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An absolute, hard-charging funk hammer from the Dap-Kings - an incredible instrumental co-written and co-produced by Dapper Bosco Mann and Kenny Dope! If "Nervous Like Me" has a title that reflects some kind of apprehension, the track is anything but! It's simply pummeling - with a rhythm that kicks out from some stealth bongo and rolling trap that build into some playful guitar and bass response until the horns crash and boom! The beats on the flip isolate the funky drums, providing a sizzling beat track.

STAR TREK: STRANGE NEW WORLDS is based on the years Captain Christopher Pike manned the helm of the U.S.S. Enterprise. The series will feature fan favorites from season two of STAR TREK: DISCOVERY: Anson Mount as Captain Christopher Pike, Rebecca Romijn as Number One and Ethan Peck as Science Officer Spock, and follows Captain Pike, Science Officer Spock and Number One in the years before Captain Kirk boarded the U.S.S. Enterprise, as they explore new worlds around the galaxy. Drivers: * Focus track scored written, produced and conducted by Emmy Award winner, and 3 time nominee, Jeff Russo (The Man Who Fell To Earth, Legion, Fargo, Oslo, The Night Of, Umbrella Academy, Altered Carbon, Star Trek: Discovery, Short Treks, Strange & New Worlds, Picard series, Love & Death) * Jeff is a founder, lead guitarist and songwriter of 2x Grammy Award nominated, multi platinum rock band, Tonic. * Russo's main theme is a modern adaptation of Alexander Courage's original Star Trek theme, and includes a theremin as a way to foreshadow Courage's vocal arrangement of the theme. * Tracks taken for Season 2, episode 9, titled, Subspace Rhapsody

Recorded in 1973, these two gems were originally album tracks on Marvin’s “You’re The Man” LP. Now these two and only gems curated by the Mizell Brothers are back to back for the first time on a 7” single. While on Expansion, the label art pays homage to Tamla. Marvin was never on Motown. There is a later, alternative remix of “Where Are We Going”, but this 7” is the 1973 original.

nobile, one half of the former Milanese duo Voronoi, presents a new series of recordings of ephemeral ambient soundscapes, organic throbs and broken rhythmic textures that sublimate the more instinctual and playful side of his poetics.


The project is haunted by cavernous sounds and an obsession with the 'netherworld' of the videogame Minecraft, and by Le Matin des Magiciens - the classic and revolutionary book that popularised occultism, alchemy and paranormal phenomena in the 1960s. "...FANTASTICO INTERIORE is" - as the artist puts it - "a fantastic journey inside the body, perhaps also a journey into the unconscious to understand my gastritis?"

The seven tracks traverse underworlds, infused with fantastic realism, where odd sounds materialise like poltergeists of digital folklore. Creepy voices emerge from the hell-like nether, intertwined with clusters of gelatinous percussive sounds that trudge to the surface. Earthy streams of crackling white noise carry volatile sonic particles that bounce off walls with short delays and reverberations, giving an almost visible form to the space.




But it is not always serious. As soon as you come across the curiously long titles of the tracks (which are rough translations of the Minecraft manual into Italian) a subtle irony emerges. The imagery appears to be harmless and eventually, as in a video game, you can switch to safe-mode and refill your health-bar along the way... 
No panic attacks in the soft-occultism of FANTASTICO INTERIORE ;)

* Edition of 500 colored vinyl (transparent purple)
* Artwork developed in collaboration with Paris-based visual artist Caroline Ventura
* Including download code

i got a song, it’s gonna make us millions is the highly anticipated new album by Sirens Of Lesbos, led by sisters Jasmina and Nabyla Serag. The dynamic release is a vibrant showcase of the group's expansive musical range, blending R’n’B/Soul, Afrobeats, electronic music, and lo-fi indie pop into a rich, genre-defying experience. With its eclectic sound and captivating melodies, the album solidifies Sirens Of Lesbos as a standout force in modern music.

Featuring on the album are the singles “Room 333” feat. Kendrick-Lamar-collaborator Zacari, a futuristic R’n’B song with progressive club beats; the epic “Call Me Back” (feat. Drake-co-signed rapper SadBoi and the Kabusa Oriental Choir); and dub-infused reggae song “Let It Hurt”, plus new song “My Moon”, which draws inspiration from artists like Bruce Hornsby, Justin Vernon, and Jai Paul. Sirens Of Lesbos have earned widespread acclaim from outlets like CLASH, COLORS, Dork, Tsugi and Earmilk, with BBC 1Xtra’s CassKidd calling the collective “magical.”

As Black women living in the diaspora, Jasmina and Nabyla navigate the intersection of their parents’ collectivist North-East African culture and the Western emphasis on individuality. Questions of identity have always been central to their journey. While society often demands clear-cut definitions, the sisters have come to embrace their multifaceted identities: “We have always been many things.”

Both artists are deeply rooted in the technical and philosophical dimensions of sound. Jasmina recently completed her Sound Arts degree, and Nabyla is now finishing hers. Their academic pursuits have included creating abstract sound installations in exhibition spaces. However, their focus for the foreseeable future is on elevating the Sirens Of Lesbos project, writing and producing standout indie pop tracks, performing live, and delivering unforgettable experiences for their audiences.

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The vinyl version of i got a song, it’s gonna make us millions is published by Präsens Editionen, a Switzerland-based publishing house and music label. Founded in 2011 in the process of launching zweikommasieben Magazin, Präsens Editionen has since released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Recent audio releases include works by Martina Lussi, spalarnia, Magda Drozd, Anom Vitruv, Belia Winnewisser, and Red On, among others.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

The highly anticipated collaborative album, GOLDFISH, sees two of contemporary hip-hop's most revered and distinct production minds, Hit-Boy and The Alchemist, finally join forces for a full-length statement. Far from a simple beat-swap, this project is a masterclass in sonic cohesion, blurring the lines between their signature sounds to forge a new, golden-hued identity. Beyond production, the duo step from behind the boards to behind the mic to trade verses throughout the project, adding a personal layer to their creative vision.

GOLDFISH is a deeply immersive listen, perfectly balancing the West Coast muscle and polished, anthemic quality of Hit-Boy's work with the dusty, abstract texture and cinematic suspense that defines The Alchemist's aesthetic.

The result is a sound that feels both street-tested and museum-worthy. A collaborative manifesto, showcasing the infinite possibilities when two generational talents decide to link up, creating an instant classic in the canon of producer/MC albums.

Few artists can conjure up the sort of spirituality that Fred P manages whenever he turns on his machines - and this brand new label from the artist means we'll be getting a shedload more of it. Sometimes it's deep, muggy, insular, at others more outward-looking and cosmic. And that's what we have here - emotionally dense sounds on 'Galaxy Walk (Journey mix)' with jazzy motifs off in the distance, spoken words in the foreground and dancing percussion that is optimistic and hopeful. 'Modern Art Talk' is just as balmy as you journey through a sound world that feels as infinite as space itself, while Fred himself muses on his art. 'Inner Channels (edit 4)' is a dusty shuffler marbled with muted chords and brighter melodic stars that feel impromptu and layered in live.

The vinyl version of this release compiles the tracks from their two earliest EPs originally released by Ankst whilst the 22 track CD features further unreleased & unheard bonus tracks from this early era.

Super Furry Animals also recently announced additional festival dates to follow their sold out Supacabra Tour dates including stops in Llangollen, Bristol, York, Glasgow and London (their first since late 2016. See full 2026 dates below.

Holding the world record for the longest ever EP title the first EP -Llanfairpwllgwyngyllgogerychwyndrobwllantysiliogogogochynygofod (In Space), was released in 1995, followed in the same year by Moog Droog, with both EPs making up the eight-song track listing of the vinyl version of Precreation Percolation.

Later that year, with a record deal on the table and future classics such as God! Show Me Magic and Hangin’ With Howard Marks already making up the SFA’s set list, the band’s path following “two years of chaos” (including a legendary 1993 debut ‘gig’ at Bangor University’s Banana Lounge, lasting all of five minutes due to technical and chemical misadventure) was set. In the album’s liner notes, singer, Gruff Rhys writes: “It would have been the best gig ever, had we not daisy chained so many synthesizers together, that it resulted in a terminal systems failure.”

By summer they’d joined Oasis, Primal Scream and The Jesus and Mary Chain in the Creation Records family, leading to a huge London signing party that saw members of the band famously thrown out of.

The term of intriguing genre experimentation, spanning long-form electro, blissed out instrumentals and expansive prog-influenced rock, heard across much of Precreation Percolation was subsequently refined and channeled into their thrilling, 1996 debut album, Fuzzy Logic and their untamed live performances.


While consciously and frequently referring to the unheard, untold and unforeseen as a naturally nostalgia-resistant band, Super Furry Animals look ahead to reconvening with fans to celebrate their shared history as the Supercabra Tour gets underway.




(the vinyl comes with a copy of the CD in a slim card wallet)

Be As One boss Shlomi Aber returns to Chris Liebing's CLR with the 'Schema' EP, arriving 24th April 2026 alongside a remix from James Ruskin. Active since 1994, Aber has been a cornerstone of underground techno for over three decades, with his focused, hypnotic approach in both the studio and DJ booth leading to releases on some of the scene's most respected labels, including Cocoon, Ovum, Nonplus, and Figure. With the 'Schema' EP, he follows his recent 'Retrospective' EP for Ben Klock's Klockworks, as well as previous CLR outings such as the 'Limelight' EP (2025), and the 'Remote 101' EP (2023), which both kept a spot in the Beatport Techno chart for over two years after release, while winning support from the likes of Carl Cox, Alienata, Dave Clarke, and many more.

Shlomi Aber's 'Schema' EP opens with the title track and heads straight into subterranean territory, pairing weighty low-end pressure with tightly controlled tension. Rattling bass foundations are o?set by sharp hi-hats and static-laced textures that flicker through the mix, keeping the groove locked and the atmosphere charged.

On remix duties, James Ruskin, founder of the seminal Blueprint, delivers a shadowy, atmospheric rework. Eerie pads hang in the background as swampy bass anchors the rhythm, with haunted melodic elements slowly unfolding to create a deep, immersive take built for late hours and dark rooms.

Closing track 'Gasolina' sees Aber shifting into broken-beat territory, where warm, glitchy rhythms loop with hypnotic precision. Ghostly synth motifs drift in and out of focus, giving the track a cinematic, heady quality that rounds out the release with understated intensity.

Founded by influential techno lynchpin Chris Liebing in 1999 and reemerging in 2021 after a five-year hiatus, Create Learn Repeat (CLR) has hosted a range of artists like Dubfire, Flug, Bjarki, DJ Dextro, and more while also focusing on developing newer acts in the scene, such as Risa Taniguchi, The Southern, and Klint.

Leinenbezogene, foliengeprägte Tip-on-Gatefold-Hülle mit 24-seitigem Comicbuch im LP-Format.

The 3rd collaborative album between Les Claypool (Primus) & Sean Lennon (the previous sold over 150,000 combined) is an elaborate concept record reflecting on morality, the warnings of A.I., and the slippery slope of optimization without empathy. Told across 14 songs - which ooze with classic psychedelic / progressive rock stylings - and the accompanying comic book by Rich Ragsdale, The Great Parrot-Ox and The Golden Egg of Empathy is a peak for both The Claypool-Lennon Delirium and rock music at large.

J
erome Sydenham, Fatima Njai, Kyle Hall, Kyle ORB, Theodor Luv

The Kraftminded EP is a premeditated sonic assault on your Deep House sensibilities. Jerome Sydenham, Kyle Hall, Fatima Njai, Theodor Luv, Kyle OBR, Jovonnn and E-Man all get strapped for the execution of this DJ friendly club excursion. Highly recommended for DJ's and House music lovers!

Wie jemand, der ein Signal aus Störgeräuschen herausfiltert, entdeckt Cosey Mueller immer wieder innovative Variationen von Punk und experimenteller Elektronik und entwickelt daraus in ihrer beeindruckenden Diskografie einen unverwechselbaren Stil - der mit „Embodiment of Denial" nun einen neuen Höhepunkt erreicht. Eine zunehmend treibende Tanzbarkeit bildet dabei die Kulisse für eine verstärkte Konzentration auf Muellers Stimme.

Die acht Tracks des Albums sind voller eingängiger Hooks, während sie, weit entfernt von den leeren Parolen, die in „Der Politiker" parodiert werden, die deklarative Aussage für die Kräfte des Guten zurückerobert.

'The Endless Dance' is the first collaborative album from Northern Irish producer and composer Hannah Peel and Chinese percussionist Beibei Wang. The record is grounded in the strength of ancient concepts, but comes alive with the joy and freedom of play as together, Peel and Wang travel through the 24 solar terms of the Chinese calendar with a cornucopia of sound in tow – synths and prepared piano alongside traditional and unconventional percussion.

The album is collaged together from recordings made over five days at legendary rural studio Real World, a setting which aligned with the duo’s inspiration from the natural world creating a permanent record of their shared musical landscape, informed by the flora and fauna that emerge and retreat through the seasons.

Both genre-defying, storied artists in their own right, Peel and Wang met while working on Manchester Collective’s 2023 album NEON and 'The Endless Dance' certainly represents a step-change from the duo’s shared classical backgrounds – but their knowledge and training is also the foundation of its freewheeling audacity, giving them the confidence to trust their instincts.

The album is produced by Mike Lindsay LUMP, Tunng, Guy Garvey, Jon Hopkins who, with free rein, brings added energy and creativity to the album, whilst Peel & Wang are also joined by Hyelim Kim on Daegeum, a Korean flute with “colourful overtones on every note”.

Track to track, 'The Endless Dance' is unpredictable and unexpected, which is in part due to the genuine curiosity and outside perspectives that each player brought to the sessions. “I am so familiar with Chinese heritage, but I don't see how it can present in electronics, for instance,” says Wang. “Hannah comes in with that direction, to imagine what the sounds could be together.” The characterful richness of the album stems from the commonalities they found in the sessions. “We both come from cultures where story is really important,” explains Peel. “The attention to detail comes from telling a story, and one note can set that off in a different direction.”

'The Endless Dance' is a major work from two accomplished, singular artists - but it’s also the sound of mutual curiosity and shared fun, or as Wang puts it: “Two women talking in totally different language that had a wonderful chat.”

2026 Repress on Yellow Vinyl



Flirty Ghost is an evocative LP by Rachel Kitchlew, a jazz and contemporary harpist known for pushing the boundaries of her instrument. A blend of jazz, ambient, and experimental sounds, the album was crafted in a spontaneous, deeply personal atmosphere, recorded late at night in the cozy, smoky setting of SFJ headquarters

featuring Alexis Taylor (Hot Chip), Dave Bardon, SFJ, Sholto ....



Inspired by everything from Henry Mancini to Dorothy Ashby, this LP captures an eerie, playful essence, like a ‘flirty ghost’, while celebrating exploration and self-expression. The album holds emotional depth, particularly in tracks like ‘Truncate’ and ‘Cyclical’, which were recorded shortly after the passing of Rachel's grandmother, Sheila Horton, whose work is featured on the back cover.



With the collaboration of close friends and talented musicians, ‘Flirty Ghost’ represents a new chapter for Rachel, marking a joyful departure from her solo harp work into a collective, experimental musical journey.

TSSRCT returns with a significant new chapter: its third release, entrusted to Antigone. Across three carefully sculpted pieces, the French artist explores a territory where deep resonance, fragile melody and stripped-down structures converge. More than a return, this EP stands as a timeless statement, reaffirming both Antigone's singular voice and TSSRCT's evolving sonic vision.

aja monet ist eine surrealistische Blues-Dichterin, Musikerin und Bandleaderin, deren Werk fließend zwischen Poesie, Musik und politischem Ausdruck wechselt. Aus der Spoken-Word-Szene der Lower East Side in New York City hervorgegangen, wurde sie die jüngste Gewinnerin des Nuyorican Grand Slam Poetry-Titels, bevor sie ihr Schaffen auf genreübergreifende musikalische Darbietungen ausweitete, die ihre Wurzeln im Jazz, Blues und experimentellen Sound haben. Ihr Debüt-Poetry-Album ,when the poems do what they do" wurde 2024 für einen Grammy Award in der Kategorie ,Best Spoken Word Poetry Album" nominiert und etablierte Monetas als einzigartige Stimme in der zeitgenössischen schwarzen Musik- und Performance-Szene. Das Projekt verbindet Poesie mit Live-Instrumentierung und Improvisation und erkundet Themen wie Widerstand, Liebe und Freude durch einen kollaborativen, ensembleorientierten Ansatz. Als tourende Bandleaderin ist sie weltweit bei großen Festivals und in bedeutenden Veranstaltungsorten aufgetreten, darunter das Newport Jazz Festival, das North Sea Jazz Festival, das Montreal Jazz Festival, das Guggenheim, das Lincoln Center, das Barbican Centre und die Fremantle Biennale. Neben ihrer musikalischen Arbeit ist monet eine gefeierte Dichterin und Autorin. Ihr erster vollständiger Gedichtband, ,my mother was a freedom fighter" (2017), wurde für den NAACP Image Award in der Kategorie Poesie nominiert. Ihr jüngstes Buch, ,florida water", erschienen bei Haymarket Books, schöpft aus mehreren Jahren des Lebens und der Organisationsarbeit in Südflorida und setzt ihre Auseinandersetzung mit Ort, Bewegung und kollektivem Gedächtnis fort. Zu ihren Auszeichnungen zählen der Marjory Stoneman Douglas Award für Poesie, der Nelson Mandela Changemaker Award, der Harry Belafonte Voices for Social Justice Award, der EBONY 100 Artist in Residence Award sowie der Malcolm X & Dr. Betty Shabazz Vanguard Award. Zudem ist sie künstlerische Kreativdirektorin von V-Day, der globalen Bewegung zur Beendigung von Gewalt gegen Frauen und Mädchen, und Schöpferin von VOICES, einem Hörspiel aus dem Jahr 2022, das die Geschichten schwarzer Frauen in der Diaspora und auf dem afrikanischen Kontinent in den Vordergrund rückt. aja monet's zweites Studioalbum, ,the color of rain", wird im Mai 2026 bei drink sum wtr erscheinen.

CBR009 by Hannah Addams & Cxma (Including Oxygeno Remix) Hannah Addams, Label Owner is back on the imprint after a long period of silence. First of many releases to come is a collaboration with Cxma.

This EP is the result of a whole life together in Sin City, a friendship longer than 30 years, thousands of moments, raves, parties, countless time sharing their love for music. 3 Original Mixes, Raw music, dirty bass lines, crazy random Synthe patterns. A style where both artists feel like at home. It is notorious how comfy they feel swimming on those seas. The EP gets to its maximum when a good old friend of
both, after listening to the tracks, realizes and decides he would love remixing one of them. Oxygeno Remix of "Danza de los ET" is adding the class and cleanness that was missing in the though original mixes.

Transversales Disques proudly presents PANORAMA Vol. 2, another deep dive into rare French soundtracks, Library music, and instrumental oddities that have largely remained untouched by reissues or compilations.

This curated selection features 11 forgotten gems recorded between 1968 and 1980. It showcases the brilliance of celebrated maestros like Francis Lai, Karl-Heinz Schäfer, Eric Demarsan and Jean-Claude Petit, standing shoulder-to-shoulder with unsung composers such as Oswald d'Andréa, and Jean-Louis Bucchi.

Embark on a cinematic journey brimming with moody string arrangements, funky flanged drums, signature French basslines, and deeply dramatic atmospheres.

Deluxe Tip-On jacket LP with printed innersleeves
Including exclusive and extensive liner notes.
Vinyl Only / No Digital

DJ Support: Joseph capriati, Joris Delacroix, A-Trak, Eliza Rose, Damian Lazarus, Laurence guy, TSHA, Ame, Maslow Unknown, Malugi, DJ Heartstring, Anna Lunoe, Mera Bhai, Mat.Joe, Swoosh, Tyson, THELMA, Speaking Minds, Cole Knight, Joris Voorn, Peggy Gou, Eden Prince, Tony and many more

SHEE is a Dublin born house music producer and DJ whose sound bridges deep, soulful club music with a distinctly Irish identity. Built on years of consistent releases, relentless touring, and grassroots community, SHEE has established himself as one of Ireland's most exciting house music exports. The Rosebud EP anchored by lead single 'The Groove' in collaboration with New York legend A-Trak and Dub Katz is the most significant release of his career to date.

JUDDER opens a new chapter in its history with its first 12-inch vinyl release As part of a new mini-album series, the label brings together artists from diverse backgrounds and musical perspectives. What unites them all is an openness to experimentation and a deep affinity for sub-frequencies. Side A is driven by a bold, high-impact sound with references to techno, grime, and baile funk. The release opens with Komo by Italian producer Coido. The track unfolds in unpredictable ways, its rebellious character maintaining tension from start to finish and refusing to let go of the dancefloor. This energy is carried forward by Oddkut. His Phase Shift is a pure body-mover, where the core bassline and rhythms awaken a raw, primal energy. Side B shifts the focus toward more minimalist, rhythm-centered forms of bass music. In Diligence by Nattah, breakbeat and UK techno merge into a hybrid where atmospheric reverbs are expertly balanced with the drive of sub-bass pressure. Inspired by racing games, Naprimer closes the release with Carrera. This new 100 BPM experiment brings together the best elements of the Bristol and Manchester scenes. Tracklist: A1 Coido – Komo A2 Oddkut – Phase Shift B1 Nattah – Diligence B2 Naprimer – Carrera

Gravity Pleasure welcomes Maude Vôs for their most intimate EP offering to date, Medicinal Properties. Dripping in serenity and grounded in connection, Medicinal Properties is a musical elixir concocted with the healing modalities of the natural world and derived from the intentional planting and nurturing of sapphic seeds. Through minor modes, swimming cinematics and mineral-rich textures, Vôs traverses an ecosystem of sensuality and bonding, a symbiotic journey of long-distance love colored and shaped by their affinity for the earth.

Taking root in California and continuing throughout Ireland, Iceland, and Montreal, the EP translates this cross-continental connection by blurring the lines of timezones, genres, and natural landscapes. Inspired by sea swims, country oyster cottages, diner pancakes, snow flurries, geothermal soaks, mossy mornings, and adventures to igneous formations, Vôs invites you to experience this potent body of work, which forms the harmonious emotional bedrock of both kinship and creation.

Support comes from Yushh (“LOVE, so good!!!”), Jossy Mitsu (“Incredible <3”), Mixtress (“v pretty”), Peder Mannerfelt (“hot”), Batu (“like Maude Vos, downloading”), Vladimir Ivkovic (“Good! Thank you”), and OM UNIT (“Orr kore is lush”), amongst others.

Seit mehr als drei Jahrzehnten bahnt sich David Eugene Edwards einen einzigartigen Weg durch die amerikanische Musikszene. Zunächst mit dem dunklen Folk-Dringlichkeit von 16 Horsepower, dann mit der andächtigen Intensität von Wovenhand und in jüngerer Zeit durch die reduzierte Klanglandschaft seiner Soloarbeiten. Auf seinem zweiten Soloalbum "Mercurial Silence" setzt Edwards den Weg fort, den er auf seinem Debütalbum "Hyacinth" aus dem Jahr 2023 eingeschlagen hat, und dringt gleichzeitig durch den erweiterten Einsatz elektronischer Produktion und vielschichtiger Texturen in neue Klangwelten vor. Auf dem Album kanalisiert Edwards die krasse Intensität, die einen Großteil seiner Karriere geprägt hat, und greift gleichzeitig auf eine breitere Klangpalette zurück, die sich zugleich uralt und modern anfühlt. Seine unverwechselbare Stimme bewegt sich durch die Schichten aus Streichern, perkussiven Drones und gespenstischer Elektronik und verleiht dem Album die Aura einer Welt außerhalb unserer Reichweite. Über seine 12 Songs hinweg verfeinert Edwards hier die thematische Ausrichtung, die erstmals auf seinem Debüt erkundet wurde, und erweitert gleichzeitig seinen Fokus, um die wiederkehrenden Geschichten zu betrachten, die verschiedene Kulturen über Himmel und Erde und deren stetes Miteinander erzählen. Musikalisch zeichnet sich das zweite Solowerk durch die bewusste Verschmelzung akustischer Instrumente mit ausgeprägten elektronischen Elementen aus. Synthesizer, programmierte Rhythmen und dichte Ambient-Texturen verbinden sich mit Edwards' eher traditionellen Arrangements und schaffen einen Klang, der zwar karg bleibt, aber gleichzeitig die räumliche Tiefe der Songs erweitert. Während frühere Projekte oft auf rohe physische Kraft setzten, wirkt "Mercurial Silence" mit einer anderen Art von Kraft. Das Album entfaltet sich geduldig, atmosphärisch und überwältigend.

Seit mehr als drei Jahrzehnten bahnt sich David Eugene Edwards einen einzigartigen Weg durch die amerikanische Musikszene. Zunächst mit dem dunklen Folk-Dringlichkeit von 16 Horsepower, dann mit der andächtigen Intensität von Wovenhand und in jüngerer Zeit durch die reduzierte Klanglandschaft seiner Soloarbeiten. Auf seinem zweiten Soloalbum "Mercurial Silence" setzt Edwards den Weg fort, den er auf seinem Debütalbum "Hyacinth" aus dem Jahr 2023 eingeschlagen hat, und dringt gleichzeitig durch den erweiterten Einsatz elektronischer Produktion und vielschichtiger Texturen in neue Klangwelten vor. Auf dem Album kanalisiert Edwards die krasse Intensität, die einen Großteil seiner Karriere geprägt hat, und greift gleichzeitig auf eine breitere Klangpalette zurück, die sich zugleich uralt und modern anfühlt. Seine unverwechselbare Stimme bewegt sich durch die Schichten aus Streichern, perkussiven Drones und gespenstischer Elektronik und verleiht dem Album die Aura einer Welt außerhalb unserer Reichweite. Über seine 12 Songs hinweg verfeinert Edwards hier die thematische Ausrichtung, die erstmals auf seinem Debüt erkundet wurde, und erweitert gleichzeitig seinen Fokus, um die wiederkehrenden Geschichten zu betrachten, die verschiedene Kulturen über Himmel und Erde und deren stetes Miteinander erzählen. Musikalisch zeichnet sich das zweite Solowerk durch die bewusste Verschmelzung akustischer Instrumente mit ausgeprägten elektronischen Elementen aus. Synthesizer, programmierte Rhythmen und dichte Ambient-Texturen verbinden sich mit Edwards' eher traditionellen Arrangements und schaffen einen Klang, der zwar karg bleibt, aber gleichzeitig die räumliche Tiefe der Songs erweitert. Während frühere Projekte oft auf rohe physische Kraft setzten, wirkt "Mercurial Silence" mit einer anderen Art von Kraft. Das Album entfaltet sich geduldig, atmosphärisch und überwältigend.

Marvin Gaye always dreamed of being a smooth crooner, “sitting on a stool, possibly behind a piano,” delivering velvety songs like Nat King Cole. But Motown had other plans. Pushed between raw R&B and polished pop, Gaye fought to find his own voice, eventually rising to become one of the greatest soul singers in history.

Motown Records released the first Marvin Gaye record in 1961 "(I'm Afraid) The Masquerade Is Over", a single intended for (radio) promotion from the singer's debut album. This was followed up by the officially released "Let Your Conscience Be Your Guide" a week later. Gaye scored his first real hit with "Stubborn Kind of Fellow" in 1962, which he had co-written himself, joking about his alleged stubbornness. He found his own unique style with the single released at the end of the year: "Hitch Hike". The foundations were now laid for an enormous series of chart successes: "Pride And Joy", "Can I Get A Witness", "How Sweet It Is (To Be Loved By You)" and "Ain't That Peculiar" are all Motown classics from 1963-1965 which are still being regularly played today after all these years. The duets he recorded with Kim Weston ("It Takes Two"), especially Tammi Terrell and Diana Ross were certainly at least as good.

He scored his biggest ever hit with "I Heard It Through The Grapevine" in 1968. "What's Going On" from the same titled album became a number 1 hit in the USA. The album was received as a masterpiece and is regarded as one of the most important records in pop history. In 1973, the artistically and commercially very successful, "Let's Get It On" album was mainly a musical ode to Marvin's love for his new muse Janis Hunter. His journey continued after a turbulent relationship, addiction and a dramatic creative rebirth in Belgium, where he crafted the global hit “Sexual Healing in 1982.

Marvin Gaye left behind timeless hits, groundbreaking albums, and a legacy that shaped the sound of modern soul. His story, from ambition to artistry, from struggle to brilliance, remains as powerful as the music he created.

Music On Vinyl proudly presents a special coloured vinyl edition of the Marvin Gaye Collected album which is available as a limited edition of 10.000 individually numbered copies on white (LP1) and silver coloured vinyl (LP2) and includes a booklet with liner notes.

Sunday in the Park with George presents the music from the original 1984 Broadway production of Stephen Sondheim and James Lapine’s acclaimed musical. Recorded shortly after the show’s premiere, the album features the original cast performing Sondheim’s layered score, inspired by Georges Seurat’s painting "A Sunday Afternoon on the Island of La Grande Jatte".

The cast of the musical is led by Mandy Patinkin and Bernadette Peters, whose performances tell a story about art, love, and artistic legacy across two time periods. The recording includes notable songs such as “Sunday,” “Finishing the Hat,” and “Move On.” Winner of the Pulitzer Prize for Drama, Sunday in the Park with George is widely regarded as one of Sondheim’s most distinctive works. Produced by Thomas Z. Shepard, the recording won the 1984 Grammy Award for Best Cast Show Album.

The soundtrack of Sunday in the Park with George is available as a limited edition on blue vinyl and includes a 4-page booklet. The 2LP is packaged in a deluxe sleeve with linen laminate finish.

Irish drone-doom-folk act One Leg One Eye, the project of founding Lankum member Ian Lynch and veteran noise monger George Brennan, announce their new album, CRONE, out on 1 May on AD 93.

Today the group share the first track on the album, ‘Many are my Names Besides’, on which they are joined by the elemental force that is legendary actor, performer, writer and director Olwen Fouéré (Operating Theatre) contributing vocals.

Olwen Fouéré comments:

“When Ian and George first approached me to work with them, they were already creating the Crone album as a sonic invocation of the ‘sovereignty goddess’, who personifies the land and the legitimacy to rule it, in her darkest and most terrifying form. As we spoke, the triple goddess figure of the Morrigan entered my mind, reinforced by a marked presence of crows every time we met. The Morrigan is essentially a war goddess, frequently appearing as a crow in a battlefield, a death prophet, a guardian of sovereignty, and a very powerful figure in Irish Mythology.

So I invoked her energy as a starting point, using text extracts that Ian sent me from the Ulster Cycle and other sources. The voice recording was done in one day, improvising the source material while the already composed music occupied my psyche through headphones.

Listening back, at this time in our world, I can only wonder at how much blood and war the Crone/ Crow of sovereignty is preparing to unleash now. Watch out.”

CRONE is the second album from Lynch and Brennan, following on from 2022’s slowburn slab of ambient grit, …And Take The Black Worm With Me. Bewildering, psychedelic and ultimately transcendental, the four tracks of One Leg One Eye’s CRONE shapeshift and morph endlessly in a coarse miasma. Traditional song structures and vocal melody are eschewed, instead the trio directly channel energies from the rich seams of mythological significance submerged below the Irish psyche. The anger, rage and beauty of the sovereignty goddess burn a consistent and deliberate line through the album in the form of obscure incantations and dire pronouncements, the gnarled sinews that bind it all together.

Just as the subject matter of the tracks delve deeper into Irish myth and the remote past, the temporal reality of the album reaches back into the bands prehistory, with the majority of it the material being recorded by Lynch and Brennan in 2021 before One Leg One Eye was conceived of as an entity with Brennan working on the CRONE project while Lynch worked on …And Take The Black Worm With Me.

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head.

She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within.

"Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?"

"Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws."

"It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?"

"Calib," she answers.

"That is not much of a name," says Conaire.

"Lo, many are my names besides."

"Which be they?" asks Conaire.

"Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, Bloár, Huae, óe Aife la Sruth, Mache, Médé, Mod."

On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

Details marks SCHiLLiNG's return after years of research, above all on himself. It brings together the practices that have become essential to him: composition, sampling, sonic patchworks, and a palette that mirrors the full spectrum of his musical identity, from Rock'n'Roll to Trip-Hop and Ambient. Details is rich in small edits, hidden layers, fragile textures, and fragments that reveal themselves slowly. Yet the word carries a deeper meaning: what truly matters is often the smallest element, what doesn't appear clearly at first glance or on first listen, yet quietly holds the core of everything. The detail as the very pulse of one's inner world. Across 14 tracks, the album unfolds as a diverse journey, carefully shaped yet open enough to allow unexpected elements and subtle imperfections to remain part of its flow. The structure is not binding, you can begin from any track and embark on your own path through it. Each piece contributes to a wider arc without overpowering the others. The album includes collaborations with several artists who lent their talent to the project; their names appear in the credits of the physical release. In many ways, they embody the very idea behind the title: individual presences, each bringing their own nuance, forming a whole together. After all, fragments, in their union, shape the larger totality. Details doesn't ask to be consumed in a specific way, fast or slow, close or distant. It simply is what it is

Dead Calm is a band from Liam McCay... a young, prolific Irish musician from County Donegal, known for creating music under numerous aliases, most notably Sign Crushes Motorist, Dead Calm, and Take Care, exploring genres like slowcore and indie rock with poignant, introspective, and often melancholic themes, gaining significant online traction while maintaining a low-key, hobbyist approach to his rapidly growing career. He began with the fiddle, pivoted to guitar during the pandemic, and has since released extensive work, even turning down record deals to keep his creative process personal.

Dead Calm is a band from Liam McCay... a young, prolific Irish musician from County Donegal, known for creating music under numerous aliases, most notably Sign Crushes Motorist, Dead Calm, and Take Care, exploring genres like slowcore and indie rock with poignant, introspective, and often melancholic themes, gaining significant online traction while maintaining a low-key, hobbyist approach to his rapidly growing career. He began with the fiddle, pivoted to guitar during the pandemic, and has since released extensive work, even turning down record deals to keep his creative process personal.

The debut album from online sensation Ricky Montgomery, Montgomery Ricky, turns 10 on April 1st of this year. It has racked up over 2.2 billion streams thanks to Platinum indie-pop hits "Mr. Loverman" and "Line Without a Hook," and both songs are set to hit 1 billion streams each before the end of 2026. Since blowing up on TikTok during the pandemic, Montgomery Ricky has averaged 1M streams per day. This year, Ricky is set to release Montgomery Ricky +3, an upcoming EP of previously unreleased songs from the Montgomery Ricky era of music that Ricky has revisited.
This release features "Oh My My", a song that features the same second verse from "Line Without a Hook", and the cover art for the release will be sketches of the album that are previously unreleased.

Amid rusted transistors and owner manuals blurred by dust, Rogelio Serrano rescued abandoned vintage synthesizers from Mexico City's flea markets. These devices, revived by a Japanese technician based in the capital, returned to life with electric pulses, becoming accomplices in nearly clandestine recording sessions at a solitary, remote location called "Ojo de Agua" on the city's outskirts. Sound Cartography is a sonic archive of tracks recorded between 2017 and 2019, which could easily be considered demo pieces, unfinished works, or simply orphaned creations.

Australian composer-performers Judith Hamann and James Rushford have worked together in countless projects for two decades, perhaps most notably in Golden Fur, their trio with Sam Dunscombe. Black Truffle is pleased to announce Midmeste, their first work as a duo. Its title is Middle English for ‘the middlemost point’, alluding to how the piece builds on the points of overlap between the highly personalised musical languages Hamann and Rushford have developed in recent years. Performed on cello and a variety of pipe organs, Midmeste is a spacious, sometimes unsettling exploration of their shared interest in alternative tunings, psychoacoustic phenomena, the physical properties of their instruments, and the usually peripheral sounds generated by the performing body.

Beginning with a sequence of austerely vibrato-less harmonics from Hamann's cello, trailed by Rushford's whistling portative organ tones, the music soon expands into a slow-moving melodic wander, pausing at times to linger over an uncomfortable harmony or particularly resonant cello tone. Hamann and Rushford have long histories of engagement with pre-Classical European musical traditions, having in past projects performed and radically extended the work of Solage, Louis Couperin, Johann Conrad Beissell and other composers. Here they use a 15th century song by John Dunstaple, ‘O rosa bella’, which returns throughout the piece, distorted, aerated and splayed into new forms.

Developed while the two shared residencies at Akademie Schloss Solitude, Stuttgart in 2020 and La Becque on Lake Geneva in 2023, Midmeste integrates recordings made (at at the invitation of the Biennale Son) on the organ of the Basilica St Valere in Sion, Switzerland—the world’s oldest playable organ, built in the early 15th century. Played by both Rushford and Hamann, the instrument’s idiosyncratic features, including bellows pumped manually using massive wooden beams, are integrated into the music through amplification. Creaks and thumps locate the music physically both in the performers’ bodies and the specific site of its making. Moving through a series of distinct episodes across its forty-minute span, Midmeste makes space for near-silent duets of high harmonics and hissing air, moments where twittering high tones and rumbling sub-bass could be electronic, and static fields that unexpectedly blossom into almost Romantic harmonies.

Listeners familiar with Hamann and Rushford’s work will find many familiar features here: the stunningly rich cello tones, their patient sustain allowing heightened awareness of the inner life of sound and its interactions with the environment; the care with which acoustic space is activated, becoming at times a third instrumental voice; the attention to fragile, unstable sonorities that sometimes have a comic edge. A major work from two key figures in contemporary experimental music, Midmeste synthesises rigorous exploration of fundamental questions of sound and performance with an unapologetic embrace of beauty.

Seit fast zwei Jahrzehnten verbreiten der King und seine Cumberland Three ihren Rhythm & Punk-Spaß in der ganzen Welt und bringen jede Menge ausgelassene Energie, Albernheiten, gute Laune und Schweiß mit! Mit diesem Quartett ist jede Show eine Party! Anlässlich ihres 20-jährigen Jubiläums, in dem sie unermüdlich weltweit auftraten und Dutzende von Platten veröffentlichten, haben King Salami & The Cumberland Three tief in ihrem umfangreichen Katalog gegraben, um 16 ihrer besten Tracks auszuwählen. Das Ergebnis ist diese energiegeladene Zusammenstellung, ein Album voller Spaß, das verrückte Klassiker wie ,The Pulpo Dance", ,Pineapple Mama", ,Shake it Wild" und ,Do the Wurst" enthält, neben ihrem weniger bekannten Instrumentalstück ,Itch!", das kürzlich in der Dreamies-Katzenfutter-Fernsehwerbung zu hören war. ENG For nearly two decades, the King and his Cumberland Three have been spreading the Rhythm & Punk grease all around this big old world, bringing along with them buckets of fun, raucous energy, silliness, smiles and sweat! With this quartet, every show is a party!! To mark their 20 years anniversary of relentlessly playing shows around the globe and releasing dozens of records, King Salami & the Cumberland Three have dug deep into their extensive catalogue to select 16 of their most killer tracks. It makes for a fun-packed album which contains wacky classics such as `The Pulpo Dance', `Pineapple Mama', `Shake it Wild' and `Do the Wurst, alongside their lesser-known instrumental `Itch!' that recently featured on the Dreamies cat food TV ad.

We are pleased to announce the first FEX live album, Don't Look Back. The release features selected recordings from two concerts in Paderborn and Uelzen, both captured in 1985. All tracks on the album are previously unissued, including entirely unheard songs such as It's a Hard Life, Just Get Back, Legend, and Waiting Song, alongside a previously unreleased version of Subways of Your Mind, widely known as "The Most Mysterious Song on the Internet."
One of the most striking aspects of the album is the remarkable sound quality of the live recordings, as well as the strength of the performances themselves - particularly given that FEX were still considered a newcomer band at the time. The four-piece lineup consisted of singer, guitarist, and primary songwriter Ture Rückwardt, Michael Hädrich on keyboards and occasional second guitar, Norbert Ziermann on bass, and Hans-Reimer Sievers on drums. In 1985, the band was preparing for broader exposure through a nationwide tour organized by the small promotion company HBM-Musikbüro.
The album opens with the psychedelic Skyscraper, a track Rückwardt reportedly regarded as a personal favorite to perform. Hädrich contributes dynamic synthesizer layers, while Ziermann underpins the track with a distinctive slap bass groove. This is followed by the energetic rock number It's a Hard Life, which once again demonstrates that the band possessed multiple songs capable of matching the impact of their best known track Subways of Your Mind.
After this energetic opening, the album shifts into a more restrained mood with the synth-pop ballad I Got My Eyes On You. It is followed by Strange Feeling, presented here in a particularly compelling live version that arguably surpasses the previously released studio demo featured on the Skyscraper LP, with Rückwardt delivering one of his most expressive vocal performances. On Goldrush, another fan favorite, it is Hädrich's DX7 synthesizer work that stands out.
Don't Look Back continues to flow seamlessly, moving between styles such as new wave, synth pop, and a blues-influenced form of classic rock. On It's Good To Know, a song addressing the theme of stardom, the band returns to a heavier rock sound. In contrast, the synth-driven Just Get Back reflects on the conflict in Northern Ireland, then ongoing at the time. Lines such as "It's the money, it's the money why they come along" are directed at mercenary soldiers, while "even Sunday's a killing time" directly references Sunday Bloody Sunday by U2.
Previously known songs such as Dirty Slapstick and Heart in Danger lead into We Don't Want It No More, perhaps the band's most striking pop ballad. It is easy to imagine that the track had the potential to achieve radio success in the 1980s. The following piece, the epic Legend, explores themes of loneliness and love simultaneously. With poetic and abstract lines such as "some isolate in the falling rain" and "that's why I count all the reasons they call out for living, sadness is falling inside," it builds an almost eerie atmosphere.
One of the final highlights of the album is Subways of Your Mind, recorded in Uelzen. In this version, Rückwardt's vocal performance is even more on point than on the previously issued recording from Paderborn. Another notable moment is the driving, 1970s-inspired rock 'n' roll track Waiting Song. Both the composition and its live performance carry an energy that could easily stand alongside the repertoire of bands such as AC/DC. It was usually the track that FEX ended their concerts with, calling out each band member at the end of the song.
This leads to a broader reflection: it is striking that FEX did not achieve a wider breakthrough at the time. The performances captured here suggest a band capable of delivering consistently, song by song, note by note. It is not difficult to imagine FEX performing in large venues and engaging sizeable audiences. In reality, however, most performances in 1985 took place in front of relatively small crowds. The recordings featured on this album originate from the Roxy club in Paderborn and a small, unknown venue in Uelzen, likely in front of fewer than fifty attendees.
An essential figure behind these recordings is the engineer known only under his nickname Hase (German for "rabbit"), who was responsible for capturing not only these concerts but many other surviving FEX recordings. Bringing his own mixing desk to performances, he developed a deep familiarity with the band's material and was able to shape the live sound with precision, including the timely use of vocal effects. The original recordings existed only on cassette and required careful and extensive restoration work. Zoey Cairs was finally responsible for bringing them to their present quality.
This album marks the beginning of the Live Waves series, following the rediscovery of additional recordings that have gained international attention since November 2024, when they surfaced through what has been described as the largest "lost wave" music search to date. The title of this first live LP Don't Look Back carries a certain paradox. While the album invites listeners to revisit recordings from forty years ago, FEX themselves were always oriented toward the future. In that spirit, further releases of brand new material are already planned.
The cover artwork is once again based on an image by Magnussen from the Kiel archive, depicting the Prinz-Heinrich-Brücke. The bridge, once located in the northern part of the city, no longer exists. As a symbol, however, it remains fitting: a bridge stands for movement and connection - qualities that FEX sought to embody on tour, bringing their music to different places and audiences.

2026 Repress

Mountain021.1 is getting repressed on 45, slightly edited and re-mastered. The original record has been a sought-after piece of vinyl with no copies available on Discogs for more than a year. Support by Yamour, Lawrence, Mapache, Prosumer, Denis Kaznacheev and many others. On the A side we have Memorandum - heard at Giegling showcases - and Semper, an exercise in driving bass minimalism.

Nothing Left to Love is Counterparts' sixth studio album following 2017's You're Not You Anymore. Bookended by the powerful lyric “Will you love me when there’s nothing left to love?” — a desperate plea on commitment in the face of both mortality and morality — the album muses on many of the topics vocalist Brendan Murphy has in the past: life’s darkness, self-destructive tendencies and the self-flagellation they beget.

1st Album from the Lisbon Portugal duo Jah version - featuring the amazing vocals of Zacky Man. This is future sounding fine contemporary roots flavoured dub from hard steppe beats to heavy roots one-drop styles - made by Jah Version but mixed by Vibronics in his Dub Cupboard Studio in the UK. Played by OBF, Iration Steppas and all the top Dub Soundsystems around the world.

The studio album from 2002, remastered from original source files in 2024. Includes One More Nightmare, From the Fire, Fallen and Darkcell AD. Absent from vinyl for 10 years until the 2025 sold-out RSD release. Includes a bonus LP "Live in Roskilde 2000" not on vinyl before. New sleeve notes by gothic chronicler journalist Mick Mercer in a gatefold sleeve. Limited edition in transparent red vinyl.

Wer sich Drunks Debütalbum ,A Derby Spiritual" aus dem Jahr 1996 noch einmal anhört, wird feststellen, dass es charmanter, sanfter und - wenn ich das so sagen darf - farbenfroher ist, als es sein stoischer Slow-Core-Ruf aus den 90ern vermuten lässt. Und man könnte sogar bemerken, dass Rick Alversons Stimme einen bisher ungeahnten, von Niederlagen gezeichneten Tom-Petty-Singsang aufweist. Der Sound der Band aus Richmond ist zweifellos zurückhaltend, knarrend und karg. Doch die Jahrzehnte haben diesem alten, traurigen Kerl einen wärmenden bernsteinfarbenen Schimmer verliehen. Das Black-Hole-Radio-Stück am Ende des atemberaubenden Openers ,Collarbone" scheint das Kommen von ,Yankee Hotel Foxtrot" vorherzusagen. Und hier in der seltsamen Gegenwart könnten Stücke wie ,Germany Skies", ,Gideon's Trumpet" und ,Gizmo" nahtlos in den heutigen Indie-Country-Boom eingefügt werden. Der seltsame Walzer aus Akkordeon und Geige in Stücken wie ,Indeliberate Matrimony" und ,Coming Home" klingt - wage ich es noch einmal zu sagen - wie Mellencamp aus der ,The Lonesome Jubilee"-Ära am Boden eines Fasses Schnaps. Alversons Lyrik schwankt zwischen dem hoffnungsvollen Nihilismus seines zeitgenössischen Songwriter- und Dichterkollegen aus Virginia, David Berman, und dem tiefgründigen Post-Beat-Minimalismus von Robert Creeley. Ich schwöre, wenn er in dem hoch-und-einsamen, von der Mundharmonika getragenen ,Window Sill" seufzt: ,I feel willy-nill/I pissed upon your window sill", klingt das im Lenderman'schen Sinne des Wortes verdammt romantisch. Im Rahmen des 30-jährigen Jubiläums von Jagjaguwar wird ,A Derby Spiritual", Jags zweite Veröffentlichung überhaupt, zum ersten Mal auf Vinyl gepresst. Ein drei Jahrzehnte langes Unrecht wird endlich wiedergutgemacht. Tatsächlich erscheinen im Rahmen der Feierlichkeiten zum 30-jährigen Jubiläum des Labels eine Handvoll dieser frühen Veröffentlichungen aus der Charlottesville-Ära von Jagjaguwar auf Vinyl.

Magic Tuber Stringband act in communion with the natural world around them. Highly skilled players and writers, the trio are leaders within the burgeoning Avant-Folk world. Growing up in Appalachia studying the folk traditions of the region in tandem scientific and observational work in nature, their music appears to weave in and out of the fabric of the landscape. The ensemble continues to stretch the parameters of acoustic instrumental expression with masterful flourishes of dense, textural arrangements, subtle minimalist gestures and deft improvisation. Heavy Water addresses the impact of nuclear production on the environment and the communities within, a musical evocation of destruction and resilience, an embrace of dissonance and tension within moments of transcendence.

Magic Tuber Stringband act in communion with the natural world around them. Highly skilled players and writers, the trio are leaders within the burgeoning Avant-Folk world. Growing up in Appalachia studying the folk traditions of the region in tandem scientific and observational work in nature, their music appears to weave in and out of the fabric of the landscape. The ensemble continues to stretch the parameters of acoustic instrumental expression with masterful flourishes of dense, textural arrangements, subtle minimalist gestures and deft improvisation. Heavy Water addresses the impact of nuclear production on the environment and the communities within, a musical evocation of destruction and resilience, an embrace of dissonance and tension within moments of transcendence.

Wer hat die Bibliothek von Mr Lehmann verwüstet? Die drei ??? stehen vor einem Rätsel, das sie zu einem Nobelpreisträger führt.
Bei Mr Lehmann wurde eingebrochen, doch nicht nur ein wertvolles Buch wurde gestohlen, auch alte Briefe seiner Eltern sind verschwunden. Als wenig später auch bei Lehmanns Bruder eingebrochen wird, werden die Detektive hellhörig. Die Ermittlungen führen Justus, Peter und Bob nach Seven Palms, dem Haus von Thomas Mann in Kalifornien. Was hat die Familie Lehmann mit dem Schriftsteller zu tun?

Wer hat die Bibliothek von Mr Lehmann verwüstet? Die drei ??? stehen vor einem Rätsel, das sie zu einem Nobelpreisträger führt.
Bei Mr Lehmann wurde eingebrochen, doch nicht nur ein wertvolles Buch wurde gestohlen, auch alte Briefe seiner Eltern sind verschwunden. Als wenig später auch bei Lehmanns Bruder eingebrochen wird, werden die Detektive hellhörig. Die Ermittlungen führen Justus, Peter und Bob nach Seven Palms, dem Haus von Thomas Mann in Kalifornien. Was hat die Familie Lehmann mit dem Schriftsteller zu tun?

The vinyl version of this release compiles the tracks from their two earliest EPs originally released by Ankst whilst the 22 track CD features further unreleased & unheard bonus tracks from this early era.

Super Furry Animals also recently announced additional festival dates to follow their sold out Supacabra Tour dates including stops in Llangollen, Bristol, York, Glasgow and London (their first since late 2016. See full 2026 dates below.

Holding the world record for the longest ever EP title the first EP -Llanfairpwllgwyngyllgogerychwyndrobwllantysiliogogogochynygofod (In Space), was released in 1995, followed in the same year by Moog Droog, with both EPs making up the eight-song track listing of the vinyl version of Precreation Percolation.

Later that year, with a record deal on the table and future classics such as God! Show Me Magic and Hangin’ With Howard Marks already making up the SFA’s set list, the band’s path following “two years of chaos” (including a legendary 1993 debut ‘gig’ at Bangor University’s Banana Lounge, lasting all of five minutes due to technical and chemical misadventure) was set. In the album’s liner notes, singer, Gruff Rhys writes: “It would have been the best gig ever, had we not daisy chained so many synthesizers together, that it resulted in a terminal systems failure.”

By summer they’d joined Oasis, Primal Scream and The Jesus and Mary Chain in the Creation Records family, leading to a huge London signing party that saw members of the band famously thrown out of.

The term of intriguing genre experimentation, spanning long-form electro, blissed out instrumentals and expansive prog-influenced rock, heard across much of Precreation Percolation was subsequently refined and channeled into their thrilling, 1996 debut album, Fuzzy Logic and their untamed live performances.


While consciously and frequently referring to the unheard, untold and unforeseen as a naturally nostalgia-resistant band, Super Furry Animals look ahead to reconvening with fans to celebrate their shared history as the Supercabra Tour gets underway.




(the vinyl comes with a copy of the CD in a slim card wallet)

The Belgian dark wave cult heroes The Arch celebrate their 40th anniversary with this self compiled limited double vinyl album, Noisetalgia 1986–2026.

This special release features a curated selection of tracks from the early albums—many of which have never been available on vinyl and have been requested by fans for years. The band is still very active, touring Europe and releasing new music.

On June 28th, 2019, Latin music Global star J Balvin teamed up with then rising star Bad Bunny to release a career defining joint album. OASIS combined Balvin's urban pop sounds and avant garde street style with Bad Bunny's solid Boricua manifesto to create one of the most talked about and critically acclaimed Latin albums in history. The album debuted Top 10 on Billboard's 200 chart and a #1 on the Latin Albums chart.

Finnish jazz producer Valtteri Laurell reworks some of J Dilla’s most iconic beats into adventurous big band versions. With drummer/producer Teddy Rok (Teppo Mäkynen of Five Corners Quintet, Stance Bros. etc.), flutist extraordinaire Elena Pinderhughes and Laurell’s own 17-piece Ricky-Tick Big Band, he creates a big band album that you never thought you would hear. Using the sparse and visionary beats of J Dilla as a starting point, Laurell has composed and arranged material on top of the original versions, performed by Ricky-Tick Big Band. ”My original idea was to write very abstract big band moments, that would be like samples Dilla might have used in his work. During the process though, on some of the tracks I started to feel more of a Bob James or Henry Mancini vibe in the arrangements, so the end result is a hybrid of those worlds. Naturally, the spirit of Gil Evans and the later work of Duke Ellington is also floating in the air”. To create a strong connection with the original material, Laurell asked Dilla-aficionado and drummer/producer Teppo ”Teddy Rok” Mäkynen to work with him on the rhythmic side of the pieces. Teddy Rok also mixed the album. As a special guest star, flutist Elena Pinderhughes is featured on Won’t Do and Rico Suave Bossa Nova. Ricky-Tick Big Band, which Laurell founded in 2010 is also well on display here, with rising baritone sax star Linda Fredriksson featured on Beej-n-Dem and trumpetist Jukka Eskola featured on Y’All Ain’t Ready.

The 12th studio album from Death Metal Veterans, JUNGLE ROT. DAVE MATRISE (Vocals/Guitars): "Let's start off by saying what an amazing accomplishment it is to hit 12 releases in my career. Never would I think I'd still be doing this 30+ years later. I guess be careful what you wish for I'm very grateful to all of our fans that have supported us for so many years and for never giving up on us. To my bandmates for all of their hard work and dedication to me and JRot over all these year’s. Cruel Face Of War will not disappoint. It's full of crushing grooves and violent hooks that will surely break anyone’s neck. We have stood the test of time. We are still here playing our trademark style of Oldschool Death Metal that has carved a legendary name for us in the underground scene today." Produced by Chris Djuricic at Bell City Sound Company. Mixed and Mastered by Dan Swano at Unisound Studio. Artwork and design by Gyula Havancsak

DYING VICTIMS PRODUCTIONS is proud to present the much-needed reissue of BAPTHOMET’S BLOOD’s debut album, Satanic Metal Attack, on vinyl LP and - for the first time - CD formats. This marks the beginning of reissues of all of the band’s four albums. Originally released in 2006, the Italian act went all in with their pure and authentic love for the old metal scene of the 80s. The aim was never to reinvent the wheel and bring new influences into classic speed metal. These maniacs represented a new generation which wanted to continue and blast out heavy metal in the old way, with the same spirit.

DYING VICTIMS PRODUCTIONS in conspiracy with DE PANKRAKER RECORDS is proud to present SHEWOLFF’s highly anticipated debut mini-album, We’re All Gonna Fukking Die, on CD and 12” vinyl formats. Hailing from Belgium, SHEWOLFF emerged from the underground as a solo-project of K. Von Shewolff, which eventually formed into the solid three-piece band it is today. They find their origins in raw, punk-driven blackness galore, faithfully returning to the old-school spirit of making music by modest and primitive means. A five-song digital-only demo was released in 2023 - songs which contain absolute fury towards the known and long-overdue established order, existential live-or-die sentiment, and a small tribute paid to the old-school believers who came before them. Now, SHEWOLFF blend all that together on the debut mini-album We’re All Gonna Fukking Die.

With six new tracks pushing towards a final and inevitable end, this bleakly titled record is actually invigorating and inspiring: railing against the dying of the light with a paradoxically dark metalpunk sound, familiar in its stomping swagger but exuding cantankerous charisma that’s all their own. The aesthetic signposts are planted firmly in the ground – think Hellhammer, pre-Viking Bathory, Darkthrone’s record-nerd era, early Midnight, the almighty Venom, or even labelmates like KARLOFF, HELLCRASH, and Germany’s LUCIFUGE – but SHEWOLFF manage to stir some diabolical little twists into the bubbling brew, with K. Von Shewolff’s vocals in particular imparting a femininity that’s fierce, frightening, and fucking going for the throat.

Nach einer Phase der Reflektion und Transformation kehrt 6LACK mit einem kraftvollen neuen Album
zurück: „Love is the New Gangsta“ markiert den Beginn seiner bislang persönlichsten Ära. Das Projekt,
das auf Selbstfindung, Heilung und radikaler Ehrlichkeit basiert, zeigt den GRAMMY-nominierten, mit
Multi-Platin ausgezeichneten Künstler, wie er jede Schicht abträgt – und dabei Liebe, Identität, Wachstum
und die stillen Kämpfe untersucht, die uns prägen – als Mensch, als Vater und als Mann. Es ist ein Album,
das auf Transparenz und Verletzlichkeit aufbaut, auf dem sich jeder Text wie ein Gespräch anfühlt, zu dem
er endlich bereit ist, ehrlich zu führen.
Für 6LACK wird Liebe zum ultimativen Statement: Wachstum statt Ego, Mitgefühl statt Stolz und
Ehrlichkeit statt emotionaler Rüstung. Es ist eine Vision von Liebe, die weit über Romantik hinausgeht –
und Freundschaft, Gemeinschaft, Selbstliebe und die universelle Verbindung berührt, die uns alle verbindet.
Klanglich geht das Album über die alternativen R&B-Landschaften hinaus, die seinen Sound ursprünglich
geprägt haben. Diesmal bedient sich 6LACK einer aufgefrischten Palette, in der er gefühlvolle Melodien,
atmosphärische Produktionen und Momente rohen Minimalismus miteinander verbindet, die seinem Storytelling neue Impulse verleihen. Mit diesem neuen Kapitel kehrt 6LACK nicht nur zur Musik zurück, sondern
lädt die Zuhörer ein, gemeinsam mit ihm zu wachsen und zu lernen.

Mit Africanism Vol. 5 kehrt das legendäre Afro-House-Kollektiv rund um Bob Sinclar zurück und präsentiert ein kraftvolles, globales Club-Statement voller Rhythmus, Identität und musikalischer Verbindung. Das Album vereint herausragende Produzenten und Artists wie DJ Gregory, Moonlight Benjamin, Boddhi Satva, Arkadyan, Jesús Fernández, Bonga u. v. a. in zwölf Tracks, die moderne House-Produktionen mit afrikanischer Energie, traditionellen Instrumenten und organischen Grooves verschmelzen lassen. Von der voodoo-getränkten Intensität von "Zanmi Kanmarad" über die angolanische Tiefenwärme von "Mulemba Xangola" bis hin zum treibenden Club-Momentum von "Block Party (Baron Remix)" oder "Salsa House" liefert Africanism Vol. 5 ein Panorama aktueller Afro-House-Kultur. Die musikalische Bandbreite reicht von haitianischer Soul-Elektronik über pan-afrikanische Percussion bis zu modernen House-Arrangements mit französischer Produktionshandschrift. Ein hochkarätiges Producer-Album, das die DNA des Africanism-Sounds konsequent fortschreibt: international, zeitgemäß, tanzbar und voller musikalischer Identität.

Anders als das 7 Jahre zurückliegende Album Hill West, das sehr zurückhaltend produziert war, gibt es auf dem neuen Album Alchemy von Todd Thibaud kaum leise, nachdenkliche, akustische Americana-Töne, sondern es ist - ganz im Gegenteil - lauter, voll elektrischer Gitarrenrock mit einer dementsprechend ausgerüsteten 5-Mann-Combo aufgenommen! Mit seinem lauten, dynamischen Sound, den süffigen Gitarrenläufen und rockigen Bandarrangements ist das Musik mit einem klaren Pop/Rock-Auftrag und einem erstklassigen Mix zwischen Westcoast, Heartland & Prairie Rock auf Basis von handfestem Singer/Songwritertum und melodieseligem Indie Roots/Guitar Pop, und so besitzt Alchemy die Grundtugenden all der Heartbreakers, Wallflowers, Jayhawks, BoDeans und Gin Blossoms mit einer ordentlichen Prise Springsteen/Mellencamp/Hiatt & Co. Aber das Endergebnis trägt natürlich die deutliche Handschrift von Todd Thibaud! Alchemy kommt mit geschmackvollem Artwork und komplett mit allen wichtigen Credits und sämtlichen Texten. Alle 10 Songs wurden von Todd Thibaud geschrieben und in derselben Quintettbesetzung eingespielt, die uns im April und Mai 2026 auch live begeistern wird: der Meister selber an der elektrischen Rhythmusgitarre (mitunter auch etwas Tasten) und mit seiner einzigartigen, sonoren Stimme, dazu die ewigen Mitstreiter Thomas Juliano an der Electric Lead (auch E-Piano, Chamberlin) sowie Multiinstrumentalist Sean Staples (hier auch mehr elektrische Leadgitarre als Banjo, Mandoline und Keyboards), dazu die Rhythm Section Ed Valauskas am Bass (plus Keyboards) und Drummer Chris Anzalone; alle beteiligen sich durchweg am prächtigen Harmoniegesang.

COS 009 - Unreleased Architecture A fusion of ambient, techno and IDM, often described as a form of “mental abstraction.” Created by Mark Cheney in a bedroom in Clapham, this release captures a moment defined by raw imagination and open-ended experimentation. It sits alongside artists of that era such as B12 and The Black Dog.

It stands as a perfect reflection of that era – raw, inventive and deeply evocative – leaving a lasting sense of nostalgia for those who experienced it. For the first time, this release has been remastered and cut by Mike Grinser at Manmade Mastering. Pressed on 180g vinyl, it sounds exceptional - rich, detailed and full of depth. Originally intended for home listening, it’s been cut loud so it can be played in a club setting.

Audiojack and Kevin Knapp return to Crosstown Rebels with their ‘Get It’ EP. Out on 22nd May 2026, the longstanding collaborators serve up a heavyweight two-tracker on Damian Lazarus’ imprint.

Leeds-born, Ibiza-based duo Audiojack reunite with US mainstay Kevin Knapp for their third Crosstown Rebels collaboration together on 22nd May, adding to 2021’s impressive ‘Under Your Skin’ EP and 2017’s ‘Implications’ EP. Having spent two decades at the forefront of the scene, the Gruuv bosses’ blend of house, minimal, and garage influences has landed on labels such as Hot Creations, Solid Grooves, 8bit, and more. Meanwhile, house music stalwart Kevin Knapp continues to push his own chunky and vibrant take on house music via international performances at venues such as fabric, Circo Loco, and Elrow, as well as releases on labels like Cuttin Headz, Repopulate Mars, Desert Hearts, and his own Plump Recordings. Marking their return to Damian Lazarus’ iconic imprint once more, they serve up two punchy cuts that showcase their ability to balance attitude and authority into a house workout.


“Get It,' is all about momentum! A driving club track with a mantra-like vocal to lift you up and motivate you to go harder at whatever you’re doing in life.” - Audiojack


"I'm just enamoured with the concept of being in charge of our own destiny and the thought of getting out of things what you put into them. I feel like this record sonically presents those sentiments in a way I love and appreciate.” - Kevin Knapp


Title track ‘Get It’ is a rolling floor-focused cut, driven by a tightly wound bassline and rattling cowbells, while a brooding low-end foundation sets the stage for Kevin Knapp’s commanding vocal drops, elevating the cut into a full-throttle peak-time weapon. On the flip, ‘This Frequency’ is an equally potent club tool, built around an unfolding tracking groove and a wobbling melodic synth line, propelled by an electro-tinged bassline that steadily draws listeners further into its spell.

Inspired by a look back to futuristic tracks from the early 90's to the 50's in the US and the impact now of artificial intelligence on life today is the theme of this ep.

tags: electronic. techno and variations

Android Blaze : Looking at a future apocalypse. Referencing George
Orwell's 1984 and Blade Runner.
pre-mastered by DJ Sotofett. Mixing by Robotron . Mastered by
Manmade Mastering.

Kids and Batteries :Virtual kids searching for their souls online.

Real Synthetic Life : Referencing the 50's science fiction movie Forbidden
Planet.

Contours brings together New York–based producers and DJs Abby Echiverri and Clay Wilson for a four-track 12” on Acid Camp. The record moves across acid house and techno, unified by a clear
craft for pressure, pacing, and machine-driven tracks, with moments of restraint that hold up far beyond the dancefloor.

Wilson opens the A-side with “Interdimensional Romance,” a science fiction workout that threads together acid echoes of Chicago, Detroit, and New York. “Nightride” follows with a more laid-back approach, rooted in acid yet softer around the edges, with a subtle ’90s pull. On the B-side, Echiverri’s panned synths on “Chaos Terrain” vividly wax and wane across layers of LFOs. “Roche Lobe” closes the record in a more spacious mood—another acid-minded piece, less aimed at peak-time utility than at the late-night afterglow of the club.

Together, the four tracks understand acid not as a fixed formula, but as a flexible language. These are the songs of the underground clubs on Arrakis. See you at the front of the speakers.
Contours is released as a 12” on Acid Camp Records.

Written and produced by Abby Echiverri and Clay Wilson
Artwork by Gabe Benzur
Layout by Cookhouse Studio
Mastered & Cut by Tim Xavier at Manmade Mastering Berlin
Pressed at RAND
Liner notes written by Daniel Sharp

Die 1991 in Mannheim gegründeten Crematory entwickelten sich über drei Jahrzehnte hinweg vom frühen Death Metal zu einer prägenden Größe des Gothic/Industrial Metal.

»English Hymns and Deutsche Hymnen« würdigt das Vermächtnis von Crematory, einer der beständigsten Gothic-Metal-Bands Deutschlands. Das CD-Digipack enthält drei Discs: »English Hymns« (ausgewählte englische Titel), »Deutsche Hymnen« (deutsches Repertoire) und »Engulfed in Darkness«, das erste Demo, das hier erstmals offiziell veröffentlicht wird. Sowohl die englische als auch die deutsche Disc enthalten zwei bisher unveröffentlichte Bonustracks.

Die 1991 in Mannheim gegründeten Crematory entwickelten sich über drei Jahrzehnte hinweg vom frühen Death Metal zu einer prägenden Größe des Gothic/Industrial Metal.

»English Hymns and Deutsche Hymnen« würdigt das Vermächtnis von Crematory, einer der beständigsten Gothic-Metal-Bands Deutschlands. Das CD-Digipack enthält drei Discs: »English Hymns« (ausgewählte englische Titel), »Deutsche Hymnen« (deutsches Repertoire) und »Engulfed in Darkness«, das erste Demo, das hier erstmals offiziell veröffentlicht wird. Sowohl die englische als auch die deutsche Disc enthalten zwei bisher unveröffentlichte Bonustracks.

Das zentrale Thema von »Come« ist Rausch. Das Album behandelt Phänomene, die in verschiedenen Rauschzuständen auftreten, und hinterfragt, was real ist und welchen Eindrücken man vertrauen kann. Gedanken, Gefühle und Empfindungen entstehen ungehemmt, mal schön, mal bedrohlich.

Die Songs erzählen Geschichten ohne klare Logik, fließen ineinander und laden den Hörer ein, die Reise anzutreten und eigene Eindrücke zu sammeln. Produziert wurde das Album bewusst in organischem, retro-orientiertem Analogsound im Wide Noise Studio, um den typischen Band-Sound fortzuführen. Schlagzeuger Andre Schaltenberg wechselt sich innerhalb der Songs mit Gründungsmitglied Christoph Hesse ab.

Repress 2025
The King of K-Pop Returns!

To those unfamiliar, G-Dragon is regarded by many as the Godfather of K-Pop. Rising to fame in the mid-00’s with his group, Big Bang, that later went on to become one of the world’s biggest selling boy groups. He quickly stood out with his unique and intricate songwriting as the leader of the group. A talented songwriter and trendsetter within the youth culture and fashion space, G-Dragon has received a bevy of awards, nominations for his music and fashion sense from the World Music Awards, to Hypebeast’s 100 list, to Forbes’ 30 Under 30 list, it’s apparent that G-Dragon has cemented his place in cultural relevance.

After serving his mandatory South Korean military service and a brief hiatus from music, the global superstar, G-Dragon has returned! He announced that he signed with indie-powerhouse, EMPIRE, and released his first comeback single on October 31, 2024 with POWER to immediate global fanfare and buzz, with the music video garnering over 44 MILLION views in a month and over 115 MILLION global streams. He soon followed that up with an electrifying performance at the 2024 MAMA Awards show in Osaka coupled with the release of his new single, Home Sweet Home which has garnered 100 MILLION global streams since release.

2025 will see the release of his first full length album since 2017 entitled Übermensch along with global tour dates. The album is expected to make a huge impact globally and further cement his place in music history!

#andifyouknowyourhistory#detroit#raresoul

We are talking Holy Grail territory…

Edwin Starr and JJ Barnes were two of the main stars at Ric-Tic, the legendary 1960s Detroit Soul label that ended up being purchased by Motown to take out the competition.

JJ Barnes REAL HUMDINGER Ric-Tic 45 is a standout gem from the Motor City’s Soul heyday years and an all time Northern Soul classic. Edwin’s Ric-Tic 45s and subsequent gems for Motown made him such a Northern Soul icon that he moved to live in England.

What Anglophile Edwin never revealed is that he actually recorded the first version of REAL HUMDINGER for Ric-Tic. It never got released and its’ very existence was unknown. After painstaking detective work WEST GRAND found about the recording and have now managed to licence it from Universal Music / Motown for its debut worldwide release News of the discovery has created huge interest amongst Soul fans globally, As a bonus the flip side is another “wow find” that had been stuck, also unknown and unloved, in the tape vaults for nearly 60 years. It is a preciously unused alternative take on SCOTT’S ON SWINGERS.

The track is in effect an extended jingle for Detroit back in the day star radio DJ Scott Regan based on Edwin’s smash S.O.S (Stop Her On Sight). The released take came out on a limited edition RIC-Tic giveaway single that now commands a £400 price tag.

Francis Ford Coppola’s coming-of-age drama The Outsiders (1983) adapted S.E. Hinton’s successful 1967 novel of the same name, using a young cast of rising stars (C. Thomas Howell, Tom Cruise, Matt Dillon, Rob Lowe, Emilio Estevez, Patrick Swayze, Ralph Macchio and Diane Lane) many of whom came to be known as the Brat Pack, defining a genre of 80’s films. The plot focuses on the rivalry between two gangs of teenagers in Tulsa, Oklahoma, one poor (Greasers), the other wealthier (Socs).

Coppola’s ambition was to achieve the widescreen scope ‘of a teen Gone with the Wind’, and he asked his father, Carmine Coppola, to score the soundtrack. The result is epic and romantic, a return to a golden age of Hollywood film composing which suits the stylised and epic cinematography, becoming darker as the characters fulfil their tragic destinies. Stevie Wonder co-wrote and performed the song that plays over the credits, ‘Stay Gold’, which is included on this release.

The inner sleeves feature extensive notes by Daniel Schweiger on the history of the film, the soundtrack and an insight into the Coppola father and son partnership.

Mysticisms’ returns to the music of the Conscious Sounds label and their short-lived but highly prized Dub meets Funk project, Dub Specialists. Created by label head Dougie Waldrop and Chris Petter (Love Grocer) to explore their interest in samplers and a love of Funk and Jazz.

A hugely respected “Digital” and “Roots Reggae” label, Conscious Sounds has been a mainstay of the East London digidub sound for over 30 years. Dub Specialists released 3 albums on the Crispy Music sub label, they have recently gained considerable interest in digger circles, with rising prices to match.

As with their first Dubplate outing, the release features extended re-edits by the label and friends, this time featuring versions by Lexx, Miles J Paralysis, Chuggy and Vanity Project. Working with the simplicity and skill of his studio craft, Dougie utilised the Atari 1040, Cubase and Soundcraft mixer to effect. Petters’ chords sit atop reggae basslines, funk samples, loops and this time, a heavy dose of cut up vocals in to the mix.

While the first EP came from their debut album, Breat To Break, here the source material for the re-edits comes, in the main, from their second outing “Dub To Dub Beat To Beat”. A more expansive album that also dipped in to 4/4 rhythms and touches of House / Techno.

Opening track Dynamic Duo is a 4/4 stepper bomb – with samples from Adam West’s iconic interpretation of Batman – expertly extended by long-standing DJ, producer and edit master, Zurich’s own Alex Storrer aka Lexx, who dials things to max for a club stop. A new name on many lips, Miles J Paralysis takes it all back down with a beautifully drawn out, acid-tinged tripper. Bumpin’, the mid-tempo groove sucks you in, psychedelic and mind expanding.

The flip returns to the more traditional Dub Specialist vibes of Breaks’n’Funk’ cut ups, first with (co-)label head Chuggy’s faithful extension of Heavy Dub. Featuring the classic Ijahman Levi’s vocal, the breaks flow and piano / horns stab, a dance floor shaker for the discerning. To close, secret studio fixer to many, Matt Bruce again dons his Vanity Project moniker to perfectly tease and live dub (out) the half-stepper, Reality Dub and close this latest in the Dubplate series.

Beat The Mystery.

Auf ihrem selbstbetitelten zweiten Album taucht das Cosmic Tones Research Trio - bestehend aus Roman Norfleet, Harlan Silverman und Kennedy Verrett - tiefer in die spirituellen Klanglandschaften ein, die ihren genreübergreifenden Ansatz ursprünglich geprägt haben. Das in Portland, Oregon, ansässige Trio schafft ein transzendentales Hörerlebnis, das sowohl in meditativer Stille als auch in rhythmischer Dynamik verwurzelt ist. Mit einer Mischung aus Cello, Altsaxophon, Klavier, Flöten und einer eklektischen Palette von Texturen und Percussions vermittelt das Album eine heilige Energie, die sich sowohl uralt als auch zukunftsweisend anfühlt. Es ist Musik zum Nachdenken, zum Bewegen und für innere Reisen. Die Stücke entfalten sich mit geduldiger Anmut, pulsieren jedoch mit bewussten Rhythmen, die den Zuhörer erden - und damit den zeremoniellen Geist des kosmischen Jazz und tiefer Improvisationstraditionen widerspiegeln. Dies ist keine Hintergrundmusik, sondern eine Einladung, sich ganz einzulassen, mit den Instrumenten zu atmen und den Grenzraum zu erkunden, in dem Klang zum Gebet wird. Mit dem Cosmic Tones Research Trio setzen Norfleet, Silverman und Verrett ihre Erkundung klanglicher Territorien fort, in denen das Mystische und das Musikalische verschmelzen.

Agent By Default In Hybrid Systems' is a deep dive into today’s and tomorrow’s society. Across four tightly constructed tracks, cinematic-surrealist musician and DJ JessyJiggy reflects on how mankind and machine-driven systems coexist and evolve. We act, respond, and adapt as agents by default caught between instinct and structure. Built for movement yet rooted in observation, every progression feels less like a command and more like a suggestion inviting listeners to negotiate their own place inside the grid.

This poetic concept translates into music where analogue and digital tools merge into a hybrid sound. Compositions carry an almost automatic rhythm that drives motion while sound design elements subtly reference modern technology. Raw, bass-driven, minimal and techno showcase the breadth and progressiveness of Rotterdam with its brutalist spirit embedded in every detail.

Carefully mixed and mastered by Simon Lescure, who works at the intersection of sound design, club culture, and contemporary art, the record is optimized for a wide spectrum of sound systems while offering a distinct, full-bodied experience on the dance floor. With his vision of music as a system of memory and tension, a way to hold time and transmit presence, raw energy is brought into focus, shaping JessyJiggy's signature sound with clarity, weight, and intent.

A work committed to pushing boundaries and contributing something lasting to the electronic music landscape, this record is crafted to become a cult classic.

London's underground upstart D'Monk opens proceedings on the A side with two new cuts showcasing his raw and intuitive approach to production with an innate sense of swing. His grooves are literally steaming from the first bar. You can feel the condensation of bodies in the room, feel the bass rattling the building and feel hips grinding to the syncopation.

The flip side features long-time Berlin resident and currently Sydney-based Frank Dasent. Don't be fooled by this cat's lo-key approach to releasing music. Upon further research one can see that Dasent has been behind the scenes on many productions spanning the world of jazz, R&B and dance music, as well as building his own catalogue of soulful and electro-inspired dance music.

Der Score Soundtrack des Oscar-nominierten Komponisten Daniel Pemberton zum Film Project Hail Mary (dt. "Der Astronaut") ist jetzt auf CD und Vinyl erhältlich.Das Doppelalbum enthält beeindruckendes Bildmaterial aus dem Film sowie Pembertons atemberaubenden, cineastischen Score und lässt Fans noch tiefer in die außergewöhnliche Mission von Grace und Rocky zwischen den Sternen eintauchen. Die 2LP-Edition erscheint auf transparenten Schallplatten.Der mit dem Ivor Novello-Award ausgezeichnete und Oscar-nominierte Komponist Daniel Pemberton (Spider-Man: Into/Across the Spider-Verse, The Trial of the Chicago 7) präsentiert mit Project Hail Mary einen kraftvollen und mitreißenden Soundtrack. Episch, modern und emotional: Der Score verbindet treibende Percussion, beeindruckende Chöre, orchestrale Klangwelten sowie Synthesizer und elektronische Elemente zu einem einzigartigen Hörerlebnis.Basierend auf dem New York Times Bestseller von Andy Weir, mit Oscar-nominierten Ryan Gosling in der Hauptrolle und und inszeniert von den Oscar-prämierten Filmemachern Phil Lord und Christopher Miller, erzählt der Film die Geschichte von Ryland Grace: Einem Naturwissenschaftslehrer, der ohne Erinnerung auf einem Raumschiff erwacht - Lichtjahre entfernt von der Erde. Nach und nach kehrt sein Gedächtnis zurück, und er beginnt, seine Mission zu begreifen: das Rätsel um eine mysteriöse Substanz zu lösen, die die Sonne zum Erlöschen bringt. Um die Menschheit vor dem Aussterben zu bewahren, muss er sein wissenschaftliches Wissen und unkonventionelle Ideen einsetzen ... doch eine unerwartete Freundschaft zeigt ihm, dass er diese Aufgabe nicht allein bewältigen muss.

Never before heard tunes from the heart of Manchester circa 1989. The lost demos of the band that was Joanna, recorded at iconic Strawberry and Pentagon Studios were discovered in a Manchester apartment loft after 35 years on the shelf. For fans of The Stone Roses, Happy Mondays and Charlatans. With the release of Hello Flower, Joanna is no longer “the most popular band without a record out,” as NME called them in 1990, but their singular spirit is now available for anyone who wants a taste.

Joakim Ahlund has been a member of both internationally successful
groups Caesars and Teddybears and is responsible for evergreens such
as Jerk it out (Caesars) and Cobrastyle, Punkrocker, Hey Boy
(Teddybears) as well as starting and being the main driving force behind
projects like the more space rock oriented Les Big Byrd, indie pop two
man orchestra Smile (With Björn Yttling from Peter, Björn and John)
He has also worked as a songwriter and producer for numerous other artists like
for example Robyn, Giorgio Moroder, Charlie XcX and Håkan Hellström etc.
Jockum Nordström is one of Swedens most internationally acclaimed visual
artists and has had successful exhibitions at museums like the MoMA in NYC
and prestigious art fairs and museums in Paris, Berlin, Japan and all over the
world. The two friends met when Joakim asked Jockum to make the cover art for
his band Caesars' albums. When Joakim found

The new recordings from The Dengie Hundred unfurl on Tain Records after a busy year releasing a solo tape on Sagome and a collaborative LP and tape with Japan Blues on Demdike Stare's DDS imprint.

Lammas Land is an album which meditates on the Walthamstow Marshes, an ever-changing watery landscape, rich with history and wildlife. The Dengie Hundred writes:

"I am sitting at my table overlooking the marshes listening to Lammas Land in November 2023, watching crows fight a never-ending aerial battle with the gulls. In summer, you can see bats from here every evening, fluttering around the windows as the light begins to fade, but today it is colder so there is smoke rising from the boats on the River Lea and the dog walkers are wrapped up tight against the wind.
Most of Lammas Land was made sitting right here, playing guitar and recording the sounds passing by. I would hang a microphone out of the window to capture the ‘putput’ boat which delivers provisions, or the trains that rattle along the tracks that cut across the marshes and up to Stanstead, carrying passengers to the airport and away.
I wonder what tourists make of the marshes as they cross them, the landscape opening up for a moment between the urban sprawl of the East End and the rampant development of Tottenham. They offer a jarring pause of green and sky. I feel very lucky to be living in that pause, a resident, for now…

The album contains a whole year of found sounds recorded from the window and while out walking. It is full of bird song and radio sounds, singing, life.

Many others have been inspired by this space, this pause. The author Esther Kinsky who wrote River, published by Fitzcarraldo Editions, captures this area so perfectly. I borrowed the two track names for this album from her book. I hope she doesn’t mind.

Also, the photographer Paul Fuller whose work reflects the atmosphere I feel here precisely. On hearing the music he wanted to collaborate on the Lammas Land project, He spent a year filming the marsh through the seasons. Some of his images are included with the vinyl release, and there is an accompanying film close to completion. I am so pleased this project is continuing in new forms.

The vinyl also contains a piece of writing, ‘Sound Fishing’, by Gemma Blackshaw, an author, art historian and curator who in a twist of fate also found herself spending time on the marshes, but that is her story, for another day."




The Dengie Hundred
Lammas Land
LP, with essay insert + five photographic prints
Cat No: TAIN02
Price: £14.49
Due next week

A: A hand full of ever thickening twilight
(Sample clips 1 / 2 / 3)

B: A string of pearls pulling
the night away
(Sample clips 1 / 2 / 3)

Two jewels in the crown of the soulful electronic music scene in NYC unite for a spellbinding EP on Rhythm Section International. ”Full Circle” is a brand new body of work from Musclecars & Toribio.

To call this 12” simply epic would almost be doing it a disservice. The breadth of musicality and execution of ideas contained across 3 compositions is nothing short of miraculous. I use the word composition intentionally: these are not merely tracks - these are 3 movements making up a concerto - with a dub thrown in for good measure!

The record kicks off with a soulful house behemoth, “ That’s My Story” featuring NJ legend Roland Clark on vocals giving sweet sweet testimony. In many ways, this track feels like a coming together of the trios influences. The lyrics contextualise it, giving it this intimate, confessional feel. The latin drums shuffling amidst the 909 kick drive it forward and the organ swimming freely amongst it all takes us to church. It’s a timeless track - paying homage to the various New York traditions laid down by Louis Vega, Timmy Regisford, Joaquin Claussell , Ron Trent et al - all heroes and collaborators of the composers who - with this effort - have surely now earned their place in the pantheon of American Soul Music.
‘
Be Honest’ maintains the confessional tone with the lyrics but takes things right back down in terms of tempo. Is it a love song, an ultimatum or a cry for help? Whichever way you interpret it, this track is Toribio’s time to shine as a lead vocalist and he hits all the notes, leaving not a dry eye in the house. This is a delicate tour de force, delivered with such raw emotion and vulnerability it allows the instrumentation takes a back seat - just a gentle groove, swelling strings and some unresolved chords are all that’s required to transform us to the main character of this story. We’re left hanging, and it’s oh so relatable.

Agua De Florida serves as an uplifting, fast paced finale to the concerto and this one’s all about the trumpet - masterfully performed by Melbourne born, London based virtuoso Audrey Powne. If Herb Alpert was making house music - I imagine this is what it would sound like. Throbbing bass and noodling synths join the melee and crank the joy up to 11. If the EP is a story arc over 3 tracks, then we’re definitely not left hanging with this one. All is resolved, things are moving onwards and upwards and the circle is complete.

UK Balearic boss Pete Herbert has been dropping sounds inspired by his worldly travels for years and now gems from the last 20 years all make it on to this essential long player. These are all sounds for sunny spots, watery retreats and beach bliss-outs with Pete's signature touch everywhere. 'Back To Bahia' is a bubbly and loose house sound, 'Later That Night' has an edge that makes is suited to sundown dancing and 'South Seas' is a horizontal escape, while 'Legzira Sunrise' is dubby downtempo with tender chords that sink you in deep. This is the sort of record that elevates your collection with magical tunes for many different moments.

"Over the past three decades, Philipp Lauer has produced an incredible body of work, deploying a myriad of aliases, both as a solo artist and as a part of collaborative projects. From his hardware-steeped Frankfurt studio Pyramide 2, he has built this catalogue through original material and remix commissions, taking on the full spectrum of electronic music while retaining an unmistakable signature. He combines a hands-on approach to rhythm and composition with a DIY MO and a love of big hooks. The level of expertise at hand seems to facilitate a playfulness that subtly permeates all layers of his work. He's a pop melody natural who just so happens to love fiddling with synthesizers, drum machines, and effects an equal amount. All of these qualities are exemplified on "Embalmed In Martino": Lauer's four-track ode to the Belgian Martino sauce, a spicy tomato-based condiment, and arguably the essential ingredient to top off the namesake raw meat sandwich. On "Embalmed", which makes use of instrumentation that would fit right in on an early eighties Manchester cut, and "Martino", where a sturdy, electroclash flavored arp bass provides the stamina, a slew of big and small riffs easily work their way in, thirsting for our ears. On the other side, "Transactional" combines Miami basslines and similarly electro-fundamental twinkling synth work with a flanger-laced 4/4 beat, while "Don't You Know" features soaring synthwave patterns and the only vocal samples on the EP. Both sport rich arrangements as well, right down to the cowbell overdubs. Lauer's often lauded for his "summery sound". In this light ALT026 lands right on time - yet we might disagree here, as it's suited for all seasons, and all terrains, both the shiny festival grounds and the dim-lit club floors."

Pharmasoniq is Johannes "Tin Man" Auvinen and Philipp "Soulglo" Haffner aka 1/2 of Microthol.