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Returning from an 18-month hiatus, Companion resurfaces with its long-awaited ninth offering – a six-track EP that beautifully distills the label’s devotion to patient tempos and deep immersive moods. The Garden is the result of a remote, cross-border dialogue between London and Belfast: a project born from a seasonal fatigue with the dancefloor and a collective turn towards our most inner states of being. The debut collaboration between Serenity Complex (Wigs) and Aika Mal, the EP is a meticulously detailed exercise in restraint, trading industrial harshness for a lush, subterranean hush.

The production breathes with a tactile, low-slung urgency: gritty, compressed drums and haphazardly recorded beatboxed percussion captured on a patio beneath the Devon sun provide a raw counterpoint to the EP’s cinematic sweep. Steered by narcotic basslines imbued with the brooding, early DNA of Massive Attack, these undulating pulses coil around the listener with a subtle, magnetic pull. They create a state of suspended momentum where tension never fully resolves and instead becomes the point of return. Aika Mal’s voice acts as a spectral anchor – mellifluous and transfixing as it moves in and out of each carefully curated element.

Drawing from the gossamer, reverb-drenched landscapes of Love Spiral Downwards and the gothic opulence of The Golden Palominos, the tracks lean into a slow, deliberate pace. Dub-influenced low end and trip-hop structures form the backbone, while fractured, gritty breakbeats bring a sharper edge. The release traces low-lit excursions into limerence, thriving in the heavy humidity of the afternoon just as easily as in the blue light of the pre-dawn or the apricity of first light.

The Garden celebrates togetherness by blurring two distinct artistic outlines into a single, prismatic whole. It is an invitation to submerge – a descent into the overgrowth.

Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

Kennedy continues to sketch out imaginary worlds where thoughts and sensations are converted into sound via the power of machines. On this fifth instalment of Hi-Tech Soul, the Dutch producer channels fragments of midnight memories and daytime visions into something tactile yet elusive. As with previous chapters, the process remains shaped by surprise as hands and hardware entwine in a quiet, freeform dialogue.

The music itself drifts rather than drives, unfolding like shifting cloud forms that never quite settle. Loose, frayed house patterns hover in a state of flotation as basslines anchor just enough to stop everything dissolving completely. Each track has a sense of elevation where melodic synths filter through the mix like heavenly sunbeams breaking overhead. There's a constant progression to something that never comes, instead leaving you free to find your own meaning as textures blur into something soft, indistinct and gently euphoric.

A pure state of celestial suspension, 'Dream 5' is the newest offering in a series that takes you to a weightless world of infinite interpretations.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

SCOTTISH TRUMPETER MALCOLM STRACHAN RETURNS WITH HIS MOST UPLIFTING AND GROOVE-DRIVEN ALBUM YET – “LOOK ON THE BRIGHT SIDE” On Look On The Bright Side, Malcolm Strachan sounds more open than ever. His third solo album moves effortlessly between soul-jazz, Latin grooves and Afrobeat touches, anchored by the warm, cinematic feel of 1970s jazz but driven by a clear sense of forward motion. Released on 22 May 2026 via Haggis Records, the album sees Strachan stepping further into his role as a composer and bandleader, drawing together the threads of a career spanning more than two decades at the heart of the UK’s jazz, funk and soul scene. Where his debut About Time (2020) channelled the spirit of classic Blue Note recordings and Point Of No Return (2023) leaned into the groove-heavy CTI era, Look On The Bright Side feels broader in scope – still rooted in groove, but more open to outside influences and a more consciously uplifting tone. “I wanted the music to feel upbeat and positive,” says Strachan. “I start at the piano, working through chord ideas until I find something that feels right. Once the harmony is there, the melodies tend to come naturally.” That approach gives the album its fluidity, with tracks evolving from feel as much as structure and arrangements that leave room for interplay and movement.

Zeitgleich mit dem 40-jährigen Jubiläum der Band wurde Complete B Sides: 1988-97 von Pixies neu remastert und wird 25 Jahre nach seiner ursprünglichen CD-Veröffentlichung erneut herausgebracht. Das Album erscheint als Doppel-LP auf schwarzem Vinyl, als Doppel-LP auf klarem Vinyl sowie als Doppel-CD. Außerdem wird diese Veröffentlichung damit zum ersten Mal überhaupt auf Vinyl gepresst. Complete B Sides versammelt alle B-Seiten aus der klassischen 4AD-Ära der Band und enthält einige der besten "anderen" Songs der Pixies, darunter "Wave of Mutilation (UK Surf)", "Into The White" und "The Thing". Ursprünglich 2001 auf CD veröffentlicht, als sich die Band bereits seit fast einem Jahrzehnt in einer Pause befand, enthielt Complete B Sides: 1988-97 alle 19 Nicht-Single-Tracks aus der unglaublichen Reihe von Singles, die die Band zwischen 1988 und 1991 veröffentlichte. Zum Abschluss wurde die instrumentale Version von "Letter to Memphis" hinzugefügt, die zuvor nur auf der US-Version der Veröffentlichung der Alec Eiffel-Maxi-Single erschienen war. Da auf vier Vinylseiten Platz für mehr Musik vorhanden ist, enthält diese aktualisierte Version zusätzlich sechs Live-Tracks, die aus späteren Pixies-Veröffentlichungen stammen, darunter aus der 1997 erschienenen Neuauflage von Debaser. Für diese aktualisierte Edition wurden alle Titel von ihren ursprünglichen analogen Bändern von Kevin Vanbergen neu remastert. Das Ergebnis klingt erstaunlich frisch und vervollständigt zugleich seine umfangreiche Arbeit am gesamten Katalog der Band. Diese neue Vinyl-Edition fungiert außerdem als Begleitstück zur kürzlich erschienenen Compilation Live at the BBC. Designer Chris Bigg (v23) hat dafür ein eindrucksvolles neues Artwork geschaffen und dabei Fotos aus dem Archiv von Simon Larbalestier verwendet, die ursprünglich für die Pixies vorgesehen waren, später jedoch verworfen wurden. Beide arbeiteten seit vielen Jahren mit der Band zusammen und gestalteten beide Veröffentlichungen parallel, um an den verstorbenen visuellen Direktor der Band, Vaughan Oliver, zu erinnern und ihn zu ehren.

Jacksonville returns with Heavy & Gold, a powerful five-track EP rooted in the raw energy of underground house and analog machine funk. Produced by Chris Lyth, the record blends Chicago-influenced drum programming, hypnotic basslines and deep melodic textures into a set of highly functional DJ cuts built for the dancefloor. The EP moves between muscular jack tracks and deeper hypnotic moments, balancing driving groove architecture with subtle emotional tension. Heavy & Gold opens with the title track, a dense and rolling house cut driven by heavy drums and warm synth layers, before Just Another High delivers a tighter, more stripped-down groove with classic underground swing. Rapido pushes the energy further with a direct, rhythmic workout built for peak-time transitions. On the flip side, Parallel Love expands into a deeper and more atmospheric territory with evolving textures and hypnotic momentum, while closing track Miz & Ida delivers a long, hypnotic groove combining analog warmth and late-night dancefloor pressure. True to the Skylax philosophy, this release focuses on timeless groove design rather than trends, offering DJs and collectors a record built to last in the bag for years. Written and produced by Chris Lyth with executive production by Hardrock Striker and artwork by H5 (Simon Renaud), Heavy & Gold continues the Skylax tradition of uncompromising underground house music.

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.

Purple vinyl, limited to 300 copies. On this, Spirit Caravan's second foray into the long-player format, the band has collectively slowed down the tempo, and dropped the mood into even more contemplative territory. As the grandfather of modern stoner rock, Wino has certainly dipped his guitar picks in LSD this time around. Even though the engineering and production is bone dry and bottom heavy, Wino's psychedelic guitar work -- especially his stinging, busy leads -- has been ratcheted up a few clicks, even if the overall aesthetic is darker, and the superb musicianship from the trio simplified. The listener may be reminded of Hawkwind powered by an enormous diesel engine. As a title, Elusive Truth may indicate Wino's searching nature as a musician, and his attempt to continue down the sonic path through darkness, and through light. With this album, the listener is most certainly in darker territory. - All Music

Reissue. On this, Spirit Caravan's second foray into the long-player format, the band has collectively slowed down the tempo, and dropped the mood into even more contemplative territory. As the grandfather of modern stoner rock, Wino has certainly dipped his guitar picks in LSD this time around. Even though the engineering and production is bone dry and bottom heavy, Wino's psychedelic guitar work -- especially his stinging, busy leads -- has been ratcheted up a few clicks, even if the overall aesthetic is darker, and the superb musicianship from the trio simplified. The listener may be reminded of Hawkwind powered by an enormous diesel engine. As a title, Elusive Truth may indicate Wino's searching nature as a musician, and his attempt to continue down the sonic path through darkness, and through light. With this album, the listener is most certainly in darker territory. - All Music

Leopard DaVinci is the official keyboardist of Dabeull's Band.

“Casual Conversation” pairs Leopard DaVinci’s high-gloss funk production with Moniquea’s signature vocal charisma for an instantly addictive modern funk single. Flirty, confident and groove-heavy, the track balances retro-inspired synth textures with a contemporary boogie pulse, making it a strong fit for editorial playlists centered around funk-forward, danceable and soulful music.
Moniquea already holds a respected position in the global modern funk community, and this release delivers exactly what that audience wants: attitude, melody, replay value and undeniable groove. “Casual Conversation” has crossover potential between dedicated funk listeners, nu-disco audiences and feel-good R&B selectors.

“Flaws” pairs Leopard DaVinci’s signature synth-led funk production with Helena’s fresh and expressive vocal presence for a release that feels both timeless and relevant. Built around a message of self-acceptance and inner strength, the track transforms vulnerability into groove, offering a refined mix of modern funk, boogie and soulful pop energy.
Its lyrical theme makes it especially effective beyond niche funk circles, opening space for playlisting tied not only to groove and retro-funk aesthetics, but also to confidence, empowerment and uplifting mood. “Flaws” is melodic, elegant and emotionally direct — a strong crossover track with both artistic identity and listener accessibility.

Mind-bending, face-melting desert rock & heavy psych vibes from London - Okay You Win (ft. members of Empty Friend and Cavalli) are ready to unleash a double deployment of heavy riffs and soaring vocals on their debut LP End of Days! Deploying a double hit of heavy riffs and soaring vocals, OKAY YOU WIN have quickly built a solid reputation in the UK underground, bringing their blend of driving rock with stoned psychedelics and doomy breakdowns to a string of shows and festivals across England and further afield. Drawing heavily on Seattle Grunge, California Desert Rock, 90s alt-rock and classic British metal, the four-piece caught the attention of fellow UK rockers Psychlona, who offered enthusiastic support and guided their new friends toward producer Andy Hawkins and The Nave studio in Leeds for their debut album. Following a year that saw performances in London, Edinburgh, Norwich, Birmingham, and a short tour around Spain, Okay You Win are ready to unleash End of Days in June 2026 on the heels of a DesertFest London slot, with lots more live appearances to follow this year. The band's debut album of driving, soaring fuzz-fueled heavy rock power is pressed on limited blue vinyl with black splatter, digipak CD available too!

Like their name suggests, Model/Actriz seek to channel raw emotions into striking new forms. The band’s surface glamor is supported by nerves of steels, leveraging their focus into moments of wild abandon. Since their songs roar to life off the back of blistering guitar, relentless drums, and pummeling bass thereʼs an expectation that Model/Actriz aim first and foremost to be shit-starters. But their instrumental muscle couches a searching heart and the Brooklyn quartet have long made a mission to reconcile undefinable feelings by charting a ferocious new path through sound, one that brings jagged emotions back into full, sweaty alignment with the listenersʼ bodies.

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.

R&B outsider Zsela joins forces with inc. no world's Daniel Aged and film composer Taul Katz on '4 Dreams', a billowing ambient-neoclassical hallucination that'll tickle fans of Mary Lattimore, Malibu, Nala Sinephro, Gigi Masin. If you only know Zsela thanks to her dramatic 2024 debut album 'Big For You', the mostly beatless, fully reflective '4 Dreams' might come as a surprise. But look a little further back in her catalogue and things will fall into place; remember 'Angels Pharmacy' and Remembrance' from Actress's 'Karma & Desire'? That was Zsela on vocals, so she's got priors. '4 Dreams' started life as the soundtrack to 'Seven Heavenly Senses', an art exhibition from last year at Paris's Hôtel de la Marine, but has since taken on a life of its own. Zsela's breaths are stretched and sculpted into warm, washing biomechanical pads on the opening dream, left to weather tinny arpeggiated FM synths and muggy bass drones. So far, so predictable. But Zsela muddles proceedings with her confident delivery, layering her voice into jazzy, R&B inflected key changes that keep you guessing. Imagine an astral plane answer to Dawn Richard's ambient-inflected pop and you'll have some idea of where this is headed.

Then 'Dream 2' takes an unexpected diversion, the vocals replaced by swirling harp flourishes and the kind of floating synth stabs that draw a core logic from classic Ambient - Harold Budd, Laraaji et al - then adding extra colors just where necessary. And on 'Dream 3', faint, almost folk-y strings enter the frame, calling out from beyond the horizon, almost blotted out by a synth part that's in the thrall of Gigi Masin's legendary 'Clouds' - the track that ended up being repurposed by Björk on 'It's In Our Hands'. Zsela, Katz and Aged keep that momentum for the final track, too, letting cinematic strings echo around subtle synths and vanishing rhythms, hitting those hypnagogic, tranquil notes that so much contemporary ambient music seems to avoid. 'Cause at its heart, '4 Dreams' is deeper than that, a record that's entrenched in jazz, soul and classical minimalism rather than throwaway numbing music, of the contemporary variety.

REBIRTH is the brand new album of the Australian hard rock band CHILD. With the release of their fourth full-length album, Rebirth, CHILD marks a definitive shift in their creative trajectory. Moving beyond their established sound, the band showcases a refined focus on songwriting-stripping back the noise to reveal the heart of their message. The record serves as an unfiltered dialogue with the self, confronting the obstacles that block our evolution and demanding the strength to overcome them. It is a gritty, honest document of survival and the messy beauty of becoming who you are meant to be.

Gold nugget vinyl, limited to 300 copies. REBIRTH is the brand new album of the Australian hard rock band CHILD. With the release of their fourth full-length album, Rebirth, CHILD marks a definitive shift in their creative trajectory. Moving beyond their established sound, the band showcases a refined focus on songwriting-stripping back the noise to reveal the heart of their message. The record serves as an unfiltered dialogue with the self, confronting the obstacles that block our evolution and demanding the strength to overcome them. It is a gritty, honest document of survival and the messy beauty of becoming who you are meant to be.

Big Crown Records is proud to present Adult Themes, the latest full length offering from El Michels Affair. This album takes the band's "Cinematic Soul" aesthetic literally and sends the listener on a journey through a whirlwind of moods and energies. With their 2005 debut album Sounding Out The City, EMA spearheaded an instrumental funk / soul movement that inspired a slew of bands and even lead to the creation of a few independent record labels. El Michels has since lent his signature sound to artists from Adele to Dr John, Lana Del Rey to Aloe Blacc, and a who's who list of others. In 2016 he co-founded Big Crown Records and has since produced the lion's share of its output. A short stint as the touring band for Wu Tang Clan in 2007 led to the cult classics Enter The 37th Chamber (2009) and Return To The 37th Chamber (2017). Adult Themes marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017 in between producing, playing, and recording on other artists' records Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of `60s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental / orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes." The album plays like the colors on an artists pallet. Songs like "Rubix" and "Villa" are densely orchestrated with the hard-hitting drums that El Michels Affair is known for. On "Life of Pablo", Leon's son makes his first appearance on record and intros a song with an epic arrangement and a moving mood. "Hipps" is a drum heavy ballad that could've easily fit on EMA's debut record, Sounding Out the City. Other compositions like "The Difference" and "Kill The Lights" are bare, melodic mood pieces with sparse drums and sophisticated chord movement. All of these tunes come together to make perfect backgrounds for dialogue and action. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With Adult Themes El Michels Affair has created a "choose your own adventure" in musical form.

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."

Reissue. As undeniably powerful, durable, and straight-shooting as Motorhead's Lemmy Kilminster, Spirit Caravan's inveterate founder and leader, Scott "Wino" Weinrich, is an absolute rock lifer. Following on the heels of the band's debut, Jug Fulla Sun, Dreamwheel is a Spartan-sounding five-song EP, the perfect compliment to the dense, doom-laden psychedelia of the full-length. In fact, Dreamwheel's greatest strength is the breathing space between notes, provided by the rock solid rhythm section of drummer Gary Isom and bassist Dave Sherman. Such rhythmic austerity -- the kind championed by the effort of bands like Free, Bad Company, Led Zeppelin, and Grand Funk Railroad -- allows Wino's compelling, soulful baritone voice and sizzling Hawkwind-esque leads to truly sing out. As the voice behind St. Vitus and the Obsessed, Wino helped formulate and configure the shape of modern stoner rock and doom metal. Spirit Caravan, as evidenced by this brilliant, relaxed gem of an EP, is perhaps his most able vessel. Each song burns with analog warmth, intensity, and brightness. Though it took nearly a decade for Wino to receive his overdue appreciation as an artist, the late '90s and early part of the new millennium have seen his stock soar, even if not financially. - All music

Aqua Blue Vinyl, limited to 300 copies. As undeniably powerful, durable, and straight-shooting as Motorhead's Lemmy Kilminster, Spirit Caravan's inveterate founder and leader, Scott "Wino" Weinrich, is an absolute rock lifer. Following on the heels of the band's debut, Jug Fulla Sun, Dreamwheel is a Spartan-sounding five-song EP, the perfect compliment to the dense, doom-laden psychedelia of the full-length. In fact, Dreamwheel's greatest strength is the breathing space between notes, provided by the rock solid rhythm section of drummer Gary Isom and bassist Dave Sherman. Such rhythmic austerity -- the kind championed by the effort of bands like Free, Bad Company, Led Zeppelin, and Grand Funk Railroad -- allows Wino's compelling, soulful baritone voice and sizzling Hawkwind-esque leads to truly sing out. As the voice behind St. Vitus and the Obsessed, Wino helped formulate and configure the shape of modern stoner rock and doom metal. Spirit Caravan, as evidenced by this brilliant, relaxed gem of an EP, is perhaps his most able vessel. Each song burns with analog warmth, intensity, and brightness. Though it took nearly a decade for Wino to receive his overdue appreciation as an artist, the late '90s and early part of the new millennium have seen his stock soar, even if not financially. - All music

Reissue of Spirit Caravan's debut album. Jug Fulla Sun follows a sonic continuum that began in the late '70s when Scott "Wino" Weinrich emerged from the outskirts of Washington, D.C., with the Obsessed, his stripped-down hybrid of biker rock and metal. That outfit made tremendous strides in bridging the gap between the long-haired metal contingent and the still developing, though already rabid, D.C. hardcore scene. Jug Fulla Sun shows Wino augmenting his trademark brand of doom-laden guitar work and slow-fuse vocal ferocity with greater lyrical depth and overall textural breadth. The songs are rich, refined, articulate, and created by a lifer, a true veteran of the hard music scene. Wino has obviously gone to great lengths here to subordinate his outlaw vision to a more expansive, comprehensive view of mankind, and of greater truths. The somewhat nebulous scope of his lyrics is enhanced by Lungfish vocalist/tattoo artist Dan Higgs' cryptic cover painting. An excellent album. - All Music

REISSUE of Spirit Caravan's debut album. Neon green vinyl, limited to 350 copies. Jug Fulla Sun follows a sonic continuum that began in the late '70s when Scott "Wino" Weinrich emerged from the outskirts of Washington, D.C., with the Obsessed, his stripped-down hybrid of biker rock and metal. That outfit made tremendous strides in bridging the gap between the long-haired metal contingent and the still developing, though already rabid, D.C. hardcore scene. Jug Fulla Sun shows Wino augmenting his trademark brand of doom-laden guitar work and slow-fuse vocal ferocity with greater lyrical depth and overall textural breadth. The songs are rich, refined, articulate, and created by a lifer, a true veteran of the hard music scene. Wino has obviously gone to great lengths here to subordinate his outlaw vision to a more expansive, comprehensive view of mankind, and of greater truths. The somewhat nebulous scope of his lyrics is enhanced by Lungfish vocalist/tattoo artist Dan Higgs' cryptic cover painting. An excellent album. - All Music

Assault & Battery is the second studio album by Australian hard rock band Rose Tattoo and was released in 1981. Like the first album it was produced by the Vanda & Young team, who are most known for producing AC/DC's classic 70s albums).

Rose Tattoo (or The Tatts, as they;'re affectionately called) play peerless, street-level heavy blues with the emphasis on slide guitar and strident lyric statements.

After years of touring in Australia, Europe and America opening up for acts like ZZ Top and Aerosmith, the band started writing/recording their second studio album, Assault & Battery.
It includes fan favorites:"Out Of This Place" & "Rock n Roll Is King" & "Suicide City"
The album is noted for its "hard as nails," no-prisoners approach, described as a mix of AC/DC's power-chord style with a faster, punk-infused intensity.

Assault & Battery is available as a limited numbered edition of 1000 copies on black/white swirl vinyl.

Soul Jazz Records journey into early 1990s ragga, drum & bass and jungle. The album features all-time classic jungle anthems such as General Levy’s ‘Incredible’ alongside some serious Ragga heavyweight tunes like Cutty Ranks ‘Limb By Limb’ and Congo Natty’s classic re-make of Barrington Levy’s Under Me Sensi’.
The renowned album tells the story of how Jungle developed out of acid house but with its roots in the UK Dancehall scene of the 1980s and comes with extensive sleevenotes, exclusive interviews and photography.

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!

Odysee’s vinyl release schedule for 2026 kicks off with this superb 3-track E.P. from none other than the labels founder, T-Mirage. Following up from his 2024 release Dark Rhodes, this E.P. is an embodiment of the raw Mirage sound; a melting pot of Atmospheric D&B with hard hitting dance-floor sensibilities, where 70's OST & Film Noire sounds are blended with deep Techno and electronica elements.

From the blistering amens and deep textures of 'Expressive Thoughts', to the dreamy atmosphere of 'Dawnbreaker' and the dystopian menace of the breakbeat-driven 'Machines Of London', this E.P. is an absolute must for all true Odysee fans!

In 1994, Tilla was just 17 years old, and an integral part of the original St Albans collective that comprised Jim Baker & Phil Aslett (Source Direct) and Rupert Parkes (Photek), when he set up the Odysee imprint and released the first Source Direct record (Future London/Shimmer). With a follow-up release from Photek (Phaze 1/Try A Style) and a second from Source Direct, the profile of the label began to grow exponentially.

It was the 3 Mirage releases however that really put the label on the map. These tracks were engineered by Jim Baker but heavily co-produced by Tilla himself with a major focus on his keen ear for dark 70’s Noire samples and eerie abstract electronica pitted against soulful R&B vocals. In hindsight, the impact of this rather different soundscape on the Source Direct material that followed is unmistakable.

The dogs bark and the heavy-metal caravan tears through everything in its path. What lies ahead is a twisting, high-voltage journey for anyone with a taste for contemporary sound, and this record offers no lukewarm sightseeing, no pre-retirement indie pop-rock playlist drift. You'll have to learn to dance off-beat, wringing out every neuron before the final rinse. Drink your sweat, not your tears, and burn off the bitterness: that's the intended destination of the trip. This monstrous album has a computer where its heart should be. Three humans are wired into it: Michel Cloup, Manon Labry and Julien Rufié. Layer after layer, they've fed this sandpaper-and-digital-custard mille-feuille. On the menu, heaped and hurtling by the wagonload, the beast is stuffed with screams, laughter, melodies, noise: a frantic feast. It even leaves you wondering who's driving whom. Who seized control? The flesh? The printed circuits? Michel as a Titanic-'n'-Roll conductor? Julien and Manon as demolition apostles? Doesn't matter. For now, it rips, it saws, it strafes, it smashes, without pause. Rock debris_post or not_grumbling Parmentier-pop mash, white-hot hip hop spinning out, electro-disco-kraut fissuring, furious new French chanson: everything shoves its way into the blender. The real free world is here. Michel veers between naïve chants of dwindling hope, barking tsunamis of black fury and other delights, recounting the world in full 360 degrees as well as the twenty metres outside his front door. As ever, he speaks of himself, of us, speaks a lot, speaks too much. The intensity barely drops below the danger line; even the lows are stratospheric. Foot to the floor, calmly. In the thick of it, you'll wander room to room through the small theatre of France's grand political tragicomedy (David, Goliath and Godzilla), the consultation chamber of our disappointments (2027), the community repair shop of our hopes (Catharsis), the literary gym (The Poison, The Antidote), the torture room (H&M, with old Toulousain comrade Fredo Nonstop), the nightclub in flames (Shame, RIP), the electronic shooting gallery (Maria, Background Noise), the XXL confessional (For Whom? For What?) before ending in the Munch Room, the chamber of the primal scream (SISRAHTAC). "In the end, there are no words left. It howls, it howls, and it doesn't stop."

Joe Harriott"s High Spirits (1965), is a post-bop album featuring the British/Jamaican saxophonist"s quintet playing interpretations of tunes from the Noël Coward musical of the same name, this album is characterized by its melodic, swinging, and accessible nature, featuring strong, lyrical work from Harriott and trumpeter Shake Keane, with arrangements by pianist Pat Smythe. Unlike the more "free-form" experiments Harriott was known for at the time, High Spirits sticks to a more traditional hard-swinging, post-bop style, the quintet"s arrangements and, crucially, their improvisational skills, rescue it from being a commercial or bland effort. Transparent Violet colour vinyl pressing.

They offer a path towards hippiesque stage shows, classic E-organ hues, excess and Sixties rock flair - played by young faces. Their genre is psychedelic rock - but do not miss out on the subtle Blues and Folk traces hidden in there! Established in 2022, the band is already awaiting the release of their second studio album called "Dawns on Mental Highways" in June and making their way onto the various stages of their home region - the Nuremberg Metropolitan area, Southern Germany. The Citadel - Vintage mixed with contemporary vibes, freshly served psychedelic lifestyle! Album description: Here is the second studio album by the German Psychedelic Rock Band The Citadel.

It is a curious mixture of musical styles reminiscent of the time around 1967, when bands experimented in the studio and paved new paths. So maybe, the album title "Dawns on Mental Highways" reflects the stance towards their music. Or maybe it hints at something different. Who can tell? All you need to do is listen, and there is a lot to hear: The singer seems to have a fragile voice, yet shouts her Dylanesque lyrics angrily from time to time. The organ player soaks half of the songs with a classic acid sound. The guitar player acts a folky one, throwing in acoustic tunes and flute, before bashing into heavy electric riffs. The bass player is unusually jumpy on his Tropicana-fused lines while the drummer dances and stomps easily as needed.

They offer a path towards hippiesque stage shows, classic E-organ hues, excess and Sixties rock flair - played by young faces. Their genre is psychedelic rock - but do not miss out on the subtle Blues and Folk traces hidden in there! Established in 2022, the band is already awaiting the release of their second studio album called "Dawns on Mental Highways" in June and making their way onto the various stages of their home region - the Nuremberg Metropolitan area, Southern Germany. The Citadel - Vintage mixed with contemporary vibes, freshly served psychedelic lifestyle! Album description: Here is the second studio album by the German Psychedelic Rock Band The Citadel.

It is a curious mixture of musical styles reminiscent of the time around 1967, when bands experimented in the studio and paved new paths. So maybe, the album title "Dawns on Mental Highways" reflects the stance towards their music. Or maybe it hints at something different. Who can tell? All you need to do is listen, and there is a lot to hear: The singer seems to have a fragile voice, yet shouts her Dylanesque lyrics angrily from time to time. The organ player soaks half of the songs with a classic acid sound. The guitar player acts a folky one, throwing in acoustic tunes and flute, before bashing into heavy electric riffs. The bass player is unusually jumpy on his Tropicana-fused lines while the drummer dances and stomps easily as needed.

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.

2026 Repress

Pioneering NYC house label Nu Groove Records is proud to unveil a four-track EP of originals from fellow NYC house legend Jovonn.

After nearly three decades without a release, the cult house label relaunched in 2021 spearheaded by none other than Jovonn with ‘Random / Get Over It’. Following his ‘Funn Houze EP’ released earlier in 2023, the Brooklyn native is back with his ‘Blaque Katt EP’, a masterful display of innate musicality combined with an affinity for roaring '90s-inspired club music.

For the lead, ‘The Piano Fix’, Jovonn creates a dichotomy between the delicate nature instrument and the heavy, sweaty feel of the dancefloor. This is followed by a harder pianistic technique in both ‘The Piano Fix Returns’ and ‘Let Me Tell You Somethin’, showcasing the producer’s flair for harmony and melody.

Closing the immersive collection is ‘Drop That Traxx’, a playful track featuring addictive, syncopated hooks over a pounding four-on-the-floor beat. Throughout the EP, Jovonn displays his talent for gritty, hard music made with tender care.

Recognised as the first release to showcase the distinctive sound that would become synonymous with The Stone Roses, Sally Cinnamon remains a pivotal moment in the band’s early catalogue. This EP brings together the 12” single mix, the full collection of B-sides, and additional live recordings, presenting these tracks in a definitive configuration for collectors and fans. The vinyl edition is pressed on heavyweight 180g cream vinyl and produced to the highest audiophile standards. It has been half-speed mastered for enhanced clarity and depth, and Direct Metal Mastered (DMM) to deliver exceptional sound quality. Each record is housed in a protective polypropylene inner sleeve, creating a premium collector-focused physical release. Alongside the vinyl edition, this release also marks the first ever CD pressing featuring this complete track configuration. The CD is manufactured using a black polycarbonate “vinyl effect” disc, giving it a distinctive appearance that complements the collectible nature of the release. Combining high-spec production with a historically significant recording, this package offers a premium catalogue release centred around one of the earliest and most recognisable recordings from The Stone Roses.

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.

With Frank Sinatra under pressure on the singles chart, conceptional albums became his 'weapon of choice' for continuing success. Songs for Swingin' Lovers!, conducted and arranged by Nelson Riddle, came out in March 1957 and was soon at #2 in the Billboard chart where it remained for a year. In the year 2000 the album received inauguration into the Grammy Hall of Fame. Includes the bonus tracks "Love Is Here To Stay", "When You're Smiling", and "Chicago". "Arguably the vocalist's greatest swing set. Sinatra is supremely confident throughout the album, singing with authority and joy. That joy is replicated in Riddle's arrangements, which manage to rethink these standards in fresh yet reverent ways. Songs for Swingin' Lovers! never loses momentum. The great songs keep coming and the performances are all stellar, resulting in one of Sinatra's true classics." - ***** Stephen Thomas Erlewine, AllMusic (2002)

Their deservedly successful release "Music From The Stars, Volume 1" sold out instantly, received heavy airplay, and was repressed shortly after. This huge success naturally called for a successor, so here it is: "Music From The Stars, Volume 2"! Once again, the boys broaden their musical horizons by adding stars like BLONDIE, PATRICK HERNANDEZ, MASSIVE ATTACK, and D.A.F. to their repertoire - without departing from their familiar Oetsound. You might ask yourself: 'Why did The Krontjong Devils record these songs?' The answer is simple: all these tracks possess beautiful melodies that truly deserve an instrumental guitar treatment.