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ZENA, the contemporary ethio-jazz duo from London comprised of producer, keyboardist

and synth player Yohan Kebede and bassist/producer Menelik, have announced the forthcoming release of their debut EP ‘TEMESGEN’; is a six-track aural odyssey that balances uncompromising experimentation with a deep sense of home, comfort, and exploration. In accordance with the duo’s mission, the project is seeking to redefine and reimagine Ethiopian music for a new generation.

Speaking on the inspiration behind the EP’s title, Yohan said: “‘TEMESGEN’ means “Thank God” in Amharic, and for me, I never heard my mother receive good news without saying it aloud. After the first couple gigs we did as ZENA, we saw how people reacted to our music and how it resonated with them. It spurred in us a feeling of overwhelming gratitude, after which the EP kind of named itself”

Born out of a mutual love and respect for the music of their shared Ethiopian heritage, ZENA are charting a new endeavour where Ethiopian musical traditions meet the future. Building upon the roots and foundations laid by legendary Ethiopian musicians Haliu Mergia, Alemayehu Eshete and Mulatu Astatke, ZENA fuses the haunting spirituality and earthiness of the ethio-jazz tradition with a modernity, sensuality and sense of disruption that is distinctly London.

Following three sold-out London headline shows, plus appearances at We Out Here Festival and on NTS Radio, ZENA arrive on Brownswood Recordings with a bold debut that’s equally at home across jazz-minded selectors and leftfield crate-diggers. The duo’s momentum is fuelled by Yohan Kebede’s landmark year with Kokoroko; from the release of Tuff Times Never Last to an NPR Tiny Desk, a North American tour, and their biggest headline show yet at O2 Academy Brixton, alongside Menelik’s quietly formidable reputation in London’s inner circle, shaped by time on the road and in the studio with Muva Of Earth and Bill Laurance.






d B1 IT'S YOU (ANTE NEH) ft. Meron T




d B1 IT'S YOU (ANTE NEH) ft. Meron T




[d] B1 IT'S YOU (ANTE NEH) [ft. Meron T]

"Invaders Must Die" is The Prodigy"s 5th album, and is 40 minutes of having your head battered by future nostalgia, serotonin levels twisted by feel-good horrorcore and your synapses snapped by whiplash attitude. It"s the sound of The Prodigy mixing up genres, contorting the past and rewiring the future, ram-raiding through the tranquility of music"s status quo like a blot on the landscape of England"s dreaming. The first thing you notice about "Invaders Must Die" is how complete it sounds, a consistent collection of bangers all firing from the same cannon. The next thing you notice about "Invaders Must Die" is just how melodic it is. Not just melody in the vocal sense but in the heyday-of-hardcore keyboard-hookline sense. Yes, if The Prodigy have learned anything from the hugely successful live shows it was that those old skool rave anthems still rock hard - and are every bit as iconic to their generation as punk was to the nation"s forty-somethings. So "Invaders Must Die" is awash with references to the free party generation, thundering along like the mother of all E-rushes, all hairs tingling, spine jumping and lips buzzing. But not a retroactive arms-in-the-air, water-sharing nostalgia trip, but a set fuelled by punk"s saliva-dripping rabid snarl. "Invaders" also features Dave Grohl drumming on "Run With The Wolves".

Born in Victoria, B.C., and shaped by formative years in Vancouver, artist and producer Sophia Stel found a rapt cult fanbase with her 2024 debut EP Object Permanence, a fiercely vulnerable collection of genre-agnostic earworms fueled by her full-bodied, affecting alto. By following her intuition and going against the grain of online fads, Stel is setting trends, not chasing them - always creating from a place of true originality. Her self-directed, sometimes spurâÇ`ofâÇ`theâÇ`moment digicam visuals for tracks like "I"ll Take It" and "You Could Hate Me" have the fuzzy realism of vintage photos or cherished memories: effortlessly cool without ever trying to be. In addition to earning co-signs from Troye Sivan and A.G. Cook and being selected for this year"s DAZED 100, she recently made her runway debut at Ann Demeulemeester"s PFW SS26 show and embarked on her first headline tour, which included a performance at Pitchfork Festival in Paris, following the release of her sophomore EP How to Win At Solitaire. Continuing to push the boundaries of today"s music landscape while honing a truly singular, post-genre sound that"s all her own, Stel is currently working on her debut album.

DOODSESKADER clearly haven’t had enough of redefining boundaries – they’ve only just gotten started. Tim De Gieter and Sigfried Burroughs return on April 3rd, 2026 with their third full-length album, The Change Is Me, a rollercoaster that can only be described as the unstable lovechild between witch house, hip-hop, industrial dream pop, and stadium rock that can’t decide if it wants to watch the world burn or shout from the rooftops that we need to save it. Their combination of grungy 90s melodies with distorted synths, sludgy bass, hard tuned vocals, rapping, singing, and explosions of undiluted rage at the current state of the world leave you wondering just exactly what it was you smoked last night, and if it was too much or not enough. The Change Is Me is an album that grabs you by the arm and asks if you’re ready to go on a grand adventure, then pulls you into its chaos before you can say “yes” or “no.”

Tim and Sigfried aren’t just breaking the boundaries between genres; they’re breaking out of their own Year cycle, a path they had laid out for themselves at the band’s inception in 2020. Up until now, the duo had set out to document their “journey to getting better” through writing one album each year: Year Zero (2020), Year One (2022), and most recently Year Two (2024). After spending eight months throughout 2024 and 2025 writing, recording, producing and mixing Year Three, the band scrapped the finished record entirely. Playing shows while simultaneously navigating the process of mixing Year Three created a sort of disconnect – the people that they were when they wrote that record and the people that playing shows made them become were no longer one and the same. “We’re people with faults and strengths, and we realized we needed to accept it. That’s equal parts bleak and liberating. If you’re so focused on self-improvement, you can’t even applaud yourself for how far you’ve come,” the band explains. “This project is meant to be a document of us and of the human condition, not a self-improvement handbook designed to keep us all stuck on what may or may not have happened to us or because of us in the past.”

DOODSESKADER chose instead to embark anew on a week-long creative journey in Tim’s own Much Luv Studio with one goal in mind: to make an album that captures who they are right now. Finally writing everything together in the same room for the first time in years, the process of bringing "The Change Is Me" to life was captured by Diana Lungu in their latest documentary, "Now I Know You See Me", out December 2nd, 2025.

"The Change Is Me" marks the beginning of DOODSESKADER’s shift into a more positive era, both musically and conceptually. Over the course of the 40-minute record we hear the two friends unite in a fight against a world that grows more and more disappointing, a concept made crystal clear in tracks like “Celebrity Culture Simp Farm,” “It Keeps On Stinging,” and of course the album’s epic closer “Suffering In Technicolor.” While their previous albums saw them trying to outrun their pasts and arrive at a better version of themselves, here the search for some external or internal revelation that will “make them better” is no more. It’s been replaced by the realization that change isn’t something we force: it’s gradual, and more importantly, it’s something that’s already there – we just need to reach out and accept it.

The band’s live appearances over the last several years have been instrumental in shaping their ideology. On stage is where the duo find connection; not only with the audience, but also with each other. Their sold-out release shows at Ancienne Belgique (2022) and VierNulVier (2024) have proven that they are one of Belgium’s must-see acts. Abroad, their energy has translated into a month-long EU/UK tour with French band Alcest in 2024, as well as appearances at festivals such as Roadburn Festival (NL), Eurosonic (NL), Hellfest (FR), Mystic Fest (PL), Jera On Air (NL), ArcTanGent (UK), Fluff Fest (CZ) and more.

"The Change Is Me" is out April 3rd, 2026 on DOODSESKADER’s own label, 45 Records.

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

The new album by L.Y.R., their third commercial release, begins with the idea that the furthest points of light - stars - can only be seen in the dark. It’s a kind of contradiction that finds musical expression in these new tracks, the band always navigating towards sightings of hopefulness and constancy in an increasingly bewildering and storm-battered world.

The term dark sky reservation has its origins in environmentalism, and several tracks on the album deal with the messed-up weather of our contemporary planet, both meteorological and psychological, from descriptions of an earth deluged by thunderstorms to the soggy back-gardens of suburbia, a climate crisis brought on by rampant urbanism. In that context, dark sky reservations are those regions of the landscape where light pollution is discouraged and even outlawed, to allow scientists and casual stargazers to peer into the cosmos and see the glory of the constellations, patterns of light that have entranced and mystified us for hundreds of thousands of years.

It’s from those designated zones that human beings get a sense of their place in the universe, and experience the wonder of the here and now against a context of eternity and infinity. An alternative to the hectic craziness of everyday life, so often virtual and synthetic, the dark sky reservation is a place of refuge and dreaming, and like L.Y.R.’s music, such spaces are earmarked for contemplation and thoughtfulness.

L.Y.R. is author and current British poet laureate Simon Armitage, singer-songwriter Richard Walters and multi-instrumentalist & producer Patrick Pearson.

Stacey Kent is an American jazz singer in the mould of the greats, with a legion of fans, a host of honors and awards including a Grammy nomination, album sales in excess of 2 million and more than one billion streams, and Platinum, Double-Gold and Gold-selling albums that have reached a series of chart-topping positions.

Stacey, a comparative literature graduate with a passion for music, travelled to Europe to further her studies after receiving her degree from Sarah Lawrence College in NY. Through a series of twists of fate, she found herself in London where she enrolled in a graduate music program at the Guildhall School of Music and Drama, where she met her future husband and musical partner, Jim Tomlinson.

Kent's musical journey began with childhood piano lessons. A keen ear and true voice lead her to search out opportunities to express her love of music. However, nothing suggested the shift from the academic path to the one that propelled her to international recognition as one of the foremost jazz singers of her generation. With a catalogue of 13 studio albums, including the Platinum selling, Grammy-nominated Breakfast On The Morning Tram (Blue Note/EMI 2007) and an impressive list of collaborations, Stacey has graced the stages of nearly 60 countries over the course of her career.

Her worldwide fan base is testimony to her ability to express the emotional heart of her songs with delicately nuanced interpretations that transcend borders and defy categorization. Her unique multi-lingual repertoire includes standards, chanson, Bossa Nova, and originals written by Jim Tomlinson, her saxophonist/producer/composer/arranger husband in collaboration with the Nobel Prize-winning author, Kazuo Ishiguro with whom they have worked since 2006. She has also recorded with Brazilian legends, Marcos Valle, Roberto Menescal and Danilo Caymmi, and the celebrated French string quartet, the Quatuor Ébène.

Stacey's last studio album, Summer Me, Winter Me, was released in November 2023 on Naïve Records. A collection of fans' requests from her as yet unrecorded concert repertoire, Summer Me, Winter Me entered the French jazz charts at number 1 and has quickly established itself as a new highlight in her discography. She now returns with A Time For Love.

2026 black vinyl, 2022 Abbey Road remaster, original 2012 artwork! When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album 'World Music' - there was, and there still isn't, anyone else on earth quite like them. With their enticing mythology, music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. 'World Music', received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe. 'World Music' is brimming with tracks now seen as 'classic' Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of 'Disco Fever', the fuzz abuse of 'Goathead', the post-punk groove of 'Let it Bleed', the sing-along repetitive pop of 'Run to your Mama'... From the first note to the last, 'World Music' oozes with a sonic confidence rarely seen on a debut album. What Goat have is unique - they've managed to create a sound unrestrained by genre or any other boundaries. So if you haven't done so already, then it is now time you joined the Goat commune.

The Expanders began playing reggae music together in the summer of 2003, and today are one of the hardest working reggae bands in Southern California. They have come to be known for their vintage style of reggae, played in the tradition of classic 1970s Jamaican groups like The Ethiopians, The Gladiators and The Mighty Diamonds. Their music is centered in three- part vocal harmonies and strong song writing, with lyrics that range from socially heavy to playful and upbeat. The music on the self- titled debut album (2011) was recorded between 2006 and 2010. The band took the time to develop this recording with the goal that the music have an authentic vintage Jamaican sound. To achieve this type of recording, they enlisted the mixing skills of engineer Jay Bonner, original bass player for The Aggrollites, who now runs the JanDisc record label. The initial tracks were all laid down to analog tape at the famous Killion Studios, owned and operated by engineer Sergio Rios, himself an in-demand musician (most notably as guitarist for Orgone, The Lions, and Breakestra)

With two albums released—and a third arriving—in less than two years, Agitator are as ferocious in their release pace as they are on stage. All the more surprising, then, that the forthcoming album "Året av sex" is the darkest and slowest work they have made to date. Influenced as much by chanting witch doctors as by Christian Kjellvander and Leonard Cohen, and drawing from electronic and avant-garde music, the band reshapes its sound into something more brooding and expansive.

Partly recorded in a barn on the island of Öland, the album’s soundscape sees the drum kit augmented—and at times replaced—by scrap metal found in a nearby bay. Through this process, Agitator expand the idea of both what a creative process can be and what a rock band might look like in 2026. The result is bold, unsettling, and compelling: an album that digs deeper than many are willing to in Sweden today.

The lyrics on "Året av sex" are darker, more dangerous, and more precise than ever before. Given greater space within the broader sonic landscape, they become central to understanding this new incarnation of Agitator.

Agitator’s new album is released on March 27 via Adrian Recordings, preceded by three singles. The band’s first two albums have previously been praised by outlets including Dagens Nyheter, P3, Gaffa, Café, and PSL, leading to sold-out tours. A full Swedish tour is scheduled in connection with the album release.

2026 Repress

COEO are to Toy Tonics records, what Master at Work were to the House scene of the 1990ies: They bring the Soul into the House. Their new EP Back In The Days' is a 4 track house stomper that could have been made in 1997 by guys like Sneak, Dimitri from Paris or Little Louie. But still the similarities to the new Berlin Sample-House scene around Max Graef and Hodini are evident, too. Already their last years' superhit NATIVE RIDDIM (which is featured as a bonus track on this vinyl) included some heavy jazz samples they found in their parents' bag of soul. Native Riddim has been no.1 in the Traxsource charts for several weeks and was the basis for their already huge following. From Laurent Garnier to Tensnake - the feedback has been awesome. Now they proceed their way of souldful house. Just good taste.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

BCUC (Bantu Continua Uhuru Consciousness) have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances. The Road Is Never Easy is BCUC"s fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica).

British punk trio GRADE 2 return swinging with Talk About It, their third and most blisteringly realized album, out on Tim Armstrong"s storied Hellcat Records. It"s an 11-track surge that fuses classic punk"s bare-knuckle conviction with the disillusionment, identity crises, and quiet rage of Gen-Z-delivered by three Isle of Wight lifers who"ve been sharpening their edge since they fifirst bashed out covers at 14. Jack Chatfifield, Jacob Hull, and Sid Ryan have spent thirteen years turning raw instinct into a signature roar, and Talk About It captures them at full velocity. Their blistering track, "Cut Throat," distills their ethos: fifierce guitars, punishing rhythm, and a narra-tive of clawing forward while the world seems hellbent on pulling you under. "It"s about a world that takes more than it gives," the band says-and that tension becomes fuel, a rallying cry for anyone navigating a landscape that feels colder by the day. With Talk About It, GRADE 2 don"t just revive punk"s urgency-they embody it.

British punk trio GRADE 2 return swinging with Talk About It, their third and most blisteringly realized album, out on Tim Armstrong"s storied Hellcat Records. It"s an 11-track surge that fuses classic punk"s bare-knuckle conviction with the disillusionment, identity crises, and quiet rage of Gen-Z-delivered by three Isle of Wight lifers who"ve been sharpening their edge since they fifirst bashed out covers at 14. Jack Chatfifield, Jacob Hull, and Sid Ryan have spent thirteen years turning raw instinct into a signature roar, and Talk About It captures them at full velocity. Their blistering track, "Cut Throat," distills their ethos: fifierce guitars, punishing rhythm, and a narra-tive of clawing forward while the world seems hellbent on pulling you under. "It"s about a world that takes more than it gives," the band says-and that tension becomes fuel, a rallying cry for anyone navigating a landscape that feels colder by the day. With Talk About It, GRADE 2 don"t just revive punk"s urgency-they embody it.

2026 Repress, LIMITED PEARL-DEEP-OCEAN COLORED VINYL

Dilby and Pornbugs team up on ‘Between Us’. Pornbugs celebrate 20 years of Bondage in 2026 and 21 years as a DJ/production team. Moving in fresh circles has always been an important part of their longevity, so signings so Selador and Sudbeat have exposed them to new ears showcasing their crossover sound.
Equally, on-form Dilby is having something of a renaissance with his chunky deep house sound now, finding increasing favour with the progressive house elite. Signed to a bewildering selection of labels from Glasgow Underground to Sudbeat, the world is his oyster.

Opening with ‘Hear Me Out’ their combined bumpy deep sound marries incredibly well. Uptempo and lively, this is the future sound of retro, and we are here for all of it. Next up, ‘Hold The Line’ joins the dots between deep and progressive house, keeping the funk and soul intact. Bass-led and groovy as hell, this is your new secret weapon. Play it loud!
‘Fade Into You’ is the first of the vinyl only tracks and marks a stark change of pace. Deeper, more soulful and markedly more thoughtful, this is modern deep house in its glittery new rave clothes. Pairing nicely is the flipside track ‘Beyond Fear’ which rumbles along with techy bass and a chunky groove.

Celebrating the 5th anniversary of Conway's legendary tape with DJ Green Lantern "Reject On Steroids" with a vinyl reissue in collaboration with Drumwork Music. Tape features guest appearances by Royce Da 5'9" and Benny, and productions by DJ Green Lantern. For the occasion we have two different artworks by Shk, limited to 1500 units each.

Celebrating the 5th anniversary of Conway's legendary tape with DJ Green Lantern "Reject On Steroids" with a vinyl reissue in collaboration with Drumwork Music. Tape features guest appearances by Royce Da 5'9" and Benny, and productions by DJ Green Lantern. For the occasion we have two different artworks by Shk, limited to 1500 units each.

Ransom and V Don connect on their highly anticipated collaborative album, "Chaos Is My Ladder", and just as expected, Jersey City's emcee technical bars perfectly fit V Don's cinematic soundscape. Alongside guest appearances by Lloyd Banks, 38 Spesh, Eto, J. Arrr, Mad Squablz and Crystal Caines, the two have crafted a perfect record for their already incredible catalogues, with Ransom coming on the heels of "This Life Made Me" and his "No Rest For The Wicked", and V Don’s most recent collaboration "Deutsche Marks 3" with Willie The Kid.