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Irgendwo in den Hügeln von Cincinnati gibt's einen Sender, der Radiowellen in alle Richtungen schickt. Der Strom fließt durch die Luft und trifft auf deinen Empfänger mit einer Ladung, die, wenn sie verstärkt wird, einen organischen Sound erzeugt, der nur von Doctor Bionic kommen kann. Sie sind zurück mit einem brandneuen Album - dem vierten Teil der Terrestrial Radio-Reihe mit dem Titel Electric Pollen. Wie seine Vorgänger wurde das Album von dem in Cincinnati ansässigen Produzenten Grimez aufgenommen, produziert und gemischt. Er holt sich eine wechselnde Besetzung talentierter Musiker, um Instrumentals aufzunehmen, die man am besten als Organic Groove beschreiben kann. ,Wir kommen zusammen, um gemeinsam zu jammen und die Musik zu machen, die uns am meisten inspiriert", sagt Grimez. ,Wir haben uns auf die Musik konzentriert, die wir lieben, und das Ergebnis ist ein Album, das wir mit ganzem Herzen lieben. Ich würde sagen, 90 % unserer Musik ist improvisiert." Fans des Projekts werden in den Liner Notes viele bekannte Namen entdecken. Obwohl die Aufnahmen locker und spontan sind, folgt jedes fertige D.B.-Album immer einem konzeptionellen Thema. Das Thema wird oft durch ein Kunstwerk bestimmt, das Grimez inspiriert. ,Ich kaufe oder lizenziere ein Kunstwerk, das mir ins Auge fällt, und setze dann Musik dazu", erklärt er. ,Ich habe viele Werke, die sich als Albumcover eignen würden, aber ich habe noch nicht die richtige Musik dafür gefunden." Dieser Prozess ist Teil dessen, was die Musik von Doctor Bionic von anderen Instrumentalproduzenten unterscheidet.

**BACK IN STOCK ON GREY VINYL** Blackball Records presents the 20th anniversary edition of Jawbreaker's Chesterfield King. Originally released in 1992, this groundbreaking EP has been remastered by John Golden from the original tapes, and the increased sampling rate boosts some of the bottom end and mid-range. Available on vinyl for the first time in years. 5 tracks of music that defined the term "emo"...

Die beiden vorherigen Captured-Tracks-Alben von The Lemon Twigs, "A Dream Is All We Know" (2024) und "Everything Harmony" (2023), deuteten bereits auf eine Art Neubeginn in ihrer damals fünf Alben umfassenden Karriere hin. "Es war der Beginn davon, Platten zu machen, die wir selbst anhören würden", sagt Michael D'Addario, der jüngere der Twig-Brüder, heute 26 Jahre alt. Spätestens mit "A Dream Is All We Know" und dem zukünftigen Michael-Klassiker "My Golden Years" hatte die neue Ära der Lemon Twigs wirklich begonnen. Und nun erscheint das dritte Lemon-Twigs-Album für Captured Tracks, "Look For Your Mind!", das unter seiner poppigen Oberfläche einen unterschwelligen Strom aus Paranoia und Misstrauen trägt. Der Opener, der titelgebende Track "Look For Your Mind", ein beschwingtes Stück von Michael, führt die Hörer*innen in den gitarrengetriebenen Harmonie-Sound ein, der das zentrale Thema des Albums bildet. Vieles, was auf "A Dream Is All We Know" erreicht wurde, ist auch hier präsent - nur noch fokussierter. Es sind klassische Twigs, geprägt vom goldenen Zeitalter des Gitarrenpops, aber in keiner Weise sklavisch nachempfunden. Neu auf diesem Album ist die Einbindung der Live-Mitglieder Reza Matin (Schlagzeug) und Danny Ayala (Bass) sowie Eva Chambers von Tchotchke in die Rhythmusgruppe. Während die Brüder zuvor im Studio alles selbst eingespielt hatten, zeigt dies ein neues Gefühl von Freiheit. "Gather Round" ist eine der größeren Produktionen auf "Look For Your Mind!" - ein Brian-Song mit freudigen Orchestrierungen, der wie ein Wahlkampflied aus der Jahrhundertwende wirkt. Der Songwriter sucht nach einer unverdorbenen Führungsperson, kommt aber zu dem Schluss, dass kollektives Handeln der einzige Weg nach vorn ist. Musikalisch ist er opulent und herrlich 1967, doch Stimmung und Aussage sind unverkennbar 2026. "Jedes Mal, wenn wir versuchen, etwas völlig Geradliniges zu schreiben, können wir nicht anders, als ein Element hinzuzufügen, das völlig aus dem Rahmen fällt", erklärt Brian. Brians "Fire And Gold" beginnt mit einem klingenden Power-Pop-Riff, bevor alles auf den Kopf gestellt wird. Es ist auch der erste Song des Albums, auf dem der energiegeladene Drummer Reza Matin zu hören ist, den die Brüder mit Größen wie Jody Stephens von Big Star, Jim Bonfanti von The Raspberries und Bev Bevan von The Move vergleichen. Den Abschluss der ersten Seite der Vinyl-Ausgabe bildet Michaels wunderschöne Ballade "Mean To Me", mit Gesangsparts, die The Beach Boys vor 60 Jahren gerne aufs Band gebracht hätten - eingesungen von Michael, Brian und Danny. Der Abschluss der zweiten Seite, "Your True Enemy", wirft schließlich alles über den Haufen. "Wir haben den Song zunächst als einfache Rocknummer angelegt, aber das passte nicht zur düsteren Stimmung des Textes", sagt Brian. "Also haben wir begonnen, experimenteller zu werden." Das sechste Studioalbum der Lemon Twigs mag auf den ersten Blick wie eine direkte Fortsetzung der beiden Vorgänger wirken, ist aber zugleich viel mehr: mit Verweisen auf frühere Werke, einem neu entdeckten kollektiven Geist und vor allem großartigem Songwriting.

Brandnew album by Ian Svenonius (Nation of Ulysses, Make Up, Chain & the Gang, XYZ) latest project, his best yet, packed with super hits and provocative songs! ESCAPE-ISM - the found-sound-dream-drama - are back in action and out in front! And this time, they're leading a "Charge of the Love Brigade." Their fifth record, and fourth "sound" record - (the third one was "A Protest Against Sound"- an entirely silent LP) - "Charge of the Love Brigade" is revolutionary in its own right. Besides being packed with tunes with super-hits such as e.g. "Black Gold", "Last Of The Sellouts", "The Rebel Outlaw", & "Fire in Malibu", the new album proposes a reformation of the traditional notes and scales, an entirely new sound alphabet! "The violent overthrow of musical conventions will lead to the reintegration of humanity into the natural order, the reordering of life itself into a cosmic congruity. This means the convention of time itself will be ended." Play "Charge of the Love Brigade" and listen as ESCAPE-ISM go "over the top" against the note-letters of accepted musicality in a world premiere of a new upside-down antiscale! An album which furthers Svenonious' mission of upending and vandalizing indie-rock, garage and electronic norms and repurposing them in the context of a found-sound fever dream!

When Harry met Barney it was a match made in heaven - that's Hary Balk and Barney Duke' Browner. The Duke had worked with Harry since the early sixties on other labels inlcuding American Arts where he wrote Walk On InTo My Heart' for Bobbie Smith. But he really hit his stride at Impact alongside Harry and John Rhys. Eventually the three would make the move to Motown but not before the Duke struck paydirt with his Northern Soul anthem Crying Over You' featured here in its orginal coupling, vocal/instrumental. It was the instrumental that first commanded the dance floor back in the days of the Golden Torch, but today the vocal is king. Whatever your preference we know you'll enjoy our offering couretsy of Harry Balk himself... the first legal reissue in years!

SALES POINTS:
All time Northern Soul Classic - Two fabulous sides
TV advertised and featured in the film Northern Soul

Originally released on Ezekiel Honig's Anticipate label in 2007, Standing on a Hummingbird is the debut album by Canadian sound artist Mark Templeton, now appearing for the first time on vinyl, newly remastered by Giuseppe Ielasi and cut by LUPO. Working at the intersection of post-glitch, electroacoustic ambient, and textural minimalism, Templeton composes through restraint and erosion, building patient and richly tactile pieces primarily from acoustic sources - fingerpicked guitar, plaintive banjo, muted accordion tones - subjected to careful processes of granulation, filtering, and environmental masking. These gestures never overwhelm the source material; instead, they wonderfully destabilize it. Melodies appear briefly, only to dissolve into dense atmospheres of field recordings: distant streets, birds, water, air. Sounds hover, vibrate, and vanish, much like the wing beating latent in the album’s title.

Tracks such as “Pattern For a Pillow” and “Amidst Things Uncontrolled” articulate this approach with particular clarity, setting languid acoustic figures against churning granular backdrops that feel at once sheltering and unstable. Elsewhere, moments of fragile clarity - fluttering guitar lines, reedy accordion tones - briefly break the surface before being absorbed back into the field.

Heard today, the record offers a clarion, almost spartan strain of textural ambient music: intricate yet unforced, shaped by human touch rather than automated excess. Its refusal of spectacle feels especially vital in a landscape saturated with maximalist digitalia - a reminder that electronic music’s most enduring gestures often occur where sound is allowed to tremble and hold itself just long enough to be felt before disappearing once again. (Alex Cobb, 2026)

Trends may come and trends may go, but New Wave of British Heavy Metal pioneers Saxon carry on carrying on. Originally released in 1999, Metalhead is a nod to the fans of the genre and of course the earnest and obvious heavy metal institution that is Saxon. Led by the instantly recognizable voice of frontman Biff Byford, this is music to the ears of their loyal fanbase.

Metalhead is available as a limited edition of 1000 individually numbered copies on gold vinyl and includes an insert.

Intimacy is manifested in every moment of Radiator, the debut album from Philadelphia's Sadurn. This feeling of closeness, of being able to lend your every sense to one's confessions of internal conflict, is due in large part to the circumstances under which this album was created. Much of the world fell apart in 2020, but Sadurn tucked themselves away in a Pocono's cabin, creating and recording what would become their first full-length. Within the confines of their close quarters, passing animals as the only auditory witness to a makeshift recording studio created by moving furniture, Sadurn created an album that will break your heart and then slowly piece it back together.Sadurn started as the solo project of Genevieve ??DeGroot. Picking up guitar in 2015, DeGroot started writing songs, eventually playing DIY shows throughout the city of Philadelphia. With time, the direction, sound, and members of Sadurn changed. The beginning of 2020 was meant to serve as their debut as a four member band (Jon Cox on guitar/tenor guitar, Tabita Ahnert on bass, and Amelia Swan on drums), but the world had other plans and the group adapted.Taking influence from artists like Gillian Welch, Alex G, and Jason Molina, Sadurn's emotive indie rock explores the struggles and eventual beauty of grappling with multiple emotional realities, particularly when it comes to relationships. That conflict, the idea of being forced to choose, even when terrified, is present on singles like "Radiator" and "Golden Arm." The latter is an unhurried ballad that shows its truest colors with time, eventually blossoming with unexpected admissions of desire and uncertainty. Indecision, heartbreak, and attempting to live out your days against the actual backdrop of a gradually worsening hellscape is a shared commonality among us all, but on Radiator Sadurn breaks down walls that others so often put up. It's a fleeting, impactful glimpse at one's whole heart, and its sweeping, special nature is evident from the moment the album opens.

Stephen Sanchez kehrt mit seinem zweiten Album Love, Love, Love zurück – einer Platte, die die künstliche
Figureninszenierung sowie die schwärmerischen, verhallten 50er-/60er-Jahre-Grooves seines mit Gold ausgezeichneten Konzeptalbums Angel Face aus dem Jahr 2023 hinter sich lässt.
Mit mutigen, hochauflösenden Technicolor-Popsongs knüpft das Album weiterhin an die Tradition seiner
klassischen Wurzeln an und schreitet zugleich selbstbewusst in eine lebendige, moderne neue Ära. Über
elf prägnante Tracks hinweg zeigt es einen Künstler, der sich weiterentwickelt und zugleich neu gefestigt
wirkt – dessen Leitmotiv selbstbewusst im Albumtitel verankert ist.

Phantastic Ferniture are back with their jubilant garage pop, releasing not one but two singles - their very first recordings since their critically acclaimed 2018 debut album. Recorded at Golden Retriever Studios in Sydney, produced by Phan Fern themselves, and mixed and mastered by previous collaborators Tim Carr and Andrew Edgson respectively, tracks “Change My Mind” and “Dare to Fall in Love” immediately evoke everything about this band we have come to know and love. Julia Jacklin’s ability to write a catchy yet effortlessly cool vocal hook is evident on first listen, but it’s the magic that Phan Fern creates together that really brings the songs home.

PMF007 has landed

We are honoured to welcome veteran artist Dennis Walks to the Poor Man’s Friend label. Having cut his teeth with Duke Reid in the mid to late 1960s, Dennis Walks has been recording consistently for over 60 years.

Best known for his massive hits “Drifter,” “Heart Don’t Leap,” and “Margaret,” alongside the great The Mudies, Dennis brings a smooth yet powerful voice rooted in R&B and doo-wop influences. Combined with his intricate and thoughtful songwriting, he remains one of our favourite artists from the rocksteady and early reggae era.

“What A Pressure” is a vibrant, horn-led early roots reggae cut that captures the raw spirit and sonic identity of Jamaica’s foundational studio era. Driven by an upbeat tempo and undeniable energy, the track is elevated by rich, full-bodied backing vocals that perfectly frame Dennis Walks’s unmistakable voice. His delivery carries a weight of experience, bringing to life a set of beautifully constructed conscious lyrics that speak with both urgency and soul.

At its core, the production is propelled by a deep, rolling bassline that locks tightly with a heavily saturated rhythm section, creating a warm, analog feel reminiscent of classic recordings from Kingston’s golden age. The horns cut through with authority, adding brightness and drive, while the overall arrangement maintains a tight, authentic groove.

SACRIVERSUM were formed in 1992 in Łódź (Poland), playing old school Death Metal with progressive elements and atmospheric sounds, making their complex mixture special and unique. Their debut album „The Shadow Of The Golden Fire“ was released in 1994, at a time when a lot of Death Metal bands started to push their boundaries and became more experimental. Their music was a perfect fit along with legendary bands like PESTILENCE, DEATH, GOREFEST & ATHEIST. And this counts for SACRIVERSUM and their upcoming new album „Before The Birth Of Light“ even more. „Before The Birth Of Light“ will be released on May 8th, by their new label FIREFLASH RECORDS (HOLY MOSES, WOLF, RUTHLESS a.o.) and is available on CD, limited vinyl and digital. The album stands for raw Death Metal, with those incomparable Hammond organs. Death meets Deep Purple. Their sound is a mixture of the above mentioned acts and is not too far apart from the latest BLOOD INCANTATION album. Both combine tradition with fiction. You have to hear and experience this Death Metal gem. Since 2022, SACRIVERSUM are back and continue, where they ended up with their debut album. Those nine new tracks on „Before The Birth Of Light“ are possibly the best songs SACRIVERSUM ever composed – once you got into it, they don’t let you go. It is a dark ride into another dimension, another time and another space. You are captured in their own world, in a time before the birth of light.

While self-proclaimed "garage and jackin' house" revivalist Marc Cotterell has developed his Plastik People label into a fine outlet blessed with an ever-growing family of artists, he still maintains a steady release schedule of his own. The British producer is naturally in good form on his latest Plastik People missive. Check first opener 'Take Your Time', where breezy piano stabs and deliciously soulful vocals ride a squelchy bassline and loose-limbed garage-house beats, before admiring the more "trad" soulful house flex of the gorgeous and lightly funky 'Mysterious Ex'. Over on side B, 'Feed The Soul' is a string-laden slab of revivalist New Jersey garage-house goodness which doffs a cap to the early 1990s, while 'This Life Living' re-casts Jill Scott r&b classic 'Golden' as a rolling soulful house delight.

Killer Groove Records proudly presents the self-titled debut album by Italian cinematic funk trio Atabasca. A sonic journey where funk, psychedelia and desert groove merge into a timeless narrative suspended between rhythm and vision.


"Atabasca" marks the debut release from the cinematic funk trio, dropping March 27th on limited edition LP, CD digipack and digital formats, the latter featuring an exclusive bonus track. This is a project built on evocative imagery: each song unfolds as an open scene, an emotional landscape where listeners can step inside and write their own ending.

Lap steel, kalimba, percussion and guitars interweave with bass and drums, striking an original balance between tradition and experimentation that evokes unwritten soundtracks for worlds at once distant and familiar. The record navigates between melancholy and irony, tension and release, with a sharp focus on dynamics and sonic narrative.


Deserts, seas, imaginary villages, getaways, pursuits and collective rituals: "Atabasca" emerges as a collection of musical landscapes that unfolds through vivid, evocative imagery.

Jazz-funk, world music, afrobeat, psychedelia and the Italian Golden Age of movie soundtracks merge into a singular emotional geography: warm, analog and deeply human.

The musical journey opens with "Dune", a melancholic statement that leaves room for imagination, before igniting with "Kundela Mawedi" and its cascading lap steel over haunting vocal chants. "Paco" tips its hat to classic westerns, tracing a bandit's trajectory, while "Cameo" drifts back to childhood through minimal rumba and shimmering kalimba. The cinematic imagery continues in "Cacopoulos", a nod to Spaghetti westerns and Eli Wallach, built on raw drum patterns and distorted guitars. Intensity builds in "Khettara", where afrobeat rhythms and Middle Eastern textures intertwine, before "Hell Dorado" tears off in pursuit of the American dream's funk-fueled mirage. "Papambra" weaves hypnotic polyrhythms between kalimba and lap steel, while "Porpora" delivers a sensual, visceral tango of passion and tension. The digital edition closes with "Reprise", a sequel that stretches the album's central theme into an expansive, meditative interpretation.

The tracks were recorded in single takes, capturing the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the album at Velvet Room Mastering Studio in Brighton.

Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment. This is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals) and Valerio Pompei (drums, percussion, vocals).

Individually active for over twenty years on both the national and international scenes, the three Italian musicians came together in 2023 to create a project that merges experience, experimentation and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.

Atabasca's sound moves through jazz-funk, world and cinematic territories, weaving together afrobeat, desert and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


For fans of Khruangbin, Surprise Chef and instrumental psych-funk!

The brand- new album from Hiss Golden Messenger and the first release with Chrysalis Records. I'm People is a vivid, deeply human album born from a period of rupture, renewal, and vast American wandering. Written across Bolinas, the North Carolina Piedmont, and a Santa Fe motel room, the record traces the artist's search for clarity through landscapes both external and internal. These songs move through heartbreak, aging, fatherhood, desire, disillusionment, and the hard- won hope that remains after the spirit has been scraped bare.

Produced with Josh Kaufman at Dreamland, a decommissioned church outside Woodstock, the album carries the warmth of musicians playing live in a circle, stained- glass light filtering across guitars, drums, and upright bass. Contributions from Bruce Hornsby, Sam Beam, Marcus King, Sara Watkins, Amy Helm, Eric D. Johnson, and members of Dawes enrich a sound world that feels immediate, vulnerable, and fully alive. "I'm People is an intensely human record, and so one that needed to feel immediate, vulnerable, and fully dancing; something you could touch, sing along to, know about, recognize, relate with. I know what the record is to me and I bet it's not so dissimilar from what it's about to you, at least in the broad strokes: The heartbreak and exhilaration, the absolute black comedy of being a person on this razor's edge that is America circa 2025. What other choice do we have than to be hopeful?" - MC Taylor on I'm People. Hiss Golden Messenger is a Grammy nominated artist based in North Carolina, with multiple Album Of The Year and Best Americana Album awards, reaching #2 in the Americana Charts and performances and tours across the world, including the UK and Europe + performances on US TV; Late Night With Seth Myers.

Fast zwei Jahrzehnte nach der Veröffentlichung des Originalalbums, das mit einem Grammy ausgezeichnet
wurde, lebt die Legende des Buena Vista Social Club mit „Lost and Found“ weiter, einer Sammlung bisher
unveröffentlichter Titel. Einige entstanden bei den legendären ersten Sessions in Havanna mit Produzent
Ry Cooder, andere während der darauffolgenden, außergewöhnlich produktiven Phase.
Das Originalalbum des Buena Vista Social Club wurde 1996 von Ry Cooder und Nick Gold innerhalb von
sieben Tagen in Havanna für World Circuit Records aufgenommen. Es vereinte viele der großen Namen des
goldenen Zeitalters der kubanischen Musik der 1950er-Jahre, von denen einige für die Sessions aus dem
Ruhestand zurückgeholt wurden.
Das Album wurde überraschend zum internationalen Bestseller und zum erfolgreichsten Album in der
Geschichte der kubanischen Musik. Damals ahnte niemand, dass die Platte erst der Anfang eines musikalischen Phänomens sein würde. In den folgenden Jahren tourten die Buena-Vista-Veteranen vor begeistertem
Publikum um die Welt und waren Gegenstand eines gefeierten Spielfilms von Wim Wenders.
Es folgten weitere gefeierte Aufnahmen, darunter Soloalben der Sänger Ibrahim Ferrer und Omara Portuondo, des virtuosen Pianisten Rubén González und des Bassisten Cachaíto López sowie ein mitreißendes
Live-Album, aufgenommen bei einem triumphalen Konzert in der New Yorker Carnegie Hall.
Der Buena Vista Social Club war zu einem bekannten Namen geworden. „Über die Jahre wurden wir oft
gefragt, welches unveröffentlichte Material noch in den Archiven schlummert“, sagt Nick Gold von World
Circuit. „Wir kannten einige Schätze, Favoriten der Musiker, aber wir waren immer zu sehr mit dem
nächsten Projekt beschäftigt, um nachzusehen, was wir sonst noch hatten. Als wir endlich die Zeit dazu
fanden, waren wir erstaunt, wie viel wunderbare Musik es gab.“
Alle Studioaufnahmen für World Circuit entstanden im Egrem-Studio in Havanna während der produktiven
und kreativen Phase nach der Aufnahme des Originalalbums, die bis in die frühen 2000er-Jahre andauerte.
Angereichert mit Live-Aufnahmen aus derselben produktiven Phase, bietet das Material auf „Lost and
Found“ eine enorme und mitunter überraschende Vielfalt. Doch es gibt einen roten Faden, der von einem
Kernteam legendärer Musiker getragen wird, die einen Korpsgeist zum Ausdruck bringen, den jeder, der
jemals vom Buena Vista Social Club verzaubert war, wiedererkennen und genießen wird.

Through the dense blend of Japanese New-Wave, between moldy kimonos and punctured paper screens, along the rails of a sonic bullet train, this mini-LP reaches us, overflowing with purebred Punk-Funk, splinters of Soul and shredded Jazz. A gold nugget in a sea of sadness. Scattered energy trapped in a handful of vinyl grooves. Originally released in 1986.

No-one could have predicted the success of The 88, the first album from Minuit
(minwee), or how warmly it would be received. Equally no-one could have predicted that the band would return to the live arena a decade after their final fling or consider pressing their debut on vinyl for the first time.

Formed in Nelson, NZ in 1997, the trio cut their teeth playing regularly around the South Island’s underground club and festival scene. After a hiatus overseas, they began recording The 88 in 2002 in Ryan’s home studio. The lyrics were influenced by their travels around Europe and Ruth's time working for the UN in Kosovo and East Timor; the beats by The Prodigy, Portishead and the UK’s trip-hop and breakbeat scenes.

Signed to indie label Tardus, their tunes were eagerly picked up by the bNet student radio network, which then ballooned into high rotates on TV station C4, helped along by Alyx Duncan’s stunning video for Except You. A busy summer playing live every weekend for three months and seemingly universal praise from the music press led to them swiftly gaining gold sales.

Now 22 years later, with live shows looming, the trio have decided to revisit their debut, completing two previously unfinished tracks from the period to add a bonus to this inaugural vinyl release.

Mit "We Were Made For These Times" feiern die Klezmatics ihr 40-jähriges Bandjubiläum - und veröffentlichen zugleich ein Album, das die Gegenwart direkt anspricht.

Die Grammy-ausgezeichnete Formation verbindet seit vier Jahrzehnten jiddische Musiktradition mit politischem Bewusstsein, kultureller Verantwortung und einem unverwechselbaren Klang, der Klezmer mit Punk-Energie, Jazz-Improvisation, Gospel und globalen Rhythmen verschmilzt. Das neue Album versteht Klezmer nicht als nostalgisches Archiv, sondern als lebendige Ausdrucksform, die Kraft, Verbundenheit und Widerstandsfähigkeit stiftet. In Zeiten gesellschaftlicher Spannungen, globaler Migrationsbewegungen und öffentlicher Debatten über Zugehörigkeit richten die Klezmatics ihren Blick auf die historische Aufgabe jüdischer Musik: Menschlichkeit einfordern, Gemeinschaft stärken und Hoffnung formulieren. Die Songs reichen von Protest- und Arbeiterliedern bis zu spirituellen Stücken und feiern gleichzeitig Lebensfreude, Glauben und kulturelles Gedächtnis. Texte von Woody Guthrie, Holly Near, Dovid Edelstadt oder Chaim Zhitlovsky treffen auf neue Interpretationen und internationale Gäste - darunter Sofía Rei, Janis Siegel, Joshua Nelson, La Manga, William Parker, James Brandon Lewis und Enver Izmaylov. Im Zentrum steht der Titelsong, inspiriert von Dr. Clarissa Pinkola Estés" Botschaft: Wir sind für diese Zeiten gemacht. Das Album bekräftigt, wofür die Klezmatics seit 40 Jahren stehen: Musik als Werkzeug für Mut, Würde und gemeinschaftliche Zukunft.

In 2006, "Undiscovered" introduced the UK to one of its most distinctive new voices. Powered by the breakout single "You Give Me Something", the album debuted at No.1 in the UK Albums Chart, and went on to become 5x Platinum in the UK, and achieved Platinum and Gold certifications across Europe, Australia and beyond. Blending soul, acoustic pop and classic British songwriting, "Undiscovered" delivered a string of enduring tracks including "Wonderful World" and "The Pieces Don"t Fit Anymore", establishing James Morrison from the outset and laying the foundation for a successful international career. To celebrate its 20th anniversary, the album returns in new formats for collectors. The vinyl has been cut by John Webber at AIR Studios to showcase the warmth and depth of the original recordings, and a deluxe CD edition features 4 bonus tracks, available exclusively on CD. A landmark British debut of the 2000s, "Undiscovered" remains a defining release of its era.

Mit „Middle of Nowhere“ veröffentlicht die achtfache Grammy-Gewinnerin Kacey Musgraves ihr sechstes
Studioalbum. Das Album klingt unverkennbar nach Kacey: ehrlich, furchtlos, mitreißend und stets bereit,
den Wendungen des Lebens mit einem Augenzwinkern zu begegnen. Klanglich kehrt Musgraves bewusst
zu ihren Texas-Wurzeln zurück. Das Album enthält Features von Willie Nelson, Miranda Lambert, Billy
Strings und Gregory Alan Isakov und wurde von Kacey Musgraves gemeinsam mit Daniel Tashian und
Ian Fitchuk produziert. Als eine der meistgestreamten Künstlerinnen ihres Genres prägt Musgraves den
modernen Country-Sound wie kaum eine andere. Ihr Erfolgsalbum „Golden Hour“ wurde 2018 vom Rolling
Stone in die Liste der „500 Greatest Albums of All Time“ aufgenommen und festigte ihren Status als eine
der einflussreichsten Stimmen des Pop-Countrys.

Mit „Middle of Nowhere“ veröffentlicht die achtfache Grammy-Gewinnerin Kacey Musgraves ihr sechstes
Studioalbum. Das Album klingt unverkennbar nach Kacey: ehrlich, furchtlos, mitreißend und stets bereit,
den Wendungen des Lebens mit einem Augenzwinkern zu begegnen. Klanglich kehrt Musgraves bewusst
zu ihren Texas-Wurzeln zurück. Das Album enthält Features von Willie Nelson, Miranda Lambert, Billy
Strings und Gregory Alan Isakov und wurde von Kacey Musgraves gemeinsam mit Daniel Tashian und
Ian Fitchuk produziert. Als eine der meistgestreamten Künstlerinnen ihres Genres prägt Musgraves den
modernen Country-Sound wie kaum eine andere. Ihr Erfolgsalbum „Golden Hour“ wurde 2018 vom Rolling
Stone in die Liste der „500 Greatest Albums of All Time“ aufgenommen und festigte ihren Status als eine
der einflussreichsten Stimmen des Pop-Countrys.

Out now via 7 Mater, in collaboration with The Circle Music for worldwide distribution, this special edition of Stolen Season Pt. I captures both the essence of the project and the spirit of the upcoming full-length Stolen Season Pt. I. This first pressing is destined to become a collector's item: numbered and limited to 250 black vinyl copies and 250 gold vinyl copies, each edition comes housed in a deluxe sleeve with an exclusive 30x30 insert that perfectly frames the visual world of the band. It is a striking presentation that mirrors the richness of the music contained within. The creative force behind From The Land is Anatoly Pakhalenko, best known as the frontman of the acclaimed dark folk ensemble Nytt Land.

Conceived in 2025, this new project serves as an alter ego for Pakhalenko, allowing him to explore the darker edges of country, blues, and folk traditions while weaving them into a world described as "a black and white landscape, tired of all this s**t that's going on around and gradually sinking into an endless sleep". Together with Aleksandr Rosliakov, Pakhalenko composed Stolen Season Pt. I between January and May 2025 at Nytt Land Studio, handling recording, mixing, and production duties himself. The result is an album that resonates with uncompromising artistic vision and raw emotional depth. From The Land 's universe draws inspiration from the haunting literary realms of H.P. Lovecraft and Edgar Allan Poe, as well as the surreal, unsettling imagery of David Lynch. This heady mixture of influences creates a soundscape that is equally cinematic and visceral, where ritual meets ruin, and folk traditions dissolve into the smoke of blues and country noir.

After years PRAGER HANDGRIFF's landmark album "Taterschaft und Teilnahme" has finally been reborn - this time in a format worthy of its machine-hardened legacy. Courtesy of Assur Anshar, a daring sub-label of Rune Serpent Europa, this first-ever vinyl edition is more than a reissue: it's a full-scale industrial art object. Pressed in two limited color variants - 300 numbered copies each in Gold and Silver - and anchored by a super-limited wooden box edition (only 50 copies!), this is not just for fans - it's for collectors, archivists, and devotees of German industrial at its rawest. The sound? As sharp, provocative, and politically charged as ever. Tracks like "Traumsequen", "Durch Die Wuste", and "Taterschaft Und Teilnahme" still carry the pounding urgency of early 2000s EBM, yet feel chillingly relevant today.

With Diving Inward, the first release under the alias Dziad, Aleksander Filipiak melds the frigid indifference of synthesised textures with exploratory re-imaginations of his first instrument as an industrial buzz saw of unpredictable metallic fluctuations. The sonic landscape is a tribute to a multiplicity of (once) cutting edge, experimental techniques from the golden age of electroacoustic composition, combined with the composer’s enduring love for organic and unpredictable textures, transportive folk motifs and hypnotic pads.

Recorded in the winter 2022, this amalgam of the tangible and imaginary, shudders and re-lives a sombre season of isolation and loneliness. The pieces stand as an ode to the optimistic acts of play and creativity; an antidote to a reality which, at times, feels tolerable at its best. With this release, Filipiak encapsulates emotions that are overdue to be left behind. Shelve them for another day.

Lander Gyselinck and Adriaan Van de Velde created the soundtracks for the Dries Van Noten autumn/winter 2023-2024 runway shows. The result is a double live performance recorded during the shows in Paris.

The release, exactly 1 year after the presentation of last season's men's collection, is available from January 19th on a 180 gram vinyl and on all digital streaming platforms. On one side you will find the music for the men's collection by Lander & Adriaan, on the other the music for the women's collection, Lander Gyselinck solo.

"The women's collection is all about construct:deconstruct, intimacy, botanical figurative elements and gold in its raw form. Dries asked me to try to translate these elements into a drum piece performed live. I decided to focus on detailed intimate sounds, acoustic elements and improvisation. Besides this piece, there is a second composition that I brought together with Adriaan for the men's show where we mainly took into account the venue, Dries' collection, certain keywords we were given, our world of 90s music, rave and improvisation and we tried to make a nice blend of that." - Lander

After months of working exclusively on his own repertoire, Matmatah is slowly recovering from his 30th birthday by returning to his first love: covering other people’s songs !
Because Matmatah comes from there, from the steamy atmosphere of bars and clubs.
Back in the day, they played loads of covers. Oh yes, they certainly did.
So why not put a few of them together on an album?
It’s a must, isn’t it?
Except that… There are many ways to record an album of covers.
The band could have taken the easy route and covered the songs they loved in their early days. But that would be to misunderstand these lads. They needed to come up with a proper concept to justify such a project.
They came up with two:
To tackle styles that are diametrically opposed to their own, so they could better make them their own.
To broaden their linguistic repertoire and experiment with different sounds.
The result is a rich, joyful and socially conscious collection of 20 songs, written between the 18th and 21st centuries and performed in no fewer than 10 European languages. A fine tribute to the continent’s diversity.
To spice up this project, they’ve brought in the whirlwind that is Fanny Gillard on vocals for ‘Eisbär’ and ‘Putain Putain’, the powerful voice of Morgane Mercier on the eerie ‘Alison Gross’, mentor Patrick Marie for a space-age ‘Kan Ha Diskan’, and the immense Kevin Camus on the uilleann pipes and whistle for ‘The Winner Takes It All’.
Matmatah takes a wild ride, travelling across Europe and through time, having fun and cheekily reworking songs he never imagined he’d play.
Find the lynx!

Cloud Management return to Altin Village & Mine for a unique collaboration with New York writer and creative polymath Vivien Goldman.

A pairing spanning generations and geography, but with a musical overlap that is quite fitting in both process and result. Cloud Management’s jammy, improvisational approach to their dubby electronics blends well with Goldman’s idiosyncratic vocal style, which has its origins in the early days of post–punk and UK dub experimentalism. Cloud Management blend many historical aspects of German electronic music into something distinctly their own, while retaining a view well beyond those borders or any particular era. This approach fits well with Goldman’s deep multidisciplinary career, not easily defined because of its eclectic abundance across disciplines, yet always orbiting around music as its foundation.

When it comes down to it, these are great tracks created in the same way they sound: loose but refined, circling and turning inwards and outwards, back onto themselves. A dub of a dub of a dub, but never falling too far from the source — the minimalism necessary to deliver a direct, steady resolve and a gripping listen.

The B–Side of the record features three remixes by artists from across the globe, all with strong connections to the front line of dancehall, dub, and electronic music experimentalism. Longtime Equiknoxx member Time Cow from Kingston (Jamaica), delivers a version of »Quick Cover Up« that represents a major overhaul of the original. This remix strips away much of the looseness of the source material and leans into a lush yet slightly darker atmosphere, created by layered synths and a masterful use of underlying percussion and melodic stabs.

Up next are Twin Cities, Minnesota–based Feel Free Hi Fi, who take on »Judge Judge.« The duo tighten things up, overlaying weighty vintage string synths and digi–flute melodies. This version feels designed for smoky, late–night dub sound system sessions, harkening back to dub’s foundations.

Last but not least is London’s Pat Orburn. Stripped way down, the remix rides an interplay between alternating minimalism and a more lo-fi but lush exuberance, somewhat reminiscent of a bossa nova–esque minimal synth sound. This version’s lo–fi pop sensibility provides a fitting contrast and completes an eclectic yet copacetic trio of remixes for the record.

Obwohl es sich nicht eindeutig einem bestimmten Genre zuordnen lässt, hat ,A Way In" was von Afrobeat, Cumbia, Salsa, Jazz, Reggaeton und Soul - eine Mischung aus kraftvollen Rhythmen und geheimnisvollen Melodien, die Mitchum Yacoubs zweites Album in der Welt der Groove-Musik hervorstechen lässt. Zwischen synkopierten Dance-Tracks, ätherischen Klanglandschaften und gleichmäßigen Backbeats finden sich Geschichten über Angst, Liebe, Aufstand und Heilung. Zehn Tracks, die den menschlichen Geist offenbaren und feiern. Yacoub hat das gesamte Album selbst aufgenommen, produziert und abgemischt und damit den sorgfältig geschichteten Sound sichergestellt, den die Fans seines Debüts ,Living High in the Brass Empire" so schätzen. Wir treffen wieder auf Travis Klein, Bradley Nash und Wesley Etienne, seine unnachahmliche Bläsersektion, die man weder auf Platte noch auf der Bühne verpassen sollte. Mit den aufstrebenden Stimmen von Divina Jasso und Lourdes Iri auf der Hälfte der Tracks mangelt es ,A Way In" nicht an herausragenden Singles, die dich von morgens bis abends begleiten werden.

NOW That’s What I Call 70s Soul brings together 50 era-defining tracks from one of the most powerful decades in soul music, featuring classics from Motown legends, Philly Soul pioneers, smooth balladeers and funk innovators – all pressed across 3LPs on beautiful blue vinyl… Out April 24th!

LP1 opens with one of the decade’s most recognisable love songs: Al Green’s ‘Let’s Stay Together’, a US #1 and UK Top 10 hit that became his signature recording. It’s followed by Marvin Gaye’s ‘What’s Going On’, the socially conscious masterpiece and title track from his landmark 1971 album, and Diana Ross’ Ain’t No Mountain High Enough’, which topped the US chart and became her first solo #1. Stevie Wonder’s ‘Signed, Sealed, Delivered (I’m Yours)’ remains one of Motown’s most joyful recordings and comes before Commodores’ ‘Easy’ introducing Lionel Richie’s smooth ballad vocals. The side also includes Bill Withers’ timeless ‘Ain’t No Sunshine’, a Grammy-winning classic, and The Stylistics’ lush ballad ‘You Make Me Feel Brand New’, a UK Top 3 smash, before closing with Rose Royce’s beautiful ‘Wishing On A Star’, one of the most loved soul ballads of the era.

Flip the LP over and The Jackson 5’s ‘I Want You Back’ – the group’s explosive debut single opens the side. Smokey Robinson & The Miracles’ ‘The Tears Of A Clown’ became a UK #1 and is followed by The Supremes’ Nathan Jones’ showcasing the group’s evolving psychedelic-soul sound. Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, Chairmen Of The Board’s Top 3 smash ‘Give Me Just A Little More Time’ and The Trammps’ ‘Hold Back The Night’. The O’Jays’ joyous ‘Love Train’ leads to The Blackbyrds’ Walking In Rhythm’, before the side closes with the romantic classic ‘Always And Forever’ from Heatwave.

LP2 opens with The Temptations’ epic ‘Papa Was A Rollin’ Stone’, a Grammy-winning US #1 remains one of the most stunning recordings from the Motown catalogue, is followed by Isaac Hayes’ ‘Theme From “Shaft”’, an Academy Award-winner and a US #1 smash. More funk follows from Ike & Tina Turner, James Brown with one of his key tracks ‘Get Up (I Feel Like Being A) Sex Machine’, Edwin Starr’s powerful anti-Vietnam protest song ‘War’, and Sly & The Family Stone’s hugely influential ‘Family Affair’. The Delfonics’ sublime ‘Didn’t I (Blow Your Mind This Time)’ comes ahead of Billy Paul’s timeless ‘Me And Mrs. Jones’ which closes the side…the other side begins with the 1977 #1 from The Floaters with ‘Float On’, before the breathtaking vocals of Minnie Riperton on ‘Lovin’ You’. The Isley Brothers’ Summer Breeze’ and William DeVaughn’s ‘Be Thankful For What You Got’ have become enduring classics and are followed by a run of ‘80s pop-chart crossover hits completing LP2 from Detroit Emeralds, The Moments Raydio and The Tymes’ #1 ‘Ms. Grace’.

LP3 opens with the unmistakable voice of Barry White and his US #1 hit ‘Can’t Get Enough Of Your Love, Babe’, before Aretha Franklin’s ‘Until You Come Back To Me (That’s What I’m Gonna Do)’, delivers one of her smoothest performances. Al Green’s ‘Tired Of Being Alone’ and Gladys Knight & The Pips’ ‘Midnight Train To Georgia’ are followed by minimalist soul classic ‘Why Can’t We Live Together’ from Timmy Thomas, and the side closes with a trio of defining ballads:- George Benson’s ‘The Greatest Love Of All’ Diana Ross’ ‘Theme From Mahogany (Do You Know Where You’re Going To)’ and The Jackson 5’s ‘I’ll Be There’, their biggest hit…while over on the final side…Freda Payne’s #1 ‘Band Of Gold’, opens alongside Ann Peebles’ influential and much covered ‘I Can’t Stand The Rain’.Marvin Gaye’s sensual ‘Let’s Get It On’ became another US #1, while Harold Melvin & The Blue Notes featuring Teddy Pendergrass deliver the contemporary standard ‘If You Don’t Know Me By Now’. Three massive UK #1s are next…The Stylistics with ‘Can’t Give You Anything (But My Love)’, The Three Degrees’ peerless ‘When Will I See You Again’ and Deniece Williams’ ‘Free’. This amazing collection closes with two timeless ballads: Earth, Wind & Fire’s ‘After The Love Has Gone’, a Grammy-winning classic, along with ‘Three Times A Lady’, a huge worldwide #1 for the Commodores.


NOW That’s What I Call 70s Soul, 50 defining tracks from one of music’s greatest decades. Out April 24th.

Unreleased tracks not available until release date.

Trick Dice is the 2015 collaborative album from Richmond, Virginia rapper Nickelus F and producer Shawn Kemp AKA Lil Ugly Mane, widely regarded as one of the most enduring and understated releases of its era. The album captured a specific moment in underground hip-hop—unpolished, regional, and uncompromising—earning long-term respect from listeners, artists, and tastemakers alike. Over the last decade, Trick Dice has continued to circulate through word of mouth, remaining a reference point for fans of stripped-down, writer-focused rap.

This 10-year anniversary reissue presents Trick Dice in its most complete form to date. The standard edition is expanded into a double LP vinyl release and includes eight previously unreleased tracks recorded during the original sessions. The project has been newly prepared for vinyl to ensure fidelity and balance across the expanded track list.

- Nickelus F is a respected underground hip-hop artist with a decade-plus catalog and long-term credibility among tastemakers and peers

- Trick Dice is a collaborative album with producer Shawn Kemp AKA Lil Ugly Mane, marking a milestone project. It is a cult-favorite release with sustained organic demand.

- Expanded 2×LP vinyl edition including 8 previously unreleased tracks from the original recording era

- Bonus tracks curated and finalized specifically for this reissue

- Strong appeal to collectors and underground hip-hop audiences

Obwohl es sich nicht eindeutig einem bestimmten Genre zuordnen lässt, hat ,A Way In" was von Afrobeat, Cumbia, Salsa, Jazz, Reggaeton und Soul - eine Mischung aus kraftvollen Rhythmen und geheimnisvollen Melodien, die Mitchum Yacoubs zweites Album in der Welt der Groove-Musik hervorstechen lässt. Zwischen synkopierten Dance-Tracks, ätherischen Klanglandschaften und gleichmäßigen Backbeats finden sich Geschichten über Angst, Liebe, Aufstand und Heilung. Zehn Tracks, die den menschlichen Geist offenbaren und feiern. Yacoub hat das gesamte Album selbst aufgenommen, produziert und abgemischt und damit den sorgfältig geschichteten Sound sichergestellt, den die Fans seines Debüts ,Living High in the Brass Empire" so schätzen. Wir treffen wieder auf Travis Klein, Bradley Nash und Wesley Etienne, seine unnachahmliche Bläsersektion, die man weder auf Platte noch auf der Bühne verpassen sollte. Mit den aufstrebenden Stimmen von Divina Jasso und Lourdes Iri auf der Hälfte der Tracks mangelt es ,A Way In" nicht an herausragenden Singles, die dich von morgens bis abends begleiten werden.

,Don't Settle - Transmissions East" ist die erste Veröffentlichung von zwei Alben, die in diesem Jahr erscheinen werden. Es beleuchtet eine äußerst produktive und vielfältige Karriere und ist nicht nur ein ,Best Of", sondern ein Live-Studioalbum ohne zweite Takes, ohne Autotune und ohne Bearbeitung. Es ist einfach live, roh und direkt und fängt die Magie von Glen ein wie nichts zuvor. Aufgenommen im legendären Funkhaus in Berlin, einem historischen ostdeutschen Radio- und Aufnahmestudio mit einem riesigen, akustisch perfekten Orchester-Live-Raum, wurde das Album in einer kontrollierten Studioumgebung über zwei Nächte hinweg aufgenommen und gefilmt. Das Album wurde von Glen selbst produziert und gemischt, mit Unterstützung von Toningenieur und Produzenten Mike Goldsmith und dem Toningenieur und Produzenten Markus Schmitz.

Swedish producer Robert Leiner’s landmark 1994 album ‘Visions Of The Past’ finally gets a vinyl LP reissue on Apollo, the ‘ambient division’ of R&S Records. Long regarded as one of the pivotal ambient/electronic long players, the album has stood the test of time and serves as a reminder on how potent the early ambient techno releases were.

Leiner was a central figure in the early European techno and ambient landscape, carving out a distinctive sound that bridged atmospheric depth and rhythmic intensity. Known for his releases as The Source Experience and contributions to the R&S/Apollo catalogue, as a producer and engineer, Leiner’s work resonated across the underground, earning him a reputation for visionary, emotionally charged productions that stood apart from his contemporaries.

'Visions Of The Past’ captures this duality perfectly with expansive ambient passages that drift into hypnotic techno, while layers of intricate sound design and pulsating low end create a timeless and immersive listening experience. Tracks unfold with patience and precision, like the 12-minute-long marine epic ‘Aqua Viva’, balancing introspection with kinetic dance energy, and the new age ambience of ‘Dream Or Reality’ and ‘Northern Dark’ embodying the forward-thinking ethos that defined Apollo’s golden era.

Three decades on, this long out of print album finally returns on vinyl format, freshly remastered and restored, reaffirming its status as an essential document of electronic music’s evolution and Robert Leiner’s enduring influence.

‘Visions Of The Past’ by Robert Leiner is available on Apollo Records from 7th November 2025.

Gute Neuigkeiten für Good Riddance-Fans! Nach sehr limitierter Verfügbarkeit der Erstauflage (schwarzes Vinyl) gibt es noch eine Nachpressung. Die zweitauflage kommt als Apple Red Vinyl. Die aus Santa Cruz, Kalifornien, stammende Band ist eine feste Größe in der Punkszene und bekannt dafür, die Lücke zwischen rasantem Skate-Punk und der rohen Intensität des Hardcore zu schließen. Sie werden für ihre ,intellektuelle Aggression" gefeiert, einen einzigartigen Sound, der rasante Drum-Geschwindigkeiten und scharfe Gitarrenriffs mit überraschend eingängigen Melodien verbindet. Für neue Hörer repräsentiert die Band den Goldstandard des Genres und beweist, dass Punk unglaublich schnell und aggressiv sein kann, während er gleichzeitig musikalisch ausgefeilt und technisch präzise bleibt. Über ihre klangliche Strahlkraft hinaus dient die Band als wichtige Einführung in die aktivistischen Wurzeln des Punkrocks. Unter der Leitung von Sänger Russ Rankin tauchen ihre Texte tief in Themen wie soziale Gerechtigkeit, Tierrechte und politische Kritik ein und bieten eine viel tiefgründigere Perspektive als typischer Alternative Rock. Durch die Auseinandersetzung mit klassischen Alben wie "A Comprehensive Guide to Moderne Rebellion" können Fans genau hören, wie Punk als kraftvolle Stimme für Marginalisierte und als engagierte Plattform für die Infragestellung des Status quo dient. Die Relevanz der Band ist nach wie vor ungebrochen, seit 2015 ungebrochen zurück, das letzte Album kam 2019, 2024 veröffentlichten sie "No More System to Believe In", eine melodische Punk-Hymne, die moderne Desillusionierung in einen kraftvollen Aufruf zum Handeln kanalisiert. Nach einem strapaziösen Tourplan für 2025, bei dem sie neben ausverkauften Clubkonzerten in Europa und Nordamerika auch auf großen Festivals wie dem Hellfest und der Warped Tour Orlando auftraten, zeigen sie keine Anzeichen einer Verlangsamung. Im Jahr 2026 wird Good Riddance diese globale Dynamik mit umfangreichen Auftritten auf Festivals in der EU und insbesondere in Deutschland fortsetzen. Aufgenommen mit Bill Stevenson (Descendents) im The Blasting Room.

Yearly compilation series RADAR KEROXEN return with its sixth volume of theme-driven releases, continuing to chart the fractured sonic terrain of the Canary Islands’ undergrowth.

After digging through indie, psychedelia, shoegaze, and site-specific drone, Vol. 6 dives headfirst into the after-hours circuitry of the islas afortunadas, assembling a hand-picked selection of underground club mutations from five long-standing operators within the local electronic ecosystem.

If Vol. 5 was shaped by the cavernous resonance of Santa Cruz’s obsolete gasoline tank, Vol. 6 is fuelled by late-night club aesthetics and mid-90s hardware obsession. Opening the record, Dancelwerk — one of the archipelago’s early modular practitioners — delivers tightly wound structures nodding to Warp-era golden agefuturism and southern Tenerife’s rave boom. Cmos34 follow with their first-ever published material, injecting instability into the system through improvised techno rituals built on friction and feedback.

Jorganes drags the narrative deeper into hypnotic territory, stripping club music down to its skeletal pulse and channeling disciplined repetition and late-90s minimalism into austere, trance-inducing momentum. From Gran Canaria, Sunday German Flowers bends the mood toward cinematic dub: heavy low-end pressure, spoken word, and nocturnal atmospheres stitched into slow-burning club noir.

Closing the circle, Nico Hernández pulls the compilation back to volcanic ground with ambient compositions shaped by Lanzarote’s raw geological landscape — basalt echoes, tectonic silence, and island isolation rendered in sound.

As always, the release is housed in a post-tropical collage artwork by Pura Márquez.

Master by Daniel García
Artwork by Pura Marquéz

Erleben Sie das pulsierende Lebensgefühl der 80er Jahre mit der farbigen 2LP-Compilation „ZYX Italo Disco History 1984“. Diese exklusive Vinyl-Ausgabe entführt Sie direkt in das goldene Zeitalter der Italo Disco und vereint die größten Dancefloor-Hits eines unvergesslichen Jahres.

Freuen Sie sich auf ikonische Tracks von Künstlern wie P. Lion, Scotch und Valerie Dore – Namen, die für eingängige Melodien, treibende Beats und den unverwechselbaren Sound der Italo Disco stehen. Jeder Song dieser Sammlung spiegelt die Energie und den Glamour der internationalen Clubszene von 1984 wider. Ein besonderes Highlight ist der enthaltene 15-minütige Megamix der Italo-Disco-Legende Flemming Dalum. Mit seinem einzigartigen Gespür für Rhythmus und Atmosphäre verbindet er die größten Hits zu einem mitreißenden Mix, der nahtlos durch die Klangwelt der 80er führt. Die farbige Doppel-LP macht diese Compilation nicht nur musikalisch, sondern auch optisch zu einem echten Sammlerstück – perfekt für Vinyl-Liebhaber und Fans elektronischer Klassiker