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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)

ALUNAH says: "Embers of Belief" features the first Alunah recordings with vocalist Daisy Savage and continues our long-standing relationship with Heavy Psych Sounds Records. We are both excited and proud to present our contribution to this split release - two brand new studio tracks that give a glimpse into where this new chemistry as a band is taking us creatively, alongside two live recordings which document and acknowledge the incredible job Daisy did in stepping up to tour and promote our previous full-length. This significant release is part of our "VINGT" celebrations, marking 20 years of Alunah with both new music and festival appearances, including Bloodstock Open Air and Desertfest London. To everyone who's stood by Birmingham, heavy rock, and doom through the years_this one's for you! SAMAVAYO says: Creativity _ it burns deep inside, demanding to be heard and when it wants out, ist has to get out. So here we are! Longing, recklessness and hope_three themes that couldn't be more human or more relevant right now. Samavayo present three exceptional tracks on their split release with Alunah: BAVAR is a crushing heavy piece built on the Fibonacci sequence, featuring Persian lyrics inspired by a poem from Siavash Kasraie. It stands as a defiant cry against grief and mortality_the narrator refuses to accept the death of loved ones, clinging instead to love, shared tears, and the breath of life as proof that loss can neither truly be believed nor surrendered to. Mottainai, the 2nd song takes aim at a reckless, consumption-driven mindset_the relentless pursuit of instant gratification and shortcuts. The song warns that this culture of excess and selfishness will ultimately leave a devastating legacy for future generations. California Sky is a psychedelic, acoustic ode to Samavayo's 2025 US tour, captures a paradoxical longing for the American desert landscape. It evokes a sense of spiritual belonging in the vast emptiness of Joshua Tree, while reflecting a deep yet helpless emotional connection to the United States and all its contradictions.

Transparent orange vinyl, limited to 300 copies. ALUNAH says: "Embers of Belief" features the first Alunah recordings with vocalist Daisy Savage and continues our long-standing relationship with Heavy Psych Sounds Records. We are both excited and proud to present our contribution to this split release - two brand new studio tracks that give a glimpse into where this new chemistry as a band is taking us creatively, alongside two live recordings which document and acknowledge the incredible job Daisy did in stepping up to tour and promote our previous full-length. This significant release is part of our "VINGT" celebrations, marking 20 years of Alunah with both new music and festival appearances, including Bloodstock Open Air and Desertfest London. To everyone who's stood by Birmingham, heavy rock, and doom through the years_this one's for you! SAMAVAYO says: Creativity _ it burns deep inside, demanding to be heard and when it wants out, ist has to get out. So here we are! Longing, recklessness and hope_three themes that couldn't be more human or more relevant right now. Samavayo present three exceptional tracks on their split release with Alunah: BAVAR is a crushing heavy piece built on the Fibonacci sequence, featuring Persian lyrics inspired by a poem from Siavash Kasraie. It stands as a defiant cry against grief and mortality_the narrator refuses to accept the death of loved ones, clinging instead to love, shared tears, and the breath of life as proof that loss can neither truly be believed nor surrendered to. Mottainai, the 2nd song takes aim at a reckless, consumption-driven mindset_the relentless pursuit of instant gratification and shortcuts. The song warns that this culture of excess and selfishness will ultimately leave a devastating legacy for future generations. California Sky is a psychedelic, acoustic ode to Samavayo's 2025 US tour, captures a paradoxical longing for the American desert landscape. It evokes a sense of spiritual belonging in the vast emptiness of Joshua Tree, while reflecting a deep yet helpless emotional connection to the United States and all its contradictions.

ReVINYL Random Color Edition. Concrete is a bracing jolt of a song, racing forward on a tightly wound post-punk riff, its call-and-response vocals capturing the turmoil and schizophrenic internal dialogue of the song's subject matter."It's about someone who's trapped in a relationship and they're being pummelled into surrender," says singer and lyricist Charlie Steen. "It's not about a physically abusive relationship - more an emotionally and psychologically draining one. The call-and-response vocals between Steen and bassist Josh Finerty is the central figure's own internal dialogue. They are dealing with two different things that they don't want to address."The band cite The Fall, Country Teasers, Television Personalities and Wire among their biggest influences, and the icily claustrophobic sound of Concrete sets it in a lineage with Magazine, Joy Division. As a lyricist, Steen is a modern flâneur, forensically observing the lives of others around him as they unspool and fracture, with Hubert Selby Jr and Irvine Welsh his primary literary influences. "That graphic and harsh style of writing always interested me," he explains. "It's not about the shock factor; it's about the fact they are talking about these things in such great detail without stripping anything back."The London five piece have swiftly earned a reputation as one of the most visceral and exhilarating live bands in the UK, their combustible shows being honed through a heavy touring schedule in the UK and across Europe. Cutting their teeth on the squat-punk scene in the Queen's Head in Brixton in 2015, where they were taken under the wing of Fat White Family, the white heat of their gigs quickly landed them support slots with Slaves and Warpaint. They were also personally invited by Billy Bragg to play the Left Field stage at Glastonbury this year.Following two singles - the AA single The Lick/Gold Hole and Tasteless on Fnord Communications as well as the digital-only Theresa May-baiting Visa Vulture (described by Steen as "the worst love song ever") - Concrete is the first track to be released as part of their record deal with Dead Oceans."We started this band as a joke that went too far," deadpans Steen. "What we do is quite strange and quite weird, but I get to meet a lot of people and I get to hear a lot of things. I am interested in the surrealism of reality."

RocAmeriKKKa 3 marks the third and most refined chapter in the ongoing alliance between Flee Lord and ETO—two architects of modern East Coast street rap whose chemistry is rooted in precision, pain, and unfiltered realism.

Building on the foundation laid by the previous installments, RocAmeriKKKa 3 sharpens the series’ core aesthetic: cinematic production, stark lyricism, and an uncompromising portrayal of survival and ambition. Flee Lord’s militant cadence and razor-edged delivery collide seamlessly with ETO’s calculated, introspective bars, creating a dynamic that feels both confrontational and methodical. The result is a body of work that operates like a street manifesto—cold, deliberate, and unapologetic.

The album is elevated by a heavyweight supporting cast. Conway The Machine brings his signature steel-plated intensity, reinforcing the project’s Griselda-adjacent grit. NEMS injects raw, high-energy aggression, while Vel Nine adds sharp lyricism and perspective that cut clean through the production. Starz Coleman and Mummz contribute distinct textures, expanding the sonic palette without compromising the project’s hard-edged identity.

Sonically, RocAmeriKKKa 3 leans into brooding loops, stripped-down drums, and ominous sample work—production that leaves space for bars to breathe while maintaining a sense of tension throughout. There are no gimmicks here—just calculated storytelling, street philosophy, and the kind of lived-in authenticity that defines both artists’ catalogs.

As the third installment, this project doesn’t merely continue the series—it solidifies it. RocAmeriKKKa 3 stands as a testament to consistency, evolution, and the discipline of two emcees who understand that longevity in this lane is built on substance, not spectacle.

They disbanded in 2015, much to the chagrin of their dedicated fanbase, leaving behind a highly influential body of work, including two gold- selling albums (United Paper People and Hymns for the Nonbeliever) and a slew of hit singles such as "Opinions Won't Keep You Warm at Night," "Do-Do's and Whoa-Ohs," and "Dinosaur." In mid-2025, alongside the vinyl reissue of Hymns for the Nonbeliever-- which reentered the Australian Album and Vinyl charts at #1-- Kisschasy released their first new music in sixteen years. "Lie to Me" and follow- up single "Parasite" both offer a modern edge to the band's trademark sound: blistering guitars, hammering drums, razor-sharp lyrics and, of course, irresistible hooks. It can now be revealed that these two songs form part of a larger body of work: a long-awaited fourth album.

Titled The Terrors of Comfort, the collection of ten brand-new songs finds Kisschasy at the peak of their creative powers. Band member Daz Cordeux describes the album as "raw, alive and commanding" and "the closest you're ever going to get to the true essence of our band." The Terrors of Comfort, Kisschasy's first new album since 2009, will be released on February 13, 2026

Mannequin Records presents Electronic Corporation 1998–2006, a compilation bringing together rare and long unavailable recordings by the German electronic projects H.E.I.M. Elektronik and MAS 2008.

Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.

The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.

At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.

Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.

This 45 reissues two Spanish classics—DJ’d, sung, and danced to exhaustion—featuring striking arrangements and rhythms inspired by soul, funk, and rock, pushing flamenco-influenced popular music into previously uncharted territory. The flamenco rock of ‘Orgullo’ (1974) by Las Grecas will appeal to international listeners already captivated by the Anatolian sound of Baris Manço, Mogollar… On the B-side, Paco, Paco, Paco’ (1969) by Encarnita Polo is a soul-pop hit with an irresistible syncopated rhythm and killer bass lines. In the final years of Franco’s dictatorship, when Spain’s popular music was kept on the sidelines of avant-garde and countercultural trends, a number of records emerged that dared to bend and hybridize the country’s so-called “national” musical genres (calling it flamenco outright would be imprecise) and infuse them with a dose of modernity. This single brings back two of those local popular classics—DJ’d, sung, and danced to exhaustion—which featured arrangements and rhythms inspired by what their creators had heard in international soul, funk, and rock productions. The first 20 seconds of ‘Orgullo’ (1974) hit with a powerful sonic punch built on ferocious fuzzed-out guitars, distorted keyboards, and thunderous drums that could easily belong in the discography of Led Zeppelin, The Guess Who, or Cream… until, suddenly, Las Grecas start to sing and Flamenco rock is born. It will undoubtedly resonate with international audiences already drawn to the Anatolian sounds of Baris Manço or Mogollar. A few years earlier, in 1969, the brilliant Argentine producer and arranger Adolfo Waitzman had already transformed a harmless light pop tune recorded by a yeyé girl, Encarnita Polo, into a soul-pop hit driven by an irresistible syncopated groove and killer bass lines. The playful ‘Paco, Paco, Paco’ became a bestselling single in Spain and, more than 50 years later, is still celebrated as a brilliant example of the romance between flamenco-inflected sounds and soul-pop. First-ever single reissue.

Repress!

THE M.V.P.'s burst into life on the Northern Soul scene back in 1975 courtesy of Blackpool Mecca DJ Ian Levine and has long since divided opinion. Is it pop, is it soul, are they black, are they white, etc etc. Well, it's a rock record from 1971 and has nothing to do with soul... but everything to do with Northern Soul! It packed the floor at the Highland Room and was adopted as a Wigan Casino anthem and immortalized by Tony Palmer in his 1977 Granada TV documentary This England. It was reissued by UK Buddah, due to popular demand, driven in no small part by the TV show and its 20 million viewers. Now, some 40 years on, we present the iconic track, both stereo and mono mixes, as mastered at the time by Bell Sound's senior engineer Joe Breschie.

SALES POINTS:
All time Northern Soul Classics - Two fabulous sides
Massive appeal to ALL Northern Soul fans
As featured in the film Northern Soul

Faellesskab reveals their most critical and emotionally charged work to date, a deeply personal voyage into the heart of Nordic black metal, where raw emotion and melodic depth keep reveling in sorrow and longing beauty. Translating to "Community", Faellesskab's six tracks weave a strong musical oeuvre within the Afsky canon; their walls of haunting melancholia, interwoven with vital intensity, have never been more powerful. Yet, this new work also sees the band at its sharpest in social criticism, as Ole Luk of Afsky notes: Faellesskab - Overture to the Downfall. Here, community is praised like herd animals fleeing responsibility.

A parade of moral superiority, where truth is trampled in the name of consensus. Where unity means silence, and doubt is a crime. Six songs of shame disguised as care, of freedom suffocated, and of the solitary few who still dare to question. A chorus of hollow words, where silence screams the loudest. Welcome to the celebration - the curtain hasn't just risen, it's been torn away! Afsky will mark the release with a special show in Copenhagen on October 17, graced by a full European album release tour kicking off the following week. Two singles are set to be unveiled in the lead-up to the release. While Afsky continues to refine their signature sound, this release is set to be another landmark in the band's uncompromising discography.

Ryo Fukui, the renowned pianist from Hokkaido who sadly passed away in 2016, has earned global recognition among jazz listeners through his highly praised early works Scenery and Mellow Dream. A Letter From Slowboat, recorded in 2015, marked his first leader album in sixteen years. The sessions took place at Slowboat his musical home together with two young musicians whose talent Fukui himself deeply trusted. The lyricism that seeps through “Sonora”, the poetic warmth enveloping “Stella By Starlight,” the vibrant energy coursing through “Speak Low” each performance is filled with life. His touch grew more forceful, his emotions more profound, his musical fragrance even more luxuriant.

Auf "What's This?" liefern CS Cleaners 11 Tracks verzerrten, neonfarbenen Art-Punk, der gegen die Absurdität des modernen Lebens wettert. Die Band ist beeinflusst von der Downtown-Musik New Yorks von der ersten vielfältigen Welle des CBGB über die Mutationen und Dekonstruktionen des No-Wave. Doch auch wenn der Sound von CS Cleaners in einer Musik verwurzelt ist, die manchmal ziemlich hart sein kann, nehmen sie sich selbst keineswegs ernst: "What's This?" ist in erster Linie Tanzmusik, wenn auch in einer Form, die wild genug für diese extremen Zeiten ist. Die Charaktere, die auf What's This?" porträtiert werden, sind oft in Momenten der Selbstzweifel und Panik gefangen. Wie der narzisstische Musiker auf der Vorab-Single "Come & Go", der total ausflippt, weil er befürchtet, das Rampenlicht zu verlieren. Ben Petrosor vermittelt Pathos in Zeilen wie "if I swallow my pride, I'll split in two", die Mitgefühl für einen unsympathischen Charakter in einer nachvollziehbaren Situation wecken. Wir erleben eine Vielzahl solcher Panikattacken auf "What's This?". Sie entspringen dem Überwachungsstaat der sozialen Medien, dem Druck, in einer zunehmend feindseligen Stadt zu leben, und natürlich der Überlastung.

Strut Records proudly presents a new reissue of the original Afrobeat classic Low Profile (Not For The Blacks), recorded and composed by Afrika 70 saxophonist and bandleader Lekan Animashaun and produced by Fela Kuti. After years touring the world as Fela’s baritone saxophonist, Animashaun stepped forward to lead the legendary Egypt 80 band following Tony Allen’s departure, remaining the group’s musical director until Fela’s death in 1997. He continued on subsequent tours with Seun Kuti until 2016. Lekan began recording his only solo project, Low Profile, in 1977. The album was composed and recorded across sessions at home in Nigeria and on tour with Fela, who both produced the recordings and added keyboards to the album’s title track. ‘Low Profile (Not For The Blacks)’ referenced a government campaign during the country’s 1970s oil boom: “It was inspired by a speech by Olusegun Obasanjo, Nigeria’s military Head of State, when he urged black people to keep a low profile about their wealth and not to behave in a vulgar, arrogant way,” explains Lekan. “I argued that low profile is not just for the blacks, as everyone is human, regardless of race.” On the flip side, the simmering Afrobeat anthem ‘Se Rere’ (which translates as ‘Do Right’) delivers Animashaun’s message of living with integrity: do right, and you will reap what you sow.

The song later became the band’s opening number during Fela’s live performances both in Nigeria and internationally throughout the 1980s and ’90s. Despite recording beginning almost two decades earlier, Low Profile did not receive an official release until 1995, when it finally surfaced on Fela’s Kalakuta label. One of only a handful of albums led by core members of Kuti’s band, Low Profile captures a pivotal moment in Afrobeat history. Over time, the original has become a rare and highly sought-after record, and this new reissue places the spotlight back on a modest but influential Nigerian legend. Strut’s reissue features the complete original artwork, is fully remastered by The Carvery, and includes brand new liner notes by Lekan Animashaun himself.

From the edges of a hallucinatory torpor, Rue des Garderies continue their explorations in psychedelia - Femacosmé presents here a new piece recorded live at the Pe:rsona festival, at Domaine des Éveils in the summer of 2025.



An adventure guided by blur, the intangible, the impermanent, where layers, voices, sounds, and organic and synthetic echoes resonate, emerge, then fade away, as if to deceive reality, or at least our perception of it.



More than two semi-improvised hours in which Rue des Garderies (Sweetzak, Désiré Bonaventure & Vasco Cesaretti) summon us to an astral yet motionless journey, somewhere between ambient, IDM, and post-pop.

Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Her’s) EP two: ‘Marionette’ has been produced by Daniel Fox (Sprints, Melts, Psychotic Monks, Naked Lungs, Nerves, Ronan Group) and it’s set to be seminal. A set text for future musicians with aspirations of innovation. “The theme of the marionette is present throughout each song, involving some aspect of a power struggle and a lack of control within oneself.” Opener ‘Chocolate’ bounces in on a synth line as slippery and hyperactive as anything Aphex Twin ever cooked up. Crispy offbeat electronic cymbals play counterpoint to atonal guitars and pugilistic drumming before the track dry-wretches its way into a nauseating cacophony of euphoria. It’s a tale of crippling social anxiety and a preference for an unflattering, lonely reality. The muted guitar pluck in the intro to ‘Crows’ is the sonic equivalent of biting one’s nails. An anxious, involuntary tic that speaks to the theme of guilt, especially surrounding digital culture: “children can watch what they please, just with viewer discretion.” The track lurches between textures, weaving themselves in and out of focus. Guitars blare like sirens, interrupting paranoid urban centres at 2am, while the bass sounds like the inside of an insomniac’s head on day four of a REM drought.

The metallic intent of ‘Discipline’ squats on the chest as though Steve Albini is your sleep paralysis demon. The pain of accountability spews from the industrial regularity of the beat, apt to the narrative of a soldier coming to terms with the lies that made him commit atrocious, violent acts. EP closer ‘Servant’ starts like a Spectrum loading screen. Dial-up modem-coded, it pauses for moments of white-noise-vomit and existential bloops. Fitting for a more abstract take on the idea of the power struggle filtered through religious imagery and self-awareness of one’s own actions, coupled with an inability to exert control over them. The band pile on the textures with sadistic glee until the evil is exorcized and the modem melts. Connection severed. Across the EP, vocalist Joseph has a tendency to hyper-fixate on themes of control and unhappiness. Creating rooms in which doom and isolation ricochet. Not that it’s all bad news “we like to think that by shedding light on the negative, it commands a sense of hope.” Influenced as much by the liminal-space horror and uncanny dread of Silent Hill as the existentialist theatre of The Twilight Zone or the absurdity of Twin Peaks, they occupy a space between unease and impulse. Makeshift Art Bar are not a band interested in being liked. They’re a band interested in being necessary. There’s so much eating and drinking in their work that multiple listens simply don’t satisfy; something new reveals itself on each return visit. Audacious. Idiosyncratic. Vital. A young band carrying identity, defiance and an uncompromising vision as if it isn’t a rare cargo.

Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Her’s) EP two: ‘Marionette’ has been produced by Daniel Fox (Sprints, Melts, Psychotic Monks, Naked Lungs, Nerves, Ronan Group) and it’s set to be seminal. A set text for future musicians with aspirations of innovation. “The theme of the marionette is present throughout each song, involving some aspect of a power struggle and a lack of control within oneself.” Opener ‘Chocolate’ bounces in on a synth line as slippery and hyperactive as anything Aphex Twin ever cooked up. Crispy offbeat electronic cymbals play counterpoint to atonal guitars and pugilistic drumming before the track dry-wretches its way into a nauseating cacophony of euphoria. It’s a tale of crippling social anxiety and a preference for an unflattering, lonely reality. The muted guitar pluck in the intro to ‘Crows’ is the sonic equivalent of biting one’s nails. An anxious, involuntary tic that speaks to the theme of guilt, especially surrounding digital culture: “children can watch what they please, just with viewer discretion.” The track lurches between textures, weaving themselves in and out of focus. Guitars blare like sirens, interrupting paranoid urban centres at 2am, while the bass sounds like the inside of an insomniac’s head on day four of a REM drought.

The metallic intent of ‘Discipline’ squats on the chest as though Steve Albini is your sleep paralysis demon. The pain of accountability spews from the industrial regularity of the beat, apt to the narrative of a soldier coming to terms with the lies that made him commit atrocious, violent acts. EP closer ‘Servant’ starts like a Spectrum loading screen. Dial-up modem-coded, it pauses for moments of white-noise-vomit and existential bloops. Fitting for a more abstract take on the idea of the power struggle filtered through religious imagery and self-awareness of one’s own actions, coupled with an inability to exert control over them. The band pile on the textures with sadistic glee until the evil is exorcized and the modem melts. Connection severed. Across the EP, vocalist Joseph has a tendency to hyper-fixate on themes of control and unhappiness. Creating rooms in which doom and isolation ricochet. Not that it’s all bad news “we like to think that by shedding light on the negative, it commands a sense of hope.” Influenced as much by the liminal-space horror and uncanny dread of Silent Hill as the existentialist theatre of The Twilight Zone or the absurdity of Twin Peaks, they occupy a space between unease and impulse. Makeshift Art Bar are not a band interested in being liked. They’re a band interested in being necessary. There’s so much eating and drinking in their work that multiple listens simply don’t satisfy; something new reveals itself on each return visit. Audacious. Idiosyncratic. Vital. A young band carrying identity, defiance and an uncompromising vision as if it isn’t a rare cargo.

‘Cécile McLorin Salvant ... sings standards, show tunes and old novelties in a taut, flinty, elusively beautiful voice, erring toward material with difficult lyrics and tough places in history. Salvant wins over her audiences by tweaking them slightly: daring them to go there with her—not just into the archive, but toward the darkness of the past.’ – New York Times

‘Although Salvant is known as a jazz musician, her approach to music is defined by her instinct for experimentation ... Her music is beloved for ... embracing theatre and subverting classics with playful renditions.’ – Guardian

Salvant, who has performed with orchestras regularly over the last decade-and-a-half and intended to make an album with one sooner in her career, but logistics and her abundant creative ideas led to other new projects intervening. Having finally found time to make this album, With Every Breath I Take is a different sort of record than it might have been even ten years ago.

“It is a rare opportunity to be able to make an album at this scale, which has been a dream of mine for many years,” Salvant says. “Darcy James Argue wrote stunning arrangements and the Metropole Orkest, conducted by the extraordinary Jules Buckley, gave these stories a cinematic dimension. We overcame quite a few obstacles to even get into the recording studio for this project; it took almost four years for us to do so, and I am so incredibly proud to share it.

“I did not choose these songs because they are beautiful, but because they are crucial to me,” she adds.

Cécile McLorin Salvant, a 2020 MacArthur Fellow and three-time Grammy Award winner, is a singer and composer bringing historical perspective, a renewed sense of drama, and an enlightened musical understanding to both jazz standards and her own original compositions. Classically trained, steeped in jazz, blues, and folk, and drawing from musical theater and vaudeville, Salvant embraces a wide-ranging repertoire that broadens the possibilities for live performance.

Salvant’s performances range from spare duets for voice and piano to instrumental trios to orchestral ensembles. Her unreleased work Ogresse is an ambitious long-form musical fairy tale that is being made into a feature length animated film. She has performed at national and international venues and festivals such as the Newport Jazz Festival, the Monterey Jazz Festival, the Village Vanguard, and the North Sea Jazz Festival. Her previous Nonesuch albums, Ghost Song (2022) Mélusine (2023), and Oh Snap (2025) received critical accolades; the former two were both nominated for Grammy Awards. Salvant is also a visual artist, and Oh Snap was named a best album of 2025 by the Guardian, Jazzwise, JazzTimes, and the Francis Davis Jazz Critics Poll.

April 1, 1996, saw Tina Turner release her ninth studio album, Wildest Dreams. It peaked at #26 in the Billboard R&B Chart, #4 in the UK Album Chart, and secured numerous Top 5 placements across European charts, earning double platinum status in the UK and Europe. The album featured the hit song "Goldeneye", the James Bond theme tune which saw the franchise relaunch with Pierce Brosnan in the starring role, the song was penned by U2’s Bono and The Edge. Five further singles were also released, including collabs with Sting and Barry White.

The set will be rounded out with Live In Amsterdam / Wildest Dreams Tour, originally released on Eagle Rock DVD, with newly remastered audio and on Blu-ray for the first time, and with a new booklet featuring new liner notes by UK music writer and former Record Collector editor, Jason Draper.

The 2LP 140g vinyl will feature the remastered album, now spread across two vinyl for superior sound.

Random Color ReVINYL Edition. Never has a Songs: Ohia album's process been so integral to its overall feel as is the case with DIDN'T IT RAIN, the band's sixth proper full-length. The album, like the working class South Philadelphia neighborhood in which it was birthed, has a real used goods kinda feel to it. Engineer Edan Cohen employed what some may consider "old-fashioned" recording techniques -- the entire album was recorded live with no overdubs, the full band playing in one room with the players always within arms' reach of one another; singers Jason Molina, Jennie Benford and Jim Krewson (the latter two of Jim & Jennie And The Pinetops) sharing microphones singing live together, sometimes sitting in chairs, sometimes standing. The result is a sound which resembles the warmth and personality of the classic Muscle Shoals Sound recordings of the early- to mid-70s: Willie Nelson's PHASES & STAGES, the Rolling Stones' "Wild Horses", and others by Aretha Franklin, Boz Scaggs, Bob Seger, Lynyrd Skynyrd and Wilson Pickett.Inspired by the Mahalia Jackson song of the same name, the title track is a beautiful song about the shifting tides of life and the old cycle of "a lot of shit going down before shit clears up". It's a damn fine place to start an album that seems in no hurry whatsoever to make a universal statement, instead perfectly content to walk its own path toward resolution. And damn if Songs: Ohia principal songwriter Jason Molina hasn't gone and created a record that is even more intensely personal and healing than any of his previous works. Neil Young had his AFTER THE GOLDRUSH, this is Molina's DIDN'T IT RAIN. Indeed, this is the album with which Molina really leaves his mark as a serious songwriter and artist. On 1999's genre-bending Ghost Tropic full-length, Songs: Ohia made it clear that it could make a cohesive album that took its listener on a journey from front to back. Its dislocated feel set a haunting tone, and its largely instrumental and drone-like quality was the process of the Ohia eluding itself and its own tendencies, searching for the underside of its roots freshly yanked. With DIDN'T IT RAIN, Molina & Co. return to the beauty of the song form and offer up a startlingly soulful and introspective song cycle in which Molina -- accepting a comfortable degree of anonymity amongst the other players -- meditates on what it means to feel rooted again (in the city of Chicago, where he's called home for the past three years), sounding more sturdy at his core than ever.

A two-headed, four-handed groove-and-space-based understanding & alignment of purpose laid out in pure BCMC DNA. Cooper Crain and Bill MacKay"s keyboard and guitar duo make unbridled electro-ecstatic, intuitive assembly of deep and wide trans-hemispheric sounds. Even if you only like Ummagumma, Nino Rota, King Crimson, Sandy Bull, Crystal Silence/Hotel Hello, you will still want to dig deep into BCMC"s Stash.

A two-headed, four-handed groove-and-space-based understanding & alignment of purpose laid out in pure BCMC DNA. Cooper Crain and Bill MacKay"s keyboard and guitar duo make unbridled electro-ecstatic, intuitive assembly of deep and wide trans-hemispheric sounds. Even if you only like Ummagumma, Nino Rota, King Crimson, Sandy Bull, Crystal Silence/Hotel Hello, you will still want to dig deep into BCMC"s Stash.

‘Songs in A Minor (25th Anniversary Edition)’ features the classic, 5 time Grammy winning debut album augmented with two bonus tracks from the original album recording sessions: “Foolish Heart” and “Crazy (Mi Corazon),”. This limited quantity 2LP set spreads the 18 total tracks across four sides, all pressed on orange marbled vinyl housed in a luxe gatefold package.

The band The Screamin' Cheetah Wheelies emerged in 1991 in the Nashville blues scene. With their jam-oriented style, they quickly made a name in the live circuit and attracted the attention of major labels and ended up in the Billboard charts.

In 1996, they released their second album Magnolia. It was produced by Michael Barbiero (The Allman Brothers Band, Blues Traveler) and features a guest appearance by Warren Haynes of Gov't Mule. The album became a fan favourite and had two singles that appeared on the US Rock chart. Now, 30 years later Magnolia remains a Southern Rock classic and will finally be available on vinyl.

Magnolia is available as a 30th anniversary edition of 1500 individually numbered copies on blue vinyl and includes an insert.

The 18th Parallel strikes hard once again with its new riddim series called ‘BONANZA CHARGE’. Carefully produced in its Geneva studio, the collective of musicians presents two vocal cuts and one horns instrumental released as three 7” singles with dubs mixed by Roberto Sánchez. This is heavyweight roots reggae tailor-made for the heaviest sound systems!

Three months only after the release of the hit song ‘More Work To Be Done’, Young Kulcha – the rising star of European sound systems – returns with a second single on Fruits Records! In stark contrast to the heavy stepper riddim of The 18th Parallel, Young Kulcha’s high-pitched voice tackles the classic rasta theme of mystical revelation. This ‘Mystic Revelation’ is spiritual music designed to be danced to at sound system community gatherings. Scorcher!

Noesis is the transatlantic convergence of ST’Pauls, Bristol lyricist Wish Master and New Orleans producer Wino Willy—a dense, meditative body of work where razor-edged wordplay meets smoked-out, rhythm-forward production. Rooted in underground rap tradition but unbound by geography, the album moves between introspection and assertion, pairing Wish Master’s intricate flows and philosophical leanings with Wino Willy’s textured drums, warped samples, and low-slung Southern bounce.

The result is a cohesive, head-nod-driven record that feels both cerebral and visceral—two distinct scenes speaking a shared language through sound. Noesis is not just a collaboration; it’s a dialogue across oceans.

LUCKY is the self-titled debut album by the San Francisco band, born of a collaboration between songwriters Andrew St James (French Cassettes, Juan Wayne) and Peter Kegler (Half Stack). Now a full band featuring, the group combines anthemic indie-rock with y’allternative twang, the perfect soundtrack for long drives and late night revelries.
The story begins when St James booked Kegler’s band Half Stack for a show with Juan Wayne at the Rickshaw Stop in San Francisco. The two immediately recognized each other as kindred spirits and before long they were spending late nights at The Lucky Horseshoe in Bernal Heights, where they pledged to make an album together. Much like Lennon-McCartney or Jagger-Richards, St James and Kegler showed up with their own songs and helped each other dial them in, the songs becoming something totally unique in the process. Pretty soon they recruited Elsasser and headed into the studio with producer Joe Santarpia (Mac DeMarco), where they blazed through more than half a dozen songs in a few days, capturing first takes of raw energy.
Album opener “Falling Through”, written by Kegler on a long drive over HWY 17 to Santa Cruz, pairs talkin’ country vocals on the verse with a hard hitting chorus, eventually ramping up to a phased out guitar solo and a truly epic bridge with gang vocals and an ad lib from St James. Meanwhile, lead single “Traveler” was the first song written for the album, originally a folky shuffle, St James thought it was a goner but Kegler helped recast it as a mid-tempo rocker with a twangy alt-country edge. “Friends” is a true-to-life account of St James’ lifestyle as he shuttled between San Francisco and Los Angeles, paying homage to the City’s legendary House of Prime Rib with a propulsive beat that recalls Girls, Kings of Leon, and the grandiose energy of the E Street Band.
Highly anticipated debutalbum from LUCKY. Press coverage includes reviews and features in Various Small Flames, Glide Magazine, Broken Dreams Club, and more.
“...equal parts laidback swagger and earnest emotion…” - Various Small Flames
“LUCKY is becoming one of the most exciting figures to emerge in alt-country in some time.” - Glide Magazine.

The latest album from Michael Cashmore (formerly of Current 93, plus known for his work as Nature and Organisation and collaborations with artists such as Marc Almond, Nick Cave, Bill Fay, Rose McDowell and Antony and the Johnsons, amongst others) veers from the paths his previous releases have been on into an area altogether more grandiose or stately. While all of his recordings under his own name have alluded to orchestral or soundtrack work to varying degrees, he has long committed himself to a series of six actual symphonies. The fourth will appear on Finland’s Svart Records and the fifth takes the form of this limited edition vinyl release on Lumberton Trading Company. Comprising four movements, two on each side, under the title The Last Light is Your Own Star, these are as bold and beautiful as they are demonstrative of a composer now reaching new heights as he matures into his vision.

Side A begins with CEM3340 & 2030’s “I Don’t Know”, a Detroit-inspired electro cut merging crunchy basslines, warm strings and raw energy, showcasing the nostalgic yet forward-thinking music crafted by two key figures of the Italian electro underground. Lake Haze keeps the electro narrative moving with “Modular Processed Data”, a melancholic broken-beat piece that balances softness and strength with timeless poise. Closing the side, 3KZ unveils “Step Into Light”, pushing the emotional range further through radiant melodic layers and harmonic clarity: high-impact, luminous, and built for those rare moments on a big system when everything clicks.

The journey ends with three shape-shifting cuts on the B Side that refuse to play it safe. Passarani 2099 (an alias of Marco Passarani) warps the frame with “Golden Valley”, channeling dubstep tempo, neuro-basslines, and haunting sequences into mutant rhythmic territory. Peryl’s “Res Affair” follows as a modular techno bomb—wobbling bass, broken patterns, alien textures, riding the edge between chaos and control with surgical intent. Finally, Nothus closes the compilation with “Tango”, an uncompromising finale of gritty rhythm work and experimental propulsion: the perfect full-stop to a decade mapped in sound.

Soul, jazz-rock, candombe and funk blend in the cocktail of La Banda's first and sole album. Often regarded as Argentina's first supergroup, the ensemble built a reputation on their explosive live performances during a time of political repression. Short-lived but unforgettable, the six-piece brought together top-tier jazz musicians—five Argentinians alongside Uruguayan icon Rubén Rada—to deliver a deep, hard-hitting sound that resonates far beyond its era.

Rada arrived in Buenos Aires bruised — a romantic disaster and a string of empty concert halls back in Montevideo had pushed him to start over at 35. Behind him lay a remarkable journey: from inventing candombe beat with El Kinto, to leading the Latin rock powerhouse Tótem, to recording cosmic jazz with Opa alongside the Fattoruso brothers. Trumpeter Benny Izaguirre, the band's architect, gathered around him a cast of heavyweights: pianist Jorge Navarro, an essential figure in the Buenos Aires jazz scene since the 1950s; saxophonist Bernardo Baraj, forged in Alma y Vida, Argentina's jazz-rock champions; and the irresistible rhythm section of bassist Ricardo Sanz and drummer Luis Ceravolo, both veterans of Astor Piazzolla's quintet. All three — Baraj, Sanz and Ceravolo — were simultaneously part of Banda Spinetta, the jazz-oriented project of Argentine legend Luis Alberto Spinetta.

The sessions also drew in two guests who needed no introduction: guitarist David Lebón — veteran of Pappo's Blues, Pescado Rabioso, Color Humano and Serú Girán, one of Argentine rock's true giants — and guitarist and producer Daniel Homer, a quietly indispensable figure across Buenos Aires' jazz and rock scenes.

Recorded in 1979 and gone almost as soon as it arrived — La Banda's brief existence and this sole album are what Buenos Aires sounded like when it was allowed to breathe. Between raids, between disappearances, in the stolen hours when music was louder than fear.

A super-powerful mashup where a female vocal shines over the groove of “Ain’t No Stoppin’ Us Now”!

This 7-inch release extracts the backing track from McFadden & Whitehead’s legendary 1979 Philly soul classic and layers it with Qubiko’s “Set Me Free,” resulting in a deeply groovy rework.

This release features two powerful tracks by French prvoducer Assal, who energetically delivers killer dance tracks mainly in the digital distribution field. The tracks are selected from the extensive catalog of the French label Plaizir Muzic, run by Stephane Deschezeaux, who also releases music by T-Groove.

The A-side reconstructs the hard-hitting rhythm track and lush, memorable string sections of the dance classic-famously covered by artists such as Biz Markie-and overlays them with the soulful female vocals from Italian producer Qubiko’s “Set Me Free,” creating a truly magical tune.

On the B-side, the tempo of Merry Clayton’s 1980 mid-tempo boogie is pushed up and the rhythm intensified, updating it into a fully floor-ready version.

Born in the Washington, DC area and raised in West Virginia, Miller has built a reputation as a thoughtful, boundary- pushing voice in alt- country and Americana, drawing from punk, traditional Appalachian music, and less conventional rock influences. For this record, he left his comfort zone behind and traveled to Tulsa to record at the legendary Church Studio, drawn by the city's deep musical legacy and its ties to artists like J.J. Cale. Co- produced with longtime collaborator Adam Meisterhans , the album was tracked live with a band of Tulsa- based musicians, including Grammy- nominated John Fullbright, under the steady hand of veteran engineers Gary Laney and Mike Prado. The result is John R. Miller 's most ambitious work to date - a spacious, textured collection that expands on the critically praised Depreciated and Heat Comes Down, blending road- worn storytelling, fuzzy atmospheres, and reflections on movement, memory, and change. Rooted in his West Virginia past yet shaped by constant travel and new collaborations, The Great Unknowing captures an artist trusting the process, embracing risk, and letting the groove lead the way.

Sketches of Spain, inspired by Joaquin Rodrigo's 'Concierto de Aranjuez' was the third conceptual collaboration between Miles Davis and Gil Evans, the previous two being Miles Ahead (1957) and Porgy and Bess (1958). All three are essential recordings in their respective discographies and continue to be among their best selling and revisited albums to this day - over six decades since their original release.

A legendary group of entertainers who dominated the nightlife of Las Vegas in the late 1950s and 1960s, The Rat Pack blended music, film, and comedy with effortless charisma and style. Its principal figures - Frank Sinatra , Dean Martin , and Sammy Davis Jr. - were widely regarded as the group's leaders. They not only headlined the shows but also supplied much of the music that defined their performances, embodying the spirit of swing and sophistication through their exceptional on-stage and studio chemistry. This special gatefold edition LP brings together 21 outstanding performances, and includes the only two studio duets they ever recorded for release as singles; 'Sam's Song' (Sammy Davis Jr. & Dean Martin) and 'Me And My Shadow' (Frank Sinatra & Sammy Davis Jr.)

With Love Is Simple, Jeremy Pelt returns to the art of balladry, distilling eight deeply felt performances into his first vinyl-only anthology and shining a light on one of the most quietly persuasive sides of his artistry Drawn from his HighNote recordings, the set favors emotional honesty over grandstanding, pairing a few familiar titles with lesser-known gems that reward close listening.

IBOGA Africa Edits and Overdubs by Joaquin Joe Claussell Feat Long Versions and Unreleased Afro Centric Compositions Special White Color Vinyl 7inch W Full Color Jacket

IBOGA by Joaquin Joe Claussell

Straight from the acclaimed IBOGA EP series, Joaquin Joe Claussell returns with a powerful limited-edition 7-inch pressed on colored vinyl. This special release features the long-awaited extended version of “Dark Eyes,” alongside two brand-new Afro-centric edits.

Included are “Egbe Awan Okurin,” a deep rhythmic journey inspired by African cosmic soundscapes, and “Mochate,” a reimagined 1970s Afro-disco edits enriched with fresh overdubs and signature Claussell energy.

Crafted for DJs, collectors, and selectors alike, this essential 7-inch delivers raw groove, spiritual rhythm, and dancefloor-ready Afro-inspired sounds.

ROCK JUSTICE is a new hard rock/metal act featuring singer Maggy Luyten (Ayreon, Beautiful Sin, The Prize, ex-Nightmare) and guitarist Bas Maas (Doro, After Forever).

The upcoming debut album, You’ve Been Served, is the result of Bas Maas’s long-held dream. He teamed up with Maggy Luyten to shape the powerful, driving sound of ROCK JUSTICE. The album blends varied song styles, tied together by a nostalgic vibe and well-crafted production.

“The idea came to life when I was still playing in After Forever, where I didn’t get a serious chance to contribute to the songwriting. I had written a couple of songs that didn’t make the cut and realized that if I wanted to get my own music out there, I’d have to do it myself, or at least with other people,” says Bas. When he decided to form a band, he had two rules: he wouldn’t sing himself, and it wouldn’t be a female singer. Finding the right guy proved impossible and after several try-outs, one name kept coming up: Maggy Luyten. “Mag’s voice completely blew me away. I thought, ‘This chick sings like a dude and she delivers.’ Not long after that, we met at an Ayreon album presentation in Utrecht. She wanted to hear my songs to see if they inspired her. They did.” The rest is history. Maggy recalls with a smile: “When Bas came over to hear what I’d worked on, we both knew we had something. I still picture him driving back home: window down, our demo blasting, arm out, metal horns up, huge smile!”

It's time to celebrate five years of Paryìa! From the heart of the label, this compilation brings together our two favourite genres, bridging house and techno. Showcasing different cultures and backgrounds, this compilation represents the many different shades the electronic music scene has to offer. Finding that sweet spot through diverse moods and tempos, each track reflects the individual vision of the artist while taking its place within a collective journey that embodies everything the label stands for.

Featuring contributions from Cinthie, Fireground, Toobris, DJ Babatr, DJ Maria, Isabel Soto, Nesa Azadikhah, and Zombies in Miami.

Italian producer Nicodemo returns to Alzaya Records with You Are Sleeping, a five-track EP structured around subtle shifts in perception rather than narrative progression or peak-driven club dynamics.

Across three original tracks and two reinterpretations by Domenico Rosa and Aldonna, the record explores slowed temporal perception, delayed spatial response and the blurred threshold between attention and immersion, using restrained rhythmic pressure and diffused harmonic material.

The second chapter from Alfabet Records unfolds in two movements: Bread&Butter and Jay Tripwire — a dialogue between emerging form and decades of refinement, where minimal structures drift through groove and time.

Craft Services 002 is a multipurpose toolkit. Two sides of tried and tested versatility, suitable throughout day and night.

11:68PM’s second EP on the label is somewhat of a prequel to the 001, a collection of material offering context to the genesis of his sound, set to further refine the coordinates Craft Services operates within.