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Sun Wukong (The Monkey King) is a monkey born from a heavenly stone who acquires supernatural powers. After rebelling against heaven and being imprisoned under a mountain for 500 years, he later accompanies the monk Xuanzang on a journey to India. Thus, according to legend, Buddhism is brought to ancient China. This much beloved story, is as much a part of Asian culture as The Iliad and The Odyssey or The Wizard of Oz are to the West.

The 2014 action-fantasy film Monkey King - Havoc In Heaven's Place was directed by Soi Cheang, Starring Donnie Yen as the titular protagonist Sun Wukong. A Hong Kong-Chinese co-production, Yen also serves as the film's action director. The film co-stars Donald Chow, Aaron Kwok, Joe Chen and Peter Ho. The music was composed by Christopher Young.

Funfact; the drums on this soundtrack was done by none other than Dave Lombardo (ex- Slayer)

In China, The Monkey King was highly succesful and became only the third Chinese film to earn more than a billion yuan at the Chinese box office.

The soundtrack of Monkey King - Havoc In Heaven's Place is available for the first time on vinyl as a limited and numbered 2LP of 500 copies on gold vinyl, and includes an insert.

Francis of Delirium is the moniker of 22-year old, Luxembourg-based Jana Bahrich. The young artist’s incredible journey up until this point has seen her release 3 critically acclaimed EPs, ‘All Change’, 'Wading’ and ‘The Funhouse’. With praise so far from the likes of Stereogum, FADER, Pitchfork, Line of Best Fit, 6 Music, Radio 1, KEXP and NPR to name but a few, Francis of Delirium is on the precipice of something extremely exciting with debut album ‘Lighthouse’.

The announcement of ‘Lighthouse’ comes following a busy year of touring with the likes of Soccer Mommy, Briston Maroney, Horsegirl, The Districts and hitting Eurosonic, Iceland Airwaves and Tree Fort Fest, as well as opening for The 1975 & Kings of Leon.

Production duties on ‘Lighthouse’ were shared by Catherine Marks (Boygenius, Wolf Alice) and Jana Bahrich/Chris Hewitt. ‘Lighthouse’ was mixed by Jolyon Thomas (U2, Royal Blood).

By popular demand, Far Out are delighted to present Estatica- remastered edition of the classic 2010 album from the original Rio beach boy Marcos Valle
Evoking his Carioca sound - where expansive orchestral sweep meets beautiful melody and complex harmony - Valle mixes perfect romantic bossa-pop with cinematic brass and strings. This recording explores a six decade career that has swung between pop, bossa nova, delicate psychedelia, jazz, and funk. Responsible for bossa classic 'Summer Samba (So Nice)' Valle has collaborated with Leon Ware, Sarah Vaughan, & Chicago, seen his track 'Ele E Ela' sampled by Jay Z for Blueprint 3, and his songs recorded by the likes of Frank Sinatra and Bebel Gilberto.

When High Tone Live dropped on Jarring Effects, it wasn't just another live album - it was a statement. Captured in the spring of 2003, the Lyon-based collective condensed years of experimentation into an 11-track journey that redefines what live dub can be. Since their formation in 1997, High Tone have stood at the crossroads of dub, electronic music, rock, and urban culture. With Jarring Effects as their home base, they built a reputation for transforming the stage into a laboratory - a place where basslines mutate, beats deconstruct, and every frequency breathes. High Tone Live draws from four key releases - Low Tone, Opus Incertum, Bass Température and ADN - Acid Dub Nucleik - revisiting them through the raw energy of the stage. Classics like "Dehli Katmandou" and "Enter the Dragon" are stretched, twisted, and reborn in extended, improvisational forms. Two unreleased tracks, "112 Dub" and "Onew Dub," complete the set, adding a dose of fresh material to a disc that feels both retrospective and forward-looking. As with any live recording, there are rough edges: the mix shifts, some moments feel caught mid-explosion. But that's the beauty of High Tone Live. The imperfections add warmth, immediacy - a reminder that this music is made by humans pushing machines to their limits. High Tone Live stands as one of the strongest documents of Europe's post-dub explosion. It's a record that bridges continents and genres - a sonic travelogue where analog grit meets digital hypnosis. More than a live set, it's a manifesto of independence and sound exploration, stamped with the unmistakable seal of Jarring Effects.

The compositions of Colleen, aka multi-instrumentalist CeIücile Schott, are as richly varied as they are precise. Each of Colleen"s albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott"s music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one"s life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album"s sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue"s PA sound itself and the venue"s acoustics. Colleen"s music translates snapshots of Schott"s life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott"s deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental.

The compositions of Colleen, aka multi-instrumentalist CeIücile Schott, are as richly varied as they are precise. Each of Colleen"s albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott"s music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one"s life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album"s sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue"s PA sound itself and the venue"s acoustics. Colleen"s music translates snapshots of Schott"s life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott"s deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental.

more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice"s own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze"s skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice"s dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs.

more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice"s own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze"s skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice"s dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs.

France's near-revolution of May '68 was the zenith of that generation's struggle for a new kind of life. It kicked the country's small, but vibrant, counter-culture into overdrive, and birthed a local underground music scene. The bands it spawned made music with much less rock purity than groups from the UK and US. Their musical and cultural influences foregrounded improvisation, disjunction, and genre-blending: Soft Machine, Pink Floyd, Frank Zappa, free jazz, and radical politics. The introduction of the synthesiser in the early 1970s added fuel to the fire.

This collection of French underground music inaugurates a series to accompany "Synths, Sax & Situationists", the first English-language book to investigate this movement. It focuses on the music of the second wave of bands that emerged in 1972/3, which saw radicalised psychedelic and jazz influences merge with the future-music possibilities offered by new technology. The next volume will investigate the politically-charged bands that erupted in immediate aftermath of May '68.

"Purveyor of finest low notes”, Robin Mullarkey is a UK bassist and producer, renowned for his edgy bass playing with the likes of Jordan Rakei, Jose James, Zero 7 and Jacob Collier. His first solo release takes new twists away from the intricately weaved arrangements of his Brotherly project and into new realms of pure improvisation with a selection of the greatest musicians in the country. With Richard Spaven (Loyle Carner, Platinum Pied Pipers) - drums, Dave Okumu (Rosie Lowe, Jamie Woon, Tony Allen) - guitars and ESKA (Grace Jones, Zero 7) on vocals you can begin to imagine the scope of this wild selection of head-nodders and chin-strokers.
4/5* - Jazzwise Magazine

Following a trilogy of introductory EPs, a buzzed-about tour with Alvvays, and a mountain of global acclaim since they first emerged in 2022, the Stockholm-based trio teamed up with Alex Farrar (Wednesday, Snail Mail) for their first-ever full-length record. A sun-drenched prism of Girl Scout’s guitar-driven indie rock, Brink refracts with a new glow from each song to the next. Towering anthems intersecting with hushed tenderness. Nostalgia with momentary living. Doubt with joy. Forever a band of dualities, Brink is no exception for Girl Scout. Comprised of 13 tracks caught between apocalyptic anxiety and wistful escapism, the album captures the all-too-familiar crossroads of feeling stuck, yearning for change, and standing on the edge of something unknown.

Third solo album from Danny & The Champions of the frontman, Danny George Wilson.

EXODUS resurge at full force with their 12th studio album and Napalm Records debut, Goliath, out March 20, 2026! The top-charting band reinforces their eternal foothold at the top of thrash metal's hierarchy with 10 of their most diverse, anthemic tracks so far. Goliath marks the return of legendary singer Rob Dukes to the band. Produced, mixed and mastered by Mark Lewis (Whitechapel, Nile, Undeath), Goliath beams with the explosive authenticity that has set EXODUS eons apart from their peers since the release of their groundbreaking 1985 debut, Bonded By Blood.

"Since their formation in the latter half of 2023, Berlin’s Industry have quickly emerged into the foreground as one of the more exciting groups of the European DIY punk scene. Having released their 2024 debut LP, touring and playing festivals all over the continent, they are now back with a follow up record that’s every bit as bruising and bleak as the first.
Much has been made of how ‘on point’ Industry sound - a mid-paced cocktail of heavy toms and churning riffs recalling ‘No Sanctuary’ era Amebix or classic Killing Joke. But Industry use these sounds as a springboard rather than a template, utilising the form for genuine expression where others are tempted by retro cosplay. Their sound is pared back, pulsing, relentless but danceable. But it’s the words that result in a listen that’s engaging from start to finish, an album that’s both expressive and polemic. Just as people often describe Discharge’s lyrics as Haiku, Industry uses the band’s repetitive grooves as a wide-open canvas on which their exasperated observations are given space to land with precision. The litany of criticisms are familiar to us all - violence exacted on the poor and vulnerable by those in power, the ongoing industrialised slaughter of humans and animals, the disastrous consequences of colonialism, the list goes on… The world in 2025 is fucked, and even though they say they ‘can’t even look’, this band has got their eyes wide open."

Multi-coloured vinyl LP or CD. For fans of Nektar, Van Der Graaf Generator and Progressive Rock! Formed in Germany in 1969, Nektar favoured extended compositions and concept albums over the constraints of pop. They were among the progenitors of the progressive rock movement of the 1970s as well as the jam-band scene that arose in the late 1990s. Their sound travelled well to the States, where they enjoyed Top 40 success with "A Tab in the Ocean" (1972) and "Remember the Future" (1973). Nearly 20 albums and a half-century later, the band's artistic and personal charisma has earned them masses of devoted fans. Now Nektar is broadening their horizons with the first in the "Mission To Mars" trilogy. Their first to feature new drummer Jay Dittamo, alongside longtime members Ryche Chlanda (guitars),Kendall Scott(keyboards), and original members Derek "Mo" Moore(bass) and Mick Brockett (visual environment).From the rocking title track "Mission To Mars" to the beautiful "I'll Let You In", Nektar covers all of the prog rock bases while venturing into some new melodic territories. Track listing: Mission To Mars; Long Lost Sunday; One Day Hi One Day Lo; I'll Let You In

London quartet The Leaf Library return with their bold new album After The Rain, Strange Seeds. A luminous collection of pastoral indiepop, drawing inspiration from suburban isolation, unreliable memories and the surreality of the weather. Their most immediate and melodic work to date, the richly evocative songs brim with chiming guitars, buzzing organs and warm, dulcet strings, evoking Yo La Tengo’s more contemplative moments, The Clientele’s autumnal jangle pop and early Stereolab’s motorik melodicism. The sound of the album is defined by mixer John McEntire, whose work with Stereolab and Yo La Tengo (as well as a member of Tortoise/The Sea And Cake) have been major inspirations to the band.
The album explores themes of memory and place, albeit through an abstract haze – returning again and again to specific moments frozen in time: midsummer bright hot days in the Chilterns (“Sun In My Room”), meteorology and the strange movement of the weather (“Colour Chant”), red kites circling over suburban motorways (“Some Circling”), and the uncanny feeling of dusk and nighttime creatures on “The Reader’s Lamp” (titled by celebrated film director Peter Strickland). The lyrics are vivid yet elliptical, strung with abstract ideas and imagery, conjuring a gently unsettling, though never unwelcoming atmosphere. Not quite trusting your own recollection of things, while marvelling at the oddness of the natural world, the album’s title a good summation of the mix of strangeness and hope contained within.

As on past albums the band - founded by singer Kate Gibson and ex-Saloon guitarist Matt Ashton in the mid 2000s, and now completed by drummer Lewis Young and bassist Gareth Jones - have involved their extended musical family, including guitarist Mike Cranny (of fellow drone pop travellers Firestations) and keyboardist Irina Shtreis, both members of the Leaf Library live band. The album also sees the return of James Underwood’s Iskra Strings, a quartet that features on 4 tracks, with sumptuous arrangements by Daniel Fordham, as well as regular contributor Melinda Bronstein on vocals and Will Twynham (Dimorphodons) on harpsichord. They also welcomed Paddy Milner (on Hammond organ) and Scott McKeon (guitar) – both current members of Tom Jones’ band – for a startlingly delicate rolling crescendo to closing track “There Was Always A Golden Age”.
After The Rain, Strange Seeds is their 4th studio album. The result is The Leaf Library’s most accomplished and affecting work, John McEntire’s mix bringing a bold clarity to the band’s meticulous arrangements – closer to how they sound live than anything they’ve done before.

Mixed by Simon Lam (Kllo, Armlock) and mastered by Grammy-nominated engineer Andrei Eremin, the album features collaborations with British talent including rising spoken-word artist Emmeline, Mancunian ambient producer Frameworks, and Nattica from Fickle Friends on the single 'Oh My'. Speaking on the album, Fractures says: "There's no overarching theme to this album, not lyrically anyway. It's cobbled together like short diary entries of someone journeying through a sort of middling stasis in their life, a time of nothing particularly noteworthy, and that in itself provokes deeper and maybe darker introspection.

I didn't feel like needlessly plugging holes with lyrics, just light dabs here and there, light and shade to complete the visual I pictured in my head. The through line of the album is more within the sonic palette. There's a murkiness, a sort of dust in the audio that is cast over every song. Noth

He was trying to survive. The album was born from loss, written in the quiet aftermath of his closest friend Dean Jendoubi's passing. In that stillness, Burnside stripped everything back. Gone were the dense textures and surreal folk tales; what remained were bare, trembling songs that told the truth.

Against all odds, a devout audience has ridden shotgun and grown with them every step of the way. This symbiotic relationship speaks to the band's quiet impact with over 167 million streams in the United States alone, widespread acclaim, and sold-out shows. They loudly carved out their own corner of heavy music with an inimitable hybrid of head-crushing polyrhythmic prog-spiked metal, hardcore spirit, and unbridled attitude.

They have assuredly leveled up over the course of albums such as Via 2011, No Sleep [2014], Different Animals [2017], and Happier? [2021]. Kerrang! hailed the latter as "an album that gives a nod to the band's past while still bringing in new ideas." Meanwhile, the group shared stages on tour with everyone from Ice Nine Kills and Born of Osiris to Dance Gavin Dance and Counterparts.

Formed in 1987 by Fruitbat and Jim Bob, Carter The Unstoppable Sex Machine burst onto the scene with their signature style of punk-pop infused with samples, drum machines, and social commentary. Join Jim Bob and Fruitbat, as they take a retrospective look back at the complete Carter U.S.M. singles, from 1988 to 1997.

First released in 1995, 'Straw Donkey' is an essential introduction to Carter The Unstoppable Sex Machine, featuring the U.K. Top 20 singles 'The Only Living Boy In New Cross', 'After The Watershed (Early Learning The Hard Way)', 'Rubbish', and 'Lean On Me I Won't Fall Over', along with classics such as 'Sheriff Fatman', 'Anytime Anyplace Anywhere' and 'Bloodsport For All'.

illo.trio are representatives of the contemporary jazz scene who have already made their mark on numerous stages through other the world. Seamlessly blending elements of different styles, the musicians reinterpret familiar forms in fresh ways, filling them with unconventional meanings and stepping beyond the boundaries of expectation.

The new album is titled Wandering. It brings together 10 compositions that invite each listener to embark on a search for meaning and answers to essential questions.

This is a multifaceted journey where dramatic episodes coexist with retro-wave vibes, intimate chamber lyricism shifts into psychedelic phantasmagorias, and the trio's concise acoustic sound is interwoven with rich electronic textures and experimental effects.

The new label opens its first chapter with a collaboration between Elisa Batti (label founder) and Isabel Soto, two artists who have been working together for some time. Their debut release balances precision, atmosphere, and texture, bridging club-ready energy with immersive listening experiences.

Founded in March 2026 in Amsterdam, the label reflects Elisa's musical vision, moving from deep, driving techno to experimental and ambient territories. Each release is carefully curated, emphasizing coherence, attention to detail, and long-term artistic impact.

This first record sets the tone for the label's direction, intentional, focused, and defined by a strong musical identity. It's both a statement and a starting point, marking the beginning of a journey that will explore bold sonic landscapes while maintaining clarity and depth.

Release date: March 20, 2026
Written & produced by: Elisa Batti & Isabel Soto
Mastering by:Conor Dalton at GLowcast Mastering

Hidden Movement is the sixth vinyl-only release by Chaotic Discord from Tsarskoye Selo record label.

Next year, Earthtones Recordings (which was renamed to Seasons Recordings after ten releases) marks the significant milestone of 30 years in the game. Ahead of that, they have been digging in the vaults for some choice reissues and this hugely in demand one from Natural Rhythm gets the nod. It has been remastered and is a joyous house outing with 'Original Jive' layering up cascading jazz keys with soulful pads and moving drums. 'Earthtones 001' is the beatless sound of a humid jungle, then 'Eclectic Dub' reworks the original with a more stripped-down and focused, groove-driven sound. 'Dub Drums' closes a vital reissue.

Another classic dancefloor scorcher from France's finest, with the original disco track that was jacked to make it. Limited numbers as usual.

On this 8 track EP every song has UK and USA lyricists side by side as equals. It includes older icons of Hip-Hop, established talent from the current underground rap scene, and young emerging rappers who haven't been given a platform until now. This project is a collaboration between producer Sam Seed, a dozen rappers, 4 record labels,

the 05:21 music platform and a DJ night. No filler, all killer.


Introducing Sam Seed

A rising name on the underground rap scene. North London producer Sam Seed has a list of top tier production credits to his name with artists including Vinnie Paz, Billy woods,

Mickey Diamond, Conway the Machine. The Unaligned Vol.1 is his eagerly awaited debut EP.

Totally Enormous Extinct Dinosaurs is the musical project of British producer, singer, and songwriter Orlando Higginbottom. Known for his emotionally rich electronic compositions and playful visual aesthetic, he emerged in the late 2000s with a sound that merges dancefoor energy with melodic songwriting. His work spans house, techno, synth-pop, and experimental electronic music, and he has earned recognition for both his solo releases and his collaborations with artists across the electronic and pop landscape.

Trouble balances introspective songwriting with dance-foor energy, positioning itself as more than just a collection of club-ready singles. Key tracks include "Garden" which features Luisa Gerstein on vocals and "Tapes And Money" which incorporates Funkadelic's "One Nation Under A Groove" The album was well received, with favourable reviews from several well- respected music publications including the NME who decribed TEED as "one of the UK's most exciting young producers." It was also DJ Magazine's 'album of the year'

Released in 1967, Open marked a bold debut for Brian Auger & The Trinity, featuring the dynamic vocals of Julie Driscoll. Music and its makers were rapidly evolving in ‘67, the UK's Jazz and R&B scenes were being influenced by pop and psychedelia and socially, musicians of many styles found common ground in London’s clubs like The Cromwellian and The Scotch Of St James where the The Beatles, US legends Wilson Pickett and Jimi Hendrix mingled with the capitals jazzers and pop stars, often loudly jamming together in even louder 'Lord Byron' shirts. 'Open' fully embraced this spirit by fusing together those genres and attitudes of the era. From the outset Auger displays his jazz rooted approach on the A side with 'In and Out' and 'Isola Natale' (later covered by one of his American jazz heroes Richard ‘Groove’ Holmes). Both showcase the Trinity's musicianship and Brian's improvisational flair. Auger himself takes on vocal duties on the raucous ‘Black Cat’, a track that became a club hit. Open is marked by its eclecticism; 'Lament for Miss Baker' is a tender, piano ballad influenced by Duke Ellington, reflecting Auger’s jazz and classical influences whilst 'Goodbye Jungle Telegraph' is a wild and crazy percussive freak out. Brian displayed not only his virtuosity but also his surrealist sense of humour with bizarre sound effects, inspired by Spike Milligan's The Goons' radio show interspersed between the tracks.

Julie Driscoll’s arrival on the album’s B side brings a sharp shift in tone. Her smoky, emotive vocals inject a soulful depth, notably on covers of Otis Redding & Carla Thomas hit 'Tramp', Aretha's 'Save Me' and The Staples Singers ‘Why Am I Treated So Bad". With original numbers 'Break It Up' and 'A Kind Of Love In' we hear the Auger / Driscoll pop infused R&B at its very best, whilst the version of Donovan’s 'Season of the Witch' stretches out into a slow-burning epic. In 2025, Open is viewed as a cult classic and testament to a unique period when genre boundaries were fluid and artistic risk-taking was the norm. Brian Auger & The Trinity’s debut captures the adventurous energy of the late 1960s. 58 years later, its importance in the development of British jazz fusion and progressive bands that followed is undeniable, with The Charlatans Tim Burgess recently commenting on Auger's Instagram that The Trinity were a 'huge influence'.

Strut Records highlights a landmark in British jazz-rock with Second Wind, the 1972 album from keyboard visionary Brian Auger and his powerhouse group Oblivion Express. Capturing a fully matured lineup, the record finds Auger expanding his fusion language - bridging jazz sophistication, funk-driven rhythm, and soul-infused songwriting with the clarity and fire that defined his early ’70s work.

Though Auger’s roots lie in the lineage of hard-swinging jazz organ and the improvisational fire of the ’60s British scene, he has never been an artist content with tradition. With Second Wind, he moves further into a hybrid language that fuses rhythm with harmonic depth and groove, without sacrificing sophistication. His playing is expansive yet precise, translating the electricity of live performance into a studio work that breathes with immediacy.

At the heart of this era of Oblivion Express is the telepathic rapport among its members. Vocalist Alex Ligertwood (in one of his earliest major recordings before Santana fame) brings a soulful intensity that feels both grounded and forward- looking. Second Wind contains tracks that have become deeply significant in Auger’s discography - original compositions Second Wind, and Truth to name a few - but it was Auger's high octane revisioning of Eddie Harris' Freedom Jazz Dance, (adding new lyrics to the original instrumental) that genuinely broke barriers. The track became a DJ friendly classic and highlighted the groups deeply original approach.

The rhythm section of Barry Dean and Robbie McIntosh balances weight and fluidity, giving Auger the space to stretch across Hammond organ, Rhodes, and keys with characteristic boldness. Their collective sound is one of seamless motion: jazz-inflected lines swelling into rock-driven crescendos, funk-leaning grooves locking with vocal hooks, moments of quiet clarity emerging between bursts of improvisation.

Second Wind stands as a pivotal moment in Auger’s discography: a record that bridges the exploratory spirit of his earlier projects with the more groove-oriented approach that would soon bring international attention. More than five decades later, it remains a vivid document of a band carving out its own language. Music born of instinct, collaboration, and a restless desire to push beyond the expected.

Vertigo is proud to announce their debut physical release Necessity from Perth/Boorloo electronic duo Ezines, available March 20th. Necessity is a sleazy, pressure-driven club record, built on a balance of short, immediate ideas and long-term structural development. Across four original tracks and a remix — Dissolve, Necessity, Pacer, Ekspres, and Necessity (Liquid Earth Heaven ’N’ Hell Dub) — Ezines balance instant impact with slow-burn momentum, allowing tracks to hit fast before stretching into longer, more patient forms. The EP thrives on tension, repetition, and release, shaped equally by instinct, live performance, and hands-on studio refinement.

They also embraced a more organic, live- recording approach on Welcome to the Mood. The group explains, "Off the back of touring the last album, we had played more shows than ever and wanted to bring more of the live element into the process, so we didn't use drum breaks and loops as much as previous records and tracked live." They continued expanding their sound by bringing in specialist musicians -- string sections, brass, pianos, and backing vocalists -- pushing the sonic possibilities beyond their individual skill sets. Yet at its core, the album remains deeply personal. Written in remote hideaways, the songs carry the tranquility of escape while capturing a newfound confidence in emotional vulnerability.

Thematically, Welcome to the Mood is a rich sonic auditory tapestry woven with threads of authenticity, humanity, and creative celebration. Lyrically, the album explores universal experiences -- love, loss, connection, hope, and purpose -- drawn from the everyday yet rendered in LEISURE's distinct palette of lush tones and laidback groove. Tracks are anchored in realness but elevated by a sonic landscape that feels simultaneously nostalgic and futuristic, mirroring the ethos of Frank Lloyd Wright, whose Taliesin West provided literal and symbolic inspiration during the album's visual journey.

Best Of CDs & Digitals from No New Style msuic !

"Simply Hardcore" !

Two sides, each lasting 8 minutes and 50 seconds. A clash that resonates in friction, united by the materiality of vinyl - if only for a time. Or at best, a rapprochement, like in cinema. On side A, a MIDI composition by Xavier Robel for synthesized piano, based on La Monte Young's tuning system for The Well-Tuned Piano. Mouse clicks, boxing gloves, vibrancy, and mischief. On side B, a positively insistent On-U Sound-flavored rhythmic investigation, produced by Androo in response to Xavier Robel's composition (one he hadn't asked for). From sparse elements, a kaleidoscopic pulse unfolds - as dub seeps within a fog of electroacoustic fluctuations.

Ben 9mm remixed by the legendary Chris Liberator... The old school Mat Moebus... for a Techno A side.
On the flip you will get 2 remixes from newskool talented Kickart and a massive Hardtek/hardfloor banger spirit !

Limited 300 copies for DJ's weaponary :)

First vinyl release from Gastric Acid featuring Hedonist and FUKNO.
Limited to 120 on black vinyl

Melted sounds from Hip Hop Indus to Breakcore Tribe. Hard electronics Melting Pot.

From the depth of transient memories comes ‘Some Leaves Must Fall 聽其自然’, Temple Rat’s latest EP and the inaugural release for Martin Gilleshøj’s ‘Buttheads’ label.

Across 6 tracks Temple Rat distills fragments of spatial memory, merging conceptual ambience with the mystic, spatial, and driven edges of deep trance and hypnotic techno. A pensive and functional synthesis, one played out like an ode to the sustained.

Through 2024 while moving between Berlin and Sichuan, Temple Rat conceptualized and finished ‘Some Leaves Must Fall 聽其自然’. At its core, the work is an exploration of how the personal memory of cities and their particular acoustic environments can be transmuted in musical form. For these places, altered by the passing of time and the shifting of contexts, mirror the fluid and generative nature of sound itself.

Creatively this approach was borne out in a kind of archaeology of sound: by sampling and capturing auditory fragments Mei was able to preserve otherwise fleeting moments of experience. Sonics which not only embodied the emotions of the present but served too as a mechanism of recall, pulling memory back into focus even against the erasures of time.

In its method this project seeks to transform the sonic textures of urban and natural environments into high-energy dance tracks, exploring the tension between the certainty of space and the uncertainty of time. A tension operating not only within the structural logic of the sound itself, but so too as an affective experience, extending into the listener’s body and perceptual field.

For we are not the first to note that in a world of pervasive temptation and fragmented information, sustained listening has become rarified. Through this project, Temple Rat hopes to counter this tendency; to encourage a deeper mode of listening that restores attention, re-establishing our essential connection with the present.

All music is written, recorded, arranged, and produced by Temple Rat aka Yuxin Mei
Mastered by Giuseppe Tillieci at Enisslab
Distributed by One Eye Witness


* King General’s debut single from 1993 receives a welcome reissue. Originally released on Conscious Sounds, the 12” has been out of print for over 30 years. This issue features a previously unreleased dub version.

* Produced by Centry and mixed by Dougie Wardrop.

The 100th 7” on Partial Records!

* A portion of sound system niceness from the mighty Vibronics with their trademark digital steppers sound with a bassline that can serious cause damage to speakers.

* `Highstep Dub’ originally surfaced on a Jah Tubbys 10” in 2012. The dubplate cut appears on vinyl for the first time.

ESCAPE-ISM — the found-sound dreamdrama— are back in action & out in front. And this time, they’re leading a “Charge of the Love Brigade. ”This “charge” isn’t the traditional scramble across a muddy, bloody field though, like in the days of yore. This one is a furtive insinuation into the senses of the tuned-in listener.
Their fifth record, and fourth “sound” record — (the third one was “A Protest Against Sound”- an entirely silent LP) — “Charge of the Love Brigade” is revolutionary in its own right. Besides being packed with tunes — super-hits such as “Black Gold,” “Last Of The Sellouts,” “The Rebel Outlaw,” & “Fire in Malibu,” for exam- ple, Charge of the Love Brigade proposes a reformation of the traditional notes and scales; an entire new sound alphabet!
That’s right, ESCAPE-ISM —the “act of musical vandalism”— famous for their development of new prototypes for stomping & smashing, are reforming the scales, chords, & notes (e.g. A, B, F#, etc) that comprise musical literacy to achieve the group’s primary aim: the repurposing of music as we know it. Though many musicians of note have operated their instruments with "alternative tunings," up until now no one has obliterated tuning absolutely or abolished letter-notes for the destruction of bourgeois society.
According to ESCAPE-ISM, this will have a very profound effect: “Music will no longer be cordoned off from the rest of experience as a commodified, specialty freak show, but instead be a pastime which can be prac- ticed and enjoyed –not only by non-musicians and amateurs– but also by plant life, wild animals, and even inanimate objects such as rocks.
“The violent overthrow of musical conventions will lead to the reintegration of humanity into the natural order, the reordering of life itself into a cosmic congruity. This means the convention of time itself will be ended.” Like so-called nature itself, the ESCAPE-ISM group is also on a “loop.”
Play “Charge of the Love Brigade” and listen as ESCAPE-ISM go “over the top” against the note-letters of accepted musicality in a world premiere of a new upside-down antiscale.