B: “Take life easy” bass heavy vibes with perfect vocals; club banger another much needed 7” cut. Both tracks are sassy and uplifting utterly delightful. Don’t miss out

Both tracks first time on 7” vinyl Don’t miss this 7” 45rpm x500 copies

Celebrating 30 years of the legendary label, we pick legendary bombs and unreleased gems from Black Vinyl Records rich catalogue. From its inception back in 1996 Black Vinyl Records has always been a label for the serious DJs. Tony Humphries, Paul Trouble Anderson, Ricky Morrison, Justin Berkman, David Morales, Bobby & Steve and most serious Underground DJ’s supported the original vinyl release of Kerri Chandler’s early masterpiece ‘My Old Friend Alan’, dedicated to label founder Alan Russell, and it gained many more supporters following its recent digital re-Master. The David Harness remix of Tedd Patterson’s ‘Roots’ appears on vinyl for the first time here and was featured in no less than 25 Traxsource DJ charts after it’s digital release in 2022, including luminaries such as DJ Pope, Quentin Harris, Kevin Yost, Charles Dockins, and many more. The vocal mix of ‘Fever Tension’ by Fresh & Low has always been a sought after gem, only ever appearing on a ‘Re:Cuts’ release in early noughties, and ‘Rising Into Joy’ by Arnold Jarvis was championed by Danny Rampling, Paul Trouble Anderson, Andy Ward, Deli G and all the 'heads' and is the definition of a Soulful House Classic.