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Award-winning singer Candice Night returns with a new solo album (and first for earMUSIC), “Sea Glass.”

Continuing a career as a multi-instrumentalist, vocalist, composer and lyricist, perhaps most famously as musical alchemist and voice of Blackmore’s Night, “Sea Glass” finds Candice at a new plateau in her life and music.

THE ALBUM
Inspired by a lifetime of challenging musical adventures as well as the magic and demands of everyday life and family, Candice has crafted an album that observes life through a prism of experiences, much like looking through a kaleidoscope of sea glass colors with their own special glow.

The album draws from rock influences on tracks such as first single‘ Angel and Jezebel’ and ‘Unsung Hero (She’ll Never Tell)’ and thematically touches on themes of loss and love (‘The Last Goodbye’) as well as the bond between parents and children and their wishes and dreams for the future (‘Promise Me’).

Inspired by Candice’s lifelong passion for collecting sea glass – finding treasure that has been transformed by time and tides – the images reflect the randomness of those discoveries and how they all assemble into a whole life’s experience.

MARKETING AND PROMOTION
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New album from multi-instrumentalist and voice behind chart-topping Blackmore’s Night with a fanbase built over a quarter century
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Album announcement and first single “Angel and Jezebel” January 2025
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Album release preceded by 3 singles and videos
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Continuous online marketing and social media campaign from album announcement through release

Marina y su Melao is a band from Barcelona led by Puerto Rican Marina Molina. After a period of live activity, in 2025 they will release their debut album, "Rezo al agua", where Puerto Rico's bomba, an eminently rhythmic genre, expands to fuse with the colours and flavours of other Afro-Caribbean sounds. Tradition and folklore are embodied in a powerful and innovative conception.

In "Rezo al agua", Marina Molina expresses an attachment to the land, the landscape, the culture, the beliefs and the environment where she was born, Puerto Rico. She does this through bomba, one of the country's most identifying musical expressions. Bomba is as old as the slavery of those who gave birth to it in order to tell their tribulations and hopes, armed with the instrument they had at hand: the drums. It is a kind of meta-genre that includes a multitude of rhythmic varieties.

But Marina is something more than bomba, the legacy she received from her elders and which she does not wish to turn into a frozen object of veneration, an untouchable totem, mystical and ruled by norms bequeathed by the years. Marina, who has Colombian blood in her veins, is an artist of today, of a world in which cultures can mix, people migrate, influence each other, travel, exchange their cultural traces, can see online what happens at the other end of the world and thus open the window that facilitates the mixing of identities. These mixtures redraw borders and genres, allowing popular music to avoid its fossilization.

Marina grows in this fertile territory. She has a ductile and powerful voice, as clear as her strong, independent mindset. This is a remarkable element in the lyrics of the album, which despite being written from a current perspective, contain the sense that popular lyrics have always had: they explain life with the small letters of the everyday. And all this is presented in the bomba genre. Impure. There is an African guitar, a pedal steel guitar, a Wurlitzer, an accordion and everything that Marina and Miguelito Superstar, the album's producer, thought was necessary to accentuate the musicality of a full voice and drums that resonate raw with the vibration of tradition. A tradition now in the hands of a woman who aspires to her own space in life, to write her own chapter.

When we last heard from Southern California's rock n' roll sorcerers Death Valley Girls, band orchestrator and mastermind Bonnie Bloomgarden was summoning the element of water and celebrating its tempestuous power on the triumphant 2023 single "I Am a Wave." Surrounded by a new cast of supporting musicians, Bloomgarden returns from a brief hiatus to pay homage to the magic of celestial bodies and to honor yet another classical element on a new two-song single. On side A, Death Valley Girls cover the Fleetwood Mac track "Sisters of the Moon," harnessing the original version's witchy mystery while bolstering its thunderous chorus by beefing up its ominous riffage. Bloomgarden's channeling of Stevie Nicks is downright eerie, pulling off such s striking timbral similarity you might almost mistake this rendition as a more electrified and tripped-out alternate take from the original Tusk sessions. On the flipside, Death Valley Girls pay reverence to the element of fire by taking on the Link Wray classic "Fire and Brimstone," summoning the original's swagger while transforming its tent-revival stomp into a mash-up of Phil Spector's girl-group majesty, Motown's hip-shaking soul, and punk's bombast. Surrounded by an ensemble of like-minded celestial witches, Bloomgarden takes Death Valley Girls' sound to new heights while elevating two beloved `70s tunes into modern day religious experiences.

The debut album from CEM, 'FORMA' was developed as a soundtrack to Mauro Ventura’s series of "action painting performances" and uses various bell sounds (cowbells, doorbells, Shinto bells, singing bowls) to pick out anxious giallo sequences and heaving Dadaist formations.

CEM's best known for pneumatic DJ sets that have propped up Berlin's queer underground for a decade at this point, but don't expect to find any vaped darkroom tek on 'FORMA'. Each of the six compositions were commissioned for Ventura’s performative installation at Volksbühne in 2022, and CEM opted to represent the piece's themes of labor and repetition by sampling an arsenal of bells and metal objects that anchor his varying widescreen vignettes. 'The Calling' is a relatively subtle introduction, establishing the space with double bass drones and ratcheting digitally altered chimes - it's 'Bells Corrupt' that cements CEM's concept more righteously, harking back to Goblin's iconic 'Suspiria' score without pastiching any of its Italo-prog themes. Cycling ritualistic bell loops with squashed, industrial-strength thuds and granulised laptop belches, CEM silhouettes the tension and the vivid color of Argento's film, chrome plating the result.

'An Industrial Satire' is even more convincing; this one takes its cues from legendary German sound artist Limpe Fuchs, and the first part integrates scraped, alien resonances with CEM's loping industrial rhythms and squelchy EBM bassline. The real shift occurs in the second part, when CEM's choppy electroacoustic minimalism falls away to unlock his rolling hand drum performance, that he matches with a ghaita sample lifted from the Master Musicians of Joujouka's 1971 album with Brian Jones. With the future-facing deconstructions a memory, 'Statue Garden' beds reedy organ drones in eerie gallery ambiance, and closer 'The New Sincerity Test' finds Lithuanian performance artist Gertrūda Gilytė skewering the wellness industrial complex over nauseous subsonic oscillations and scratchy noise.

2025 Repress

DJ Koze might be one of the world's best producers, but above all he's a DJ, and it's his DJ ear that governs. J
ust as in a great set, so with his releases: 'Seeing Aliens' came out of nowhere, a big buzzing beast of a track, to announce that Koze was back on the scene and prime everyone for the coming album, knock knock.
But now that Koze has your attention, it's time to remind everyone what's most important about club music, pull things back, take a turn to the left, and get deep into the groove.

Thus 'Pick Up': the second single from knock knock is 100% pure groove, doubly so in the extended 12' version.

In a sense it's incredibly familiar - it is essentially a filter disco record, very close to something you could imagine coming out of Paris around the turn of the millennium. But of course, this is Koze. Nothing is normal or familiar in his world, and he's taken this most foundational of clubland staples into new territory. Flipping amples of Gladys Knight & the Pips 'Neither One Of Us (Wants to Be the First to Say Goodbye)' and Melba Moore's 'Pick Me Up, I'll Dance', it creates something completely airborne, shot through with emotions such as gods must feel: not quite explicable to the human mind but strong enough to knock you off your feet. In its way it's absolutely as powerful as 'Seeing Aliens', but it comes in like the proverbial iron fist in a glove of velvet.
The flip, a ten-minute new track, 'The Love Truck' is a big contrast again. If 'Pick Up' is giddy flight,
'The Love Truck' is woozy floating. Its sharp, clicking percussion recalls 2000s minimal techno, but this time absolutely nothing is generic. The long, intense, on-and-off bass tones, the flickers of birdsong, the pure voices slipping in backwards as if from the future... it's all like the most blissful dream, and culminates in a coda so subtle yet so beautiful it's like ever time you've ever seen the sun rise and thought 'I never want this to end', all the while understanding deep down that the fleeting nature of the pleasure is also what give it its power. But of course, being created with that consummate DJ's ear, it's also full of the thrill of wondering what Koze has in store next.

Moor Mother is an American musician, poet, and interdisciplinary artist known for her avant-garde and experimental work. The Great Bailout is an expansive meditation that acts as a non-linear word map about colonialism, slavery, and commerce in Great Britain. Featuring guest contributions from Lonnie Holley, Angel Bat Dawid & Sistas of the Nitty Gritty, Vijay Iyer, Mary Lattimore, and more, it"s Moor Mother"s most uncompromising vision to date. Moor Mother has gained recognition for her unique blend of spoken word, noise, and electronic music, addressing themes of race, gender, and socio-political issues. She hails from Philadelphia and has been an influential figure in the city"s vibrant arts and music scene. She has received critical acclaim for her albums, with reviewers praising her fearless approach to sound and her thought-provoking lyrical content on albums like "Jazz Codes" and "Analog Fluids of Sonic Black Holes", showcasing her boundary-pushing sonic experiments.

Pressed on Bio Mint Vinyl LP

Eluveitie, formed in 2002 by Chrigel Glanzmann, has consistently merged modern metal with Celtic musical traditions. Originating from the Swiss Alps and deeply rooted in Celtic history, mythology, and spirituality, the band has become a cornerstone of the modern metal scene.Their debut, "Vên" (2004), set the stage for a unique blend of melodic death metal and traditional folk. Subsequent albums like "Slania," "Everything Remains (As It Never Was)," "Helvetios," and "Origins" solidified their reputation. The acoustic albums "Evocation I – The Arcane Dominion" and "Evocation II – Pantheon" showcased their versatility.

In 2022, Eluveitie released the singles "Aidus" and "Exile of the Gods," marking a new chapter in their musical journey and thematical cycle pursuing the lyrical
concept opened by their last studio album "Ategnatos". These tracks were followed by the announcement of their upcoming album, "ÀNV," set for release in April 2025. The first single from this album, "Premonition," has just been unveiled, offering a glimpse into the band's evolving sound.

Over the years, Eluveitie has undergone lineup changes, including their latest addition with Lea-Sophie Fischer on violin in May 2024. Despite these changes, the band's essence and soul remains untouched. With nine studio albums, numerous tours all around the globe, and headline shows worldwide, Eluveitie continues to be a dynamic force in the metal genre.

As they approach the release of "ÀNV", Eluveitie remains committed to their roots while exploring new musical horizons. Coming as one of their most profound and earnest albums, "ÀNV" presents a result of more than 20 years of intense involvement with Celtic mythology and spirituality, translating deeply pagan knowledge for a modern generation.

Eluveitie's journey reflects a dedication to authenticity and innovation, ensuring their place as a defining presence in modern metal.

One of the UK’s most exciting breakout stars of the past decade, Rebecca Lucy Taylor AKA Self Esteem emerged from cult favourite status to mainstream hero following the huge success of her empowering, truth-telling 2021 single ‘I Do This All The Time’. The song resonated intensely as a perfect example of Taylor’s affectionately termed ‘trojan horse’ or ‘salad and chips’ approach, fearlessly packing important, emotive messages into witty, resonant pop music.

Self Esteem’s wildly acclaimed second album Prioritise Pleasure quickly followed, tackling the hypocrisies and joys found in her experiences of modern day womanhood across dating, friendship, comparison culture, self love, women’s safety and sexual assault and much more. Prioritise Pleasure received Mercury Prize, BRIT Award, Sky Arts and NME Award nominations, was crowned The Guardian and Sunday Times Culture’s Album of the Year, and ‘I Do This All The Time’ was also named The Guardian’s #1 song of 2021.

Quite the opposite of an overnight success, Taylor spent a decade as one half of indie duo Slow Club before adopting the pop star persona she’d always dreamed of. She released her first Self Esteem album Compliments Please in 2019, featuring fan favourite singles ‘The Best’, ‘Girl Crush’ and more.

Gathering a passionate and vast legion of fans ever since, Taylor has appeared on The Graham Norton Show, Celebrity Gogglebox, Friday Night Live & Taskmaster, performed three times on Jools Holland including the NYE Hootenanny, graced the covers of magazines from Grazia to NME to Sunday Times Style, and is one of a handful of artists to have been playlisted across BBC Radio 1, 2 and 6 Music simultaneously.

Having reached new heights of acclaim, Taylor continued to grow, diversify, and create in 2024. Branching out into the world of acting, Taylor starred in a regular role in the Sky series SMOTHERED before completing a run playing Sally Bowles in the multiple Olivier Award-winning production of 'Cabaret at the Kit Kat Club' in London's West End. Starring alongside Jake Shears (Scissor Sisters) as Emcee, the pair’s time on stage was extended due to popular demand and showcased the sheer range of talent in Taylor’s repertoire. Last year’s releases ‘Big Man’ and ‘Love Second Music First’ followed a collaboration with Becky Hill on her song ‘True Colours’.

BIG|BRAVE"s preternatural instincts and depth of skill as musicians are on full display on their most naked and austere record to date, OST. The trio entered the studio with broader concepts and themes in mind, but no preconceived music. The overarching concept was to make a film score for a film that had yet to be created, to use minimal instrumentation, or more specifically not their standard band instruments, and to improvise within these parameters. OST was fully written and recorded in the studio. The band was free to enter the live room and record a take with whatever instrument was at hand. Once they had a good foundation for a song, Ball, Wattie, drummer Tasy Hudson and even engineer/producer Seth Manchester would each build on it, layering takes, from instrumental improvisations to abstract vocals, until they felt it was a completed piece. Wattie"s voice seamlessly blends with the instrumental flourishes made from "The Instrument", a Wurlitzer, prepared piano, synths and a very limited amount of electric guitar. Additionally, there is a sprinkling of flute by Melissa Guion (MJ Guider). The performances of each player are tactile and ardent, even at their most subtle and effected. Following OST"s completion, BIG|BRAVE contacted director/ visual artist Stacy Lee to visually score the record. Director Lee and BIG|BRAVE, having previously collaborated, had established an artistic understanding which allowed BIG|BRAVE to give Lee no instruction, no limitations: the creative process synthesized across film and music. Select screenings with live performances are in the works.

BIG|BRAVE"s preternatural instincts and depth of skill as musicians are on full display on their most naked and austere record to date, OST. The trio entered the studio with broader concepts and themes in mind, but no preconceived music. The overarching concept was to make a film score for a film that had yet to be created, to use minimal instrumentation, or more specifically not their standard band instruments, and to improvise within these parameters. OST was fully written and recorded in the studio. The band was free to enter the live room and record a take with whatever instrument was at hand. Once they had a good foundation for a song, Ball, Wattie, drummer Tasy Hudson and even engineer/producer Seth Manchester would each build on it, layering takes, from instrumental improvisations to abstract vocals, until they felt it was a completed piece. Wattie"s voice seamlessly blends with the instrumental flourishes made from "The Instrument", a Wurlitzer, prepared piano, synths and a very limited amount of electric guitar. Additionally, there is a sprinkling of flute by Melissa Guion (MJ Guider). The performances of each player are tactile and ardent, even at their most subtle and effected. Following OST"s completion, BIG|BRAVE contacted director/ visual artist Stacy Lee to visually score the record. Director Lee and BIG|BRAVE, having previously collaborated, had established an artistic understanding which allowed BIG|BRAVE to give Lee no instruction, no limitations: the creative process synthesized across film and music. Select screenings with live performances are in the works.

PURPLE TRAP, the powerful trio of KEIJI HAINO (voice, guitar), BILL LASWELL on bass and RASHIED ALI (drums), recorded live on stage at The Stone.


Recorded in december 2005, this furious live album by what can easily be called a super group remained unreleased till in 2023 BILL LASWELL made it accessible in a rough-mixed digital version for his bandcamp subscribers program exclusively. For this vinyl version, the music has been newly mixed by DIRK DRESSELHAUS (SchneiderTM) and mastered / cut by RUY MARINÉ at Dubplates & Mastering Berlin.


PURPLE TRAP, the trio of LASWELL / HAINO / ALI, reunited for this one-off gig as part of a 5-day-HAINO-festival at John Zorn's venue "The Stone", seven years after its only album Decided ... Already The Motionless Heart Of Tranquility, Tangling The Prayer Called "I" had been recorded (released on Tzadik in 1999).
The six untitled tracks (+ one as digital bonus) deliver what can be expected from such musical masters:
RASHIED ALI, iconic free jazz drummer who played with JOHN and ALICE COLTRANE, PHAROAH SANDERS, SONNY ROLLINS, JAMES BLOOD ULMER and countless more, is all drums, from quiet tiny sounds to high-energy rhythm patterns.
KEIJI HAINO, one of the most prolific artists of the Japanese experimental / noise scene for almost 50 years now, switches between truculent guitar splatters and full-on psychedelic outbursts.
BILL LASWELL, who as producer and musician created a massive body of work in fiields as diverse as ambient, world music, funk, jazz (and often hybrids of these), has proven his mastery in improvisation in projects like MASSACRE, PAINKILLER or (early) MATERIAL and provides the low-end grounding with his signicature bass sound, or adds effect-laden ornaments to the whole.
An overdue addition to a very small body of work by a clearly under-documented supergroup!

Credits:
KEIJI HAINO: voice, guitar BILL LASWELL: bass RASHIED ALI: drums

Recorded at The Stone, New York, december 15th, 2005. Edited by James Dellatacoma at Orange Music, West Orange, NJ. Mixed by Dirk Dresselhaus at the Zone, Berlin. Mastered & cut by Ruy Mariné at D&M, Berlin.

Layout & design by kaidoh. Cover photography by Jasmin Bär.

A stellar collaboration between composer Michael Cashmore (Current 93) and vocalist Marc Almond of Soft Cell fame. Two complementary creative sensibilities in intimate interlock; supreme compositional and vocal talents fusing to make uniquely dramatic musical and vocal interpretations of searing beauty and insight. Specifically, this suite of songs feature the heightened lyricism of a stunning array of cult poets, both contemporary and of yesteryear. 'Feasting With Panthers' is a stellar collaboration between composer Michael Cashmore (Current 93) and vocalist Marc Almond of Soft Cell fame, in the nearest thematic echo and nod, in the latter's vast back catalogue, to the darker gothic influences of his celebrated Marc And The Mambas period and his acclaimed 'L'Absinthe' and 'Jacques' twisted chanson solo albums. This album's defining aesthetic is the setting of outsider poems to music. Poems by Count Eric Stenbock plus unique lyrical translations - by celebrated poet Jeremy Reed - of works by Jean Genet, Jean Cocteau, Arthur Rimbaud, Paul Verlaine, as well as Reed's own poetry. The emphasis throughout is on 'decadent' poems of thwarted love, ill-fated romance, self-destruction and death: many poems are woven with homo-eroticism, laced with opium dreamstates and all are accompanied by Michael Cashmore's haunting and melancholic music that lends the verses a deft yearning for beauty and a bittersweet, melancholic longing for lost innocence and youth. Originally released in 2011 and long since deleted, 'Feasting With Panthers' is now restored to back catalogue availability as a double vinyl album - it's first ever vinyl edition - with a variant of the original album artwork and two printed, full colour inner sleeves complete with lyrics and pictures and featuring four bonus tracks. The album was recorded over several years by the artists sending music files back and forth by e-mail and post; the artists never once recording together in the studio. Berlin based Michael Cashmore worked at home composing the music, playing all of the instruments and adding Marc's vocals from files recorded in London. The resulting album is a glorious union of sensual talents, both in voice and music, complementing the intriguing and evocative poetic texts. The project began after Current 93's David Tibet gave Marc a book of poems by the Baltic German poet Count Stanislaus Eric Stenbock. Marc was instantly attracted to the dark eroticism and the melancholic yearning of the verse and, so, contacted Michael Cashmore, whom he had previously worked with on Current 93's reading of 'Idumea'. He felt Michael would have the right understanding of the verse with his intricate, beautiful musical compositions. From this, the project developed to include many of Marc's favourite poems by some of his favourite 'outsider' poets with common thematic ground.

Vilhelm Hasselgren is a Gothenburg-based producer and DJ with a focus on Jungle and productions that move between 160-170 bpm. Vilhelm focuses a lot on complex rhythms and ambient soundscapes and takes inspiration from both older and modern Jungle, as well as other electronic acts such as Basic Channel, Mala, Skee Mask and Arkajo. Vilhelm tries to create soundscapes that move between different musical starting points.
He has previously released on Rezonant Body, Canape Records, Bukva Sound and Of Paradise Records. Also has an upcoming EP releasing on Bukva as well as a V.A on Western Lore. In 2025, Vilhelm also has a residency at London-based Subtle Radio.

Vilhelms words:
Central Line EP is an EP that I'd myself consider to be my debut EP. The tracks were created within a two-and a half year span, with some tracks being re-worked and replaced. Later ending up with the final track-list, which I am very happy in how it ended up in the end. One of the tracks that were later added onto the EP being 1000 a co-production with my brother Einar (Local Arms), which we spontaneously recorded at our parents house over a weekend.

I mostly start from percussion, onto bass and later melody in my productions. The title track "Central Line" was started when I lived in Brighton for half a year, together with Theo Soderlund (Theomega). The Eski sample is a bit tricky one, but wanted to experiment with it, further I chopped an Amen and a Think break with an idea to create a pretty simple rhythm that could leave the riff to speak for itself. Even though the tracks were created within a pretty long span of time, I feel like they portray a sound that I want to further explore and produce at this point. Also Arcne adding a monster remix of Central Line that has been getting lot of love. Could not be happier to release it on Bukva Sound which prior releases I think really captivate a sound that has been really inspiring throughout the process.

Lunchbox's legendary lost album "Evolver" is lost no more! Sparklingly remastered for the album’s twentieth (and a few!) anniversary and available on CD, cassette and (for the first time) vinyl, this psychedelic masterpiece fills a crucial hole in the band's discography. Recorded in the couple's 1990s Oakland basement between stays in Berlin, tour dates in London, and dreamy sojourns up the rugged Mendocino coastline, "Evolver" fuses jangle and jungle, ambient and dub into a striking pop statement.

Marrying refined songcraft to the serendipitous magic hidden in half-broken reel-to-reel tape decks and vintage synthesizers, the "Evolver" plants its pop flag on the terrain of magic and mystery. Dreamy jangle pop gems emerge seamlessly out of a sea of loops, drones, and dubbed-out horn fanfares, cascades of tape echo feedback and whispers from outer space providing a trance-inducing backdrop to the pop sensibility for which Lunchbox is well-known. Hook-filled and hypnotic, "Evolver" is a sublime slice of post-pop psychedelia that you won't want to miss.

For this special and long-overdue reissue we've raided the bands vaults for three previously unreleased tunes that add extra dimensions to the album's uniquely trippy flow. And for the vinyl heads we're pressing this as a double LP for maximum fidelity and playability, including a vinyl-only fourth side of beats, loops, interludes and puzzling aural ephemera, all taken directly from the original master tapes. Super cool!

Isabelline curator and label head Practitioner reveals a stunning selection of his own archival productions with 'Portobello Innocent', the third release on the mysterious and acclaimed Berlin-based imprint. Recorded between 2016 - 2024, these «ve selected works offer a broad look into Practitioner’s sonic sphere. Introspective club re¬ections that cover a grand scope of machine-translated human emotions. The EP feels like a dug-up lost tape, timeless tracks untouched by current modes or trends, each composition progressively digging deeper into unknown chasms of the enigmatic producers' distinct sound.

Raisina - A hypnotic club track featuring sharp drum machine rhythms and a prominent vocal sample from a 1960s North African love song, creating an alluring and surreally beautiful opener. Well-Behaved Boys - Pulsating, shu®ing techno drums take front and centre, as warped frequencies from raves of a bygone era tune in and out, ¬ickering between past and present with frenetic rhythms and spoken fragments. Form & Emblem - An effervescent ambient interlude, its shimmering textures and layered atmospheres provide a meditative pause amidst the EP’s harder edges. Kala - Hazy and dreamlike, this track layers a wandering dub bassline under a steady house beat, glimmering jazz chords and ethereal textures surround the sonic sphere, evoking ¬ickering memories and lingering mystery. Council - A relentless, bassheavy techno groover with sharp vocal cuts and infectious energy. Council feels like a culmination of all that camebefore, resulting in a hypnotic and kinetic underground offering that feels in«nite. With 'Portobello Innocent', Practitioner offers a rare glimpse into his abstract realm, crafting magnetic spaces between memory and rhythm, the ancient and the future, the human and machine.

"Acid Floresta" is the result of a process of sonic recognition and translation. A term that has taken shape over the past few years to name a search that, in reality, began more than a decade ago: the intersection between foreign rhythms and the music that inhabits the streets, with its social dynamics and its irreducible vitality.



This album is born from the observation and listening of the everyday sounds that shape the sonic identity of the neighborhood: the corner store, the metro, the billiard hall, the street corner. Spaces where music is not a choice but a constant pulse of life. The percussion of the street, the echo of a distant radio, the spontaneous phrasing of a conversation—these become raw material. From there, the process moves to the studio, where bass, synthesizers, drum machines, and samplers serve as tools of translation: what begins as a documentation of reality transforms into a musical interpretation.



At this point, a tension emerges between what is learned and what is felt. For years, tropical music and vallenato were part of a sonic landscape that coexisted with external influences, generating both distance and affinity. But within that push and pull—between the familiar and the unknown—a common thread was revealed: sabor. Not as a genre, but as an essence, a vital and irreplace able force.



"Acid Floresta" is structured in three and the performative stage, where music returns to the streets, closing the cycle. It is in this final moment that its true nature emerges: in the shared vibration, in danceability, in what connects beyond geography and context.

The album proposes a dialogue between intimacy and collective experimentation, between latineo and electronic music, between the raw and the processed. A space where the music of the streets and the music of the floresta converge to create a new sonic memory.

"Movements of Air" is the highly anticipated fifth album from Daniel Herskedal's acclaimed trio, featuring Eyolf Dale on piano and Helge Andreas Norbakken on drums and percussion. Marking his tenth remarkable release with Edition Records, this album seamlessly bridges his foundational trio debut, "Slow Eastbound Train," with previous masterpieces like "The Roc" and "Voyage."

Over the past decade, Daniel Herskedal has consistently pushed the boundaries of the tuba, crafting music that is both profoundly introspective and expansively cinematic. At its core, "Movements of Air" delves into themes of hope, the pursuit of a better future, and the very essence of musical creation. With masterful performances from all members and intricate compositions, Herskedal navigates the delicate balance between good and evil, war and peace. Tracks such as "The Olive Branch" and "Peace River Crossing" showcase his ability to create emotionally resonant soundscapes, while pieces like "Elements of Harmony" and "Harmonic Allusions" highlight his innovative approach to harmony and texture.

This album stands as a testament to Herskedal's extraordinary talent, transcending the traditional limits of his instrument to deliver music that is both emotionally compelling and artistically groundbreaking.

Daniel Herskedal's exceptional achievements further underscore his artistic prowess and versatility. His notable arrangement of"San Francisco (Be Sure to Wear Flowers in Your Hair)" for the 2019 film "The Last Black Man in San Francisco," produced by Brad Pitt, was later featured in Coca Cola's global 'Open Like Never Before' advertising campaign. His extensive collaborations include performances with prestigious ensembles such as the BBC Concert Orchestra, the Royal Norwegian Navy Band, and the Russian Patriarchate Choir of Moscow. His collaborative project with Marja Mortensson won the Norwegian Grammy in 2019, and in 2021,he secured The Ambies Award for Best Original Score and Music Supervision for the podcast "9/12." Additionally, his work with artists like Keaton Henson and Emilie Nicolas on their album "Out of the Fog" further highlights his versatility and collaborative spirit.

With Horror Spectrum, Bunnies plunges headfirst into the shadowy abyss of their art-rock multiverse, unearthing sounds that slither, shimmer, and scream.

Equal parts psychedelic hallucination, krautrock ritual, and noise rock exorcism, this record feels like the sonic aftermath of mad scientists summoning ghosts through an analog synthesizer they excavated from a cursed tomb. It's less an album and more an experiment gone deliciously wrong—a séance that channels the chaotic energies of dimensions better left untouched.

From the extraterrestrial pulsations of “Eyer of Ire” to the technicolor bliss of “That Evil Ghoul,” Horror Spectrum is a seven-track odyssey that detonates the boundaries of Bunnies’ already unhinged catalog. These tracks drag you by the ankles into realms where sound has teeth, time melts into warped rainbows, and the music feels like it’s plotting something sinister. Few bands dare to tread where Bunnies boldly hop, but here they are, mapping out mythical soundscapes with the glee of cartographers lost in their own creation.

This freakish entity of a record is profoundly unsettling and weirdly exhilarating. Horror Spectrum is the sound of a band digging deep into their subconscious and inviting you to get lost in the labyrinth.

Will you find your way out?

And if it sounds this good, why not just stay?

"""Disguise In Love"" released in 1978, is the debut album of British punk poet John Cooper Clarke. Renowned for his quick-witted delivery and sharp humor, Clarke fuses punk rock with spoken word, resulting in a one-of-a-kind sonic experience. The album includes tracks such as ""I Don't Want To Be Nice,"" ""Valley of the Lost Women,"" and ""(I Married a) Monster from Outer Space,"" highlighting Clarke's talent for social commentary and dark comedy. Produced by Martin Hannett, known as (one of) the creator(s) of the ‘Manchester sound’, the album captures the unrefined energy of the late '70s punk scene. Other notable artists produced by Hannett include Joy Division, Magazine, New Order, Orchestral Manoeuvres in the Dark and Happy Mondays. ""Disguise In Love"" stands out not only for its incisive, observational poetry but also for its stripped-down and edgy musical accompaniment, solidifying its status as a pivotal work in Clarke's career and a significant contribution to the punk genre. The album comes as a limited edition of 500 copies on translucent blue coloured vinyl."

Few albums evoke a sense of place as vividly as Desire!, the third offering from Friend of a Friend. The duo—Claire Molek and Jason Savsani—craft music that feels cinematic and immersive, threading themes of yearning, transformation, and resilience through a palette of lush synths, tactile rhythms, and haunting vocals. Recorded in a sprawling Victorian mansion in rural Illinois, with a history steeped in spiritualism and the paranormal, Desire! not only embodies the environment where it was created but also reflects the duo’s evolution as musicians and sonic architects.

Producer Jordan Lawler (M83), who also worked with the duo on FACILITIES, played a pivotal role in shaping the album’s sound. His approach seamlessly integrates analog and electronic elements, from shimmering synth pads to deep, tactile rhythms. The result is a record that feels both vast and grounded, inviting careful listening to its intricate details.

With Desire!, Friend of a Friend captures their evolution as musicians and storytellers, offering a record that lingers in the spaces between tension and beauty. The result is an immersive and deliberate work, one that showcases their musical innovation and their ability to create a vivid, otherworldly sense of place—haunting and cinematic, like stepping into a film where every sound carries a story.

The band has been named an artist to watch by Rolling Stone, an “American visionary” group by Mesmerized, an “indie rock band taking the scene by storm" by Wonderland Magazine, a "cultural phenomenon" by Extravafrench, "sonic visionaries" by Plastic Magazine, "the next huge thing in indie rock" by Each Measure, and "seamlessly intriguing" by Obscure Sound.

“Heart of Night,” a split EP co-released by Gar Hole Records (Fayetteville, AR) and Mashed Potato Records, offers two prime examples of modern alternative Americana music’s exciting trajectory: the Ozark-induced warbles and clever country stylings of Nick Shoulders, and the swampy pop songs and dreamy harmonies of The Lostines. This collaboration is an homage to the places and people we call home. It’s the ideal accompaniment to steamy slow dancing deep in a pitch black, heavy and humid Arkansas night, or for swinging someone around in a vibrant, neon lit New Orleans dive. It’s also the soundtrack for ruminating on the heart’s capacity for simultaneous strength and fragility, the connections between different modalities, homes, and loves.

For Heart of Night’s cover, intricate, hand-drawn artwork and lettering from tastemaker illustrator Taylor W. Rushing mirrors the duality of the flora and fauna of two terrains — the cypress swamps and the Ozark Mountains — from which this four-song collection springs.

Following nearly 20 years of working together as a trio, and numerous cross-collaborations in different configuration between them, Ideologic Organ presents Placelessness, the debut full-length by Chris Abrahams, Oren Ambarchi, and Robbie Avenaim, comprising two long-form works at juncture of ambient music, minimalism, rigorous experimentalism and improvisation, and machine music. Having carved distinct pathways across a diverse number of musical idioms for decades, Chris Abrahams, Oren Ambarchi, and Robbie Avenaim are each, respectively, among the most noteworthy and groundbreaking figures to have emerged from Australia's thriving experimental music scene. Ambarchi and Avenaim first encountered Abrahams when seeing the Necks - the project that has served as the primary vehicle for his singular approach to the piano since its founding in 1987 - together during the late 1980s, not long after having met in Sydney's underground music community. The pair's collaborations date back more than 35 years, criss-crossing Ambarchi's pioneering solo and ensemble work for guitar and Avenaim's visionary efforts for SARPS (Semi Automated Robotic Percussion System), robotic and kinetic extensions to his drum kit. In 2004, fate brought the three together in a trio performance at the What Is Music? Festival, the annual touring showcase of experimental music founded and run by Ambarchi and Avenaim between 1994-2012. For the nearly two decades since, Abrahams, Ambarchi, and Avenaim have intermittently reformed in exclusively live contexts, in Australia and abroad, cultivating and refining the fertile ground first tilled in that early meeting. Placelessness is the first album to present this remarkable trio's efforts in recorded form. Placelessness is the joining of three highly individualised streams, working in perfect harmony; the point at which friendship, mutual respect, and decades of creative exploration produce a singular spectrum of sound. Featuring Abrahams on piano, Ambarchi on guitar, and Avenaim on drums, the album's two sides draw on each artist's enduring dedication to long-form composition. Its two pieces, Placelessness I and Placelessness II, initially began as a single, 40 minute work, before being divided and reworked into distinct, complimentary gestures for the corresponding sides of the LP. Beginning with restrained clusters of reverberant piano tones, Placelessness I progresses at an almost glacial pace, with Abrahams' interventions increasing met by sparse responses, darting within vast ambiences, on guitar and percussion by Ambarchi and Avenaim. Remarkably conversational within its convergences of tonal, rhythmic, and textural abstraction, over the work's duration a progressive sense of tension unfurls and contracts, refusing release, as each of the ensemble's members contribute to an increasingly tangled sense of density at its resolve.While an entirely autonomous work, Placelessness II rapidly realises a distillation of the energy hinted at across the length of its predecessor. Following a luring passage of harmonious calm, Abrahams' launches into shimmering lines of repeating arpeggios, complimented at each escalation of tempo by Avenaim's machine gun fire percussion work and Ambarchi's masterful delivery of tonality and texture, as the trio collectively generate dense sheets of pointillistic ambience within which individual identity is almost lost, before slowly unspooling into unexpected abstractions and dissonances that deftly intervene with the work's inner logic and calm. What could easily be termed a maximalist take on Minimalism, Placelessness is a masterstroke of contemporary, real time composition, that blurs the boundaries between ambient music, experimentalism, free improvisation, and machine music. Drawing on Chris Abrahams, Oren Ambarchi, and Robbie Avenaim's decades of respective solo and collaborative practice, and the culmination of nearly twenty years of working together as a trio, it's two durational pieces - Placelessness I and Placelessness II - take form with a startling sense of effortlessness and grace, neither shying away from explicit beauty or rigorously tension within their forms

'Gone Down Meadowland' is the much-anticipated debut album release from Norwich, UK psych outfit Floral Image, releasing 25th April 2025 on the renowned Fuzz Club. More than ever, the band wanted to produce a brand of East-Coast psychedelia that reflected the natural lusciousness and glorious solitude of the immediate world around them. Over 30 songs were conjured, considered and arranged before being whittled down to a final 10 that epitomise what they do best - ten tracks of vivid hue, harnessed live power, all laced together in fluid lyrical harmonies. Taking inspiration from band favourites Woods, KGLW, Stereolab, among many others, a string of at-home recording sessions commenced over a 6-week period across the summer of 2024. Side A is a sun-drenched journey through their whimsical Norfolk countryside, narrated with a surreal sense of lyricism which focuses on the undulating flow of the human psyche and the shape of relationships that can decide its fate. 'Burning 305' follows the mould of the band’s earlier creations with white-knuckled rhythms layered with dashing production and gritty guitars. 'The Score' summarises their love of Revolver-era Beatles and infuses it with a hint of 90's dance grooves. Side B is where the trip takes a heavier turn, the un-hinged night-time of the record. It is where the band best shows the force with which their live reputation has been built on. 'Tiergarten' - a motorik course through consciousness and 'Howling Dog Song' - all raucous, scuzzy-garage riffing. The album concludes with the 7-minute epic 'Sun For Hire'. Born out of a 30-minute live improvisation, it is the earliest written of all songs on GDM and a strong fan favorite for the audiences of the last 2 years. "A lot of themes are anti-establishment commentaries on the state of the modern world. It can feel isolating being bystanders of global concern in sleepy Norfolk, even though it’s easy to slip into a false comfort when you’re surrounded by vast space, natural beauty and friendly folks down the market. Gone Down Meadowland is that egoless escapist fantasy that still can't escape the world caving in on itself; Norfolk isolationism." Produced by the band themselves, mixed by Hugh Fothergill of Volleyball, and mastered by Joseph Carra at Crystal Mastering of KGLW fame, Gone Down Meadowland is Floral Image’s first full flourish. They take the record on the road across Europe and the UK throughout April & May 2025.

Spawned on the day the earth stood still, COFFIN FEEDER is an unholy alliance between veterans in the Belgian metal and hardcore scene. A delirious and furious combo featuring members of Aborted, Leng Tch’e, When Plagues Collide and Fleddy Melculy spew forth a high energy blend of groove laden death metal, grind and hardcore. Though all members are from Belgium, they are from three different regions within Belgium and speak three different dialects, so the members have to convene in plain English in order to be able to understand each other. Now if that's not heavy, you don't know what is. Since its inception in 2021, COFFIN FEEDER unleashed 2 EP’s (‘Stereo Homicide’, ‘Over the top’) and played a ton of club shows through Europe. With already some a list festivals in Europe under their belt such as Brutal Assault & Summer Breeze, the band is continuing to take names and kick ass worldwide. The band didn’t sit still and as soon as they put the finishing hands on their debut full length album, they immediatly twent on tour with Benighted & Baest throughout Europe in November 2024 and already scheduled on several European festivals next year: Alcatraz, Summer Breeze, Deathfeast, … In comes BIG TROUBLE, the first full length album by these miscreants was mixed and mastered by none less than Dave Otero (Aborted, Archspire, Cattle Decapitation,...) and features blistering cinematic soundscapes provided by Spencer Creaghan (Aborted, Carnifex). 35 minutes of pummelling, devastating and action packed groovy death metal that will make your ears bleed for more. The artwork has been provided by Dan Goldsworthy (Heathen, Xentrix, Corpsegrinder, Aborted, Chimaira, Sepultura,...) and contains more 80’s action movie references than your now defunct Blockbuster video. If you thought that was enough to flatten everything in their path, the album features some very exclusive guests: Mark Hunter of Chimaira, Ben Duerr of Shadow of Intent and Julien Truchan of Benighted. Ready to curb stomp everyone in their town, COFFIN FEEDER inked a deal with Listenable Records to dominate. You’ve been warned. BIG TROUBLE is coming!

Hailed by Pitchfork for his “ambient, intimate…songs that blossom gently with intricate musical details and enigmatic lyrics,” Conner Youngblood gained early acclaim with a series of self-released singles and EPs before breaking out internationally with his 2018 full-length debut, Cheyenne, which fused electronic and analog elements into a lush mix of bedroom pop and chamber folk. Youngblood toured the record heavily until 2020, when the pandemic forced him off the road and, hungry for fresh inspiration, he began enrolling in Russian, Danish, Spanish, and Japanese language lessons. He didn’t realize it at the time, but those classes weren’t just expanding his vocabulary, they were laying the groundwork for his most ambitious, experimental album yet: Cascades, Cascading, Cascadingly.
 
Written and recorded at home in Nashville, the collection is a dreamy series of meditations steeped in desire and yearning, loneliness and loss, exhilaration and escape. The lyrics blur the lines between fact and fiction, toying with magical realism and outright abstraction in various languages, and the arrangements are surreal and cinematic to match, hinting at everything from Cocteau Twins to Atoms For Peace. In addition to producing and engineering, Youngblood played every instrument on the album himself, and the result is a pure, unfiltered journey deep into the subconscious of a relentlessly curious artist, one with a boundless imagination and an insatiable appetite for sonic exploration. 

Lean back on the beat. Inhale, exhale. A new voice from an old soul. Kick drum rolls deep with Fender Rhodes. Charlotte Day Wilson sparking up a blunt, skateboarding at midnight with Brittany from Alabama Shakes. Jazzy intonation on a funky tip. Utterly confident in its own sense of time. Just in time. 

You may not have heard of GC O'Connor before, but ask any working musician in Sydney and they know her name. A stalwart of the scene, multi-instrumentalist and composer O'Connor has been putting in the work for years, quietly dropping gems as she readies her debut EP, a self-described 'bedroom soundtrack'. Soul Lament is the kind of assured, accomplished record we delight in putting out into the world. It's representative of a fertile scene in Australian music that deserves celebrating. 

Includes an individually-numbered, specially-designed obi strip.

Rilo Kiley was born from hunger, from the insatiable desire to write one’s own story. The band’s origins can be traced back to Los Angeles in the late 1990s, when Jenny Lewis and Blake Sennett discovered a shared songwriting obsession and began performing together. After some starts and stops, a band was formed with Pierre “Duke” de Reeder playing bass. They called themselves Rilo Kiley, borrowing a name that came to Sennett in a dream.

For their second record, Rilo Kiley headed to Nebraska to record with Bright Eyes’ Mike Mogis alongside new drummer Jason Boesel. Here, Lewis truly becomes a generational songwriter, spinning interior mysteries regarding romance, depression, trauma, hope, and isolation into cathartic revelations. The Execution of All Things was a triumphant arrival.

Originally released in 2002, the celebrated and beloved album The Execution of All Things is a hallmark of indie rock. Hailed by fans and critics alike as an essential component to any record collection.

This 45 comprises two killer pop dancers with plenty of psych fuzz guitars, punchy horns and funky beats: the in-demand Christie Laume's mod anthem 'Rouge-Rouge' and Marta Kubisova's 'Tak Dej Se K Nám A Projdem Sv?t' a glorious LP-only song that has never available on a 45 before. Sister-in-law of Edith Piaf (who introduced her to the music business), Christie Laume became a ye-ye style singer in '60s France. Her mod anthem 'Rouge, Rouge' (1967) is a great song that never fails in making the dance floor shake, taken from a very rare and in-demand E.P. On the flipside we can find Marta Kubisová, one of the most popular singers in the Czech Republic in the '60s. Her 'Tak Dej Se K Nám A Projdem Sv?t' is a glorious LP-only song from 1969 that has never available on a 45 before. Expect heavy basslines, punchy horns and fuzzy guitars. Both songs are officially reissued here on a 45 for the first time.

Born in the vibrant alternative scene of 1980s Sao Paulo, Mercenárias is an iconic band in the history of Brazilian punk and post-punk. Formed by Sandra Coutinho (bass and vocals), Rosália Munhoz (vocals), Ana Machado (guitar), and Edgard Scandurra (drums), the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, and experimental elements. Mercenárias is an iconic band in the history of Brazilian punk and post-punk. They gained global recognition after being included in several compilations outside Brazil. Their debut album, "Cadê as Armas?" (1986), is considered one of the most important records in Brazilian music history. Three years earlier, they recorded their first demo tape at the studio of the funk/pop band Placa Luminosa. The recording turned out great, it's the best you can wait from a Brazilian punk record: raw, aggressive, yet catchy, well-played and produced. Recommended for fans of The Slits, DNA, Malaria!, Kleenex, and Minutemen, this early recording by Mercenárias is more punk than their albums, but still super catchy. It has been remastered from the original tape and includes an insert with previously unseen photos and a short text by Edgard Scandurra.

Mercenárias is an iconic band in the history of Brazilian punk and post-punk. They gained global recognition after being included in several compilations outside Brazil. Born in the vibrant alternative scene of 1980s Sao Paulo, Mercenárias is an iconic band in the history of Brazilian punk and post-punk. Formed in 1982 by Sandra Coutinho (bass and vocals), Rosália Munhoz (vocals), Ana Machado (guitar), and Edgard Scandurra (drums), the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, no wave and experimental elements. Their debut album, "Cadê as Armas?" (1986), is considered one of the most important records in Brazilian music history. Recommended for fans of The Slits, DNA, Malaria!, Kleenex, and Minutemen, the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, no wave and experimental elements. This is a compilation of rare tracks from 1983 to 1987. On the A side, there are 10 amazing songs that didn't make it onto their two albums. On the B side, there is a great live recording at the legendary Sesc Pompéia during their early days, as well as a "lost" studio session featuring some of their classic songs recorded for the cult film Vera. It has been remastered from the original tapes and includes an insert with previously unseen photos and a short text by Edgard Scandurra. .

20 years after its release, Jarring Effects reissues Opus Incertum! The debut album from High Tone, an instrumental dub band (guitar, bass, drums, keyboards and turntables) that transcends the boundaries of the genre. Able to incorporate all kinds of influences, from 70s Jamaican dub to electronic music, with a touch of ethnic sounds and world music, to produce their own music and sonic atmospheres. Jungle intros, oriental samples, discreet scratches, all contribute to creating a warm sound that is deeply organic and emotionally vibrant.

One of the UK’s most exciting breakout stars of the past decade, Rebecca Lucy Taylor AKA Self Esteem emerged from cult favourite status to mainstream hero following the huge success of her empowering, truth-telling 2021 single ‘I Do This All The Time’. The song resonated intensely as a perfect example of Taylor’s affectionately termed ‘trojan horse’ or ‘salad and chips’ approach, fearlessly packing important, emotive messages into witty, resonant pop music.

Self Esteem’s wildly acclaimed second album Prioritise Pleasure quickly followed, tackling the hypocrisies and joys found in her experiences of modern day womanhood across dating, friendship, comparison culture, self love, women’s safety and sexual assault and much more. Prioritise Pleasure received Mercury Prize, BRIT Award, Sky Arts and NME Award nominations, was crowned The Guardian and Sunday Times Culture’s Album of the Year, and ‘I Do This All The Time’ was also named The Guardian’s #1 song of 2021.

Quite the opposite of an overnight success, Taylor spent a decade as one half of indie duo Slow Club before adopting the pop star persona she’d always dreamed of. She released her first Self Esteem album Compliments Please in 2019, featuring fan favourite singles ‘The Best’, ‘Girl Crush’ and more.

Gathering a passionate and vast legion of fans ever since, Taylor has appeared on The Graham Norton Show, Celebrity Gogglebox, Friday Night Live & Taskmaster, performed three times on Jools Holland including the NYE Hootenanny, graced the covers of magazines from Grazia to NME to Sunday Times Style, and is one of a handful of artists to have been playlisted across BBC Radio 1, 2 and 6 Music simultaneously.

Having reached new heights of acclaim, Taylor continued to grow, diversify, and create in 2024. Branching out into the world of acting, Taylor starred in a regular role in the Sky series SMOTHERED before completing a run playing Sally Bowles in the multiple Olivier Award-winning production of 'Cabaret at the Kit Kat Club' in London's West End. Starring alongside Jake Shears (Scissor Sisters) as Emcee, the pair’s time on stage was extended due to popular demand and showcased the sheer range of talent in Taylor’s repertoire. Last year’s releases ‘Big Man’ and ‘Love Second Music First’ followed a collaboration with Becky Hill on her song ‘True Colours’.

The Problem of Leisure: A Celebration of Andy Gill and Gang of Four is a
double album of tracks written by Andy Gill and Gang of Four, all newly
reinterpreted and recorded by artists whose own unique contributions to
music were enriched by listening to Gang of Four.
The album features songs from across Gang of Four’s 40-plus year career, each
individually chosen by the artists who covered them. Andy Gill originally conceived of the album to mark the 40th anniversary of the release of Entertainment! in 2019. His widow, Catherine Mayer, explains that this plan had already
changed by the time of Andy’s death in 2020, after some artists chose tracks
from different albums and periods.
“Andy was massively excited about this project,” Mayer says. “It wasn’t of
course conceived as a tribute album, but it’s comforting to me that he lived to
see artists he hugely admired enthusiastically agreeing to participate, signalling that the admiration was mutual.” The album artwork has been created by
English artist Damien Hirst, a long-time friend of Andy’s.
Idles - Damaged Goods. Tom Morello & Serj Tankian - Natural’s Not In It. Helmet
- In the Ditch. 3D x Gang of Four feat. Nova Twins - Where The Nightingale Sings.
Hotei - To Hell With Poverty. Gary Numan - Love Like Anthrax. Gail Ann Dorsey -
We Live As We Dream Alone. Herbert Gr nemeyer feat. Alex Silva - I Love A Man
in a Uniform. LoneLady - Not Great Men. JJ Sterry - 5.45. La Roux - Damaged
Goods. Everything Everything - Natural’s Not In It. Dado Villa-Lobos - Return The
Gift. The Dandy Warhols - What We All Want. Warpaint - Paralysed. Flea & John
Frusciante - Not Great Men. The Sounds - I Love a Man in Uniform. Hardcore
Raver in Tears - Last Mile. Killing Joke x Gang of Four - Forever Starts Now (Killing
Joke Dub) . Sekar Melati - Not Great Men (live version)

2025 Repress

LP Reissue of this Self Titled Japanese CD Album. This LP is the first re-issue of their original CD-R only release in Japan in 1999 in a very limited edition (100 copies). It has been remastered in Berlin from orginal recordings and pressed to 300 copies with a gigantic sound !!! According to David Keenan (WIRE magazine) about this first CD-R released in 1999 the band are one of the most important underground reference in the actual Japan Psychedelic scene.

SCARING THE HOES ist das erste Kollaborationsprojekt von JPEGMAFIA und Danny Brown.

Nachdem das Album über ein Jahr lang gehänselt worden war, erschien es im März 2023 und fand großen Anklang bei der Kritik. Beide Künstler verfügen über eine breite und etablierte Fangemeinde und ein Renommée in der Alt-Hip-Hop-Welt.

Ihre Online-Präsenz ist mit zusammen über 1 Mio. Instagram-Followern riesig und der Podcast von Danny Brown erreicht eine große Hörerschaft. Neuauflage auf weißem Vinyl.

(10x12" box set, limited to 1000 copies, with premium finishing, uniquely numbered, incl. 10 records in individually printed sleeves, a booklet detailing the club's history & exclusive stickers) Boccaccio has secured its place among legendary venueslike Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond.



Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A Guy Called Gerald, the unmistakable influence of black American pioneers is clear-the originators of the firstanalog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection, offering a timeless snapshot of a unique era.

Destiny of Illusion is a 24-track full length debut from Pretty V (aka. Voldy Moyo, v7backin2007, #Smokesito), a prolific artist from Wakefield, UK who has been frequently performing and releasing music & videos online for the past 9 years, building notoriety for his unique sound and prolific output and gaining support from artists such as MIKE & King Krule, both of which have brought Voldy out for many shows, and for collaborations.

The album will release on the 24th April 2025, along with a release show the same day at Ormside Projects.

The album is produced entirely by aloisius, a prolific artist & producer, as well as the founder of life is beautiful records). ‘Destiny of Illusion’ is a landmark album for both Pretty V & aloisius, being their first full-run vinyl release. The album will be available exclusively on Vinyl, Cassette & CD.

This album also holds additional historical significance being that it is the first official/ full-run vinyl release for life is beatiful records.

The first pressing of ‘Destiny of Illusion’ will be limited to 397 copies.

Hollows Made Homes In Their Sunken Cheeks came into existence as a result of Jon's wishes to take the Ungraven sound somewhere other than a standard 'rock band' setup. Moving away from the traditional 'drums / bass / guitar' structure has allowed Ungraven to experiment further with both sound and composition. 'Hollows_.' Is an experiment in sonics and allows both Davis and Perry to perform a sickening sonic duet as their respective instruments carve a universe shaped hole in your consciousness. Inspired by the duo's past collaborations on Conan tracks such as "Older than Earth" and "Grief Sequence" as well as artists such as Tangerine Dream, Circle, Zombi and Harold Budd. Hollows is a combination of composed and improvised elements, constructed remotely from their bases in England and Denmark. The addition of Perry's synth, organ and piano to Davis's slab like 6 string delivery has produced two epics that are both introspective and pummelling at the same time. Fall untethered into a bleak and expansive soundscape of psychedelic terror, experience a new chapter in Ungraven's tome of tone.

Imported from the UK ! Absolute banger of high octane, 303 fizzing Acid Techno from Acid Erick and Sam DFL on Triple A (Acid Artists In Action).

We wanted to celebrate the music of integral Samurai family member Last Life by revisiting his Samurai contributions with remixes from artists Mauro saw as best candidates for adding a new perception.

The second and final collection of remixes of tracks from Last Life's Samurai Music catalogue has now taken it's final form.

Label regulars Sam KDC, Ancestral Voices, Torn and Presha take their scalpels to Mauro's constructions and turn up the intensity, rebuilding them into 4 sinewy exercises in sinister force.