Search:i’m with her

GRAMMY-award winning blues icon Koko Taylor was a force of nature. The legendary Queen of the Blues was one of the genre’s best-selling and most recognizable artists. With her huge, gritty voice and the backing of her powerhouse band, The Blues Machine, she delivered tough Chicago blues over a 45-year career, ending with her death in 2009. For people all over the world, her music IS the blues as much as BB King’s or Buddy Guy’s. Crown Jewels is the first new Koko Taylor vinyl to be released in 35 years, and as the title makes clear, it’s packed with over 50 minutes of the finest performances from her celebrated Alligator years. These are songs blues fans know and love by heart, from “Wang Dang Doodle” to “Hey Bartender” to “Let The Good Times Roll.” It’s gritty, unvarnished, old-school blues and proud of it, every track infused with Koko’s ageless energy and passion. Fellow Chicago blues greats Buddy Guy and Carey Ball guest.

Transversales Disques proudly presents the first official reissue of Michel Colombier's cult 1973 soundtrack "L'héritier". The man behind "Psyche Rock" and "Requiem pour un con" delivers an incredibly intense downtempo spacey-prog-funk score with outstanding drums, wah-wah guitars, deep Rhodes chords and superb bass performed by a legendary rhythm section (Jannick Top, Jean Schultheis, Claude Engel). The soundtrack of "L’héritier" is linked with the score of "Tarot", an improbable Spanish giallo that Colombier composed the same year, featuring Nanette Workman on the main theme. It perfectly captures the essence of this thriller with deep drama grooves and electronic experimentations. This 2025 deluxe edition contains 5 unreleased tracks from the '"Tarot" score.

AUDIO RESTORED & REMASTERED
EXCLUSIVE & EXTENSIVE LINER NOTES

Betty Harris (born 1939, in Orlando, Florida) is an American Soul Singer with a reputation that far exceeds her commercial success of the 1960s. Her recordings for the Sansu record label are highly sought after by fans of both Northern and Deep Soul.
In 1964, Betty Harris switched record labels from Jubilee to Sansu, a New Orleans label, where she was introduced to and produced by the legendary New Orleans producer Allen Toussaint. Her recordings with Sansu produced 20 singles. Of those, only "Nearer to You" charted (Billboard Hot 100 # 85), an atmospheric, dramatic soul ballad, now considered one of the milestones of deep soul. However, practically all of her recordings for Sansu featuring Allen Toussaint's raw yet sophisticated Southern Soul arrangements are considered prime specimens of the classic soul era. Notable recordings include "I'm Evil Tonight"; “Show It”; "I Don't Want To Hear It" and "Twelve Red Roses", favored among Northern Soul fans, plus "Can't Last Much Longer" and "What'd I Do Wrong".
In 1969 her Sansu recordings were compiled into a U.K. album—Soul Perfection—now highly prized around the world and reissued here in its original form for the first time.

THE FIRST LADY OF SONG With her extraordinary voice, Ella Fitzgerald be- came a legend during her lifetime. She is considered one of the best singers of all time. Yet Ella actually wanted to become a dancer. However, she was too nervous to dance at a dance competition and sang instead. She won the first prize. The rest is history. With her Christmas album „Ella Wishes You A Swinging Christmas,“ Fitzgerald pioneered and paved the way for modern Christmas music. Everything that came af- ter would have been unthinkable without her. Rolling Stone lists the album first on its „40 Essential Christ- mas Albums“ list. This version also includes two bonus tracks: „Christmas Island“ and a medley.

Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious ‘If I Knew What I Know Now’ and ‘The World Is Wrong’ are examples of Vice Squad’s ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, ‘Battle of Britain’, showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent ‘If I Knew What I Know Now’, followed by the sparkling old-school tongue-twister ‘Out of Reach’. Next up is the visceral ‘Get A Life’, an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic ‘Resurrection’. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of ‘Allergy’ underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime ‘Sniffing Glue’, a near-perfect punk love song that would be a huge hit if not for its subject matter. ‘Ordinary Girl’ is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. ‘The World Is Wrong’ is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It’s always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, ‘Citizen’, and continue with another teenage opus, the quite brutal ‘Scarred For Life’. ‘Voice of the People’ is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, ‘Freedom of speech is against the law; now we’re all criminals,’ snarls its derision at red-handed red tape. ‘Punk Police’ sneers over a catchy-as-COVID guitar riff, and the lyrics, ‘Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,’ call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, ‘Humane’, and I’m struck by how relevant the older songs are. Chocks away, and the awesome ’Spitfire’ takes flight like Motörhead on extra amphetamines. Merlin engines fade into ‘Born In A War’, the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the ‘Last Rockers’, the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.' The four bonus CD tracks kick off with ‘Coward’, another teen Bateman/Bond composition. ‘No You Don’t’ is just over two minutes of vocal acrobatics over a Dexedrine-driven Devo-esque chord sequence, and the frantically brilliant ‘I Dare To Breathe’ from ‘Battle of Britain’ continues the aural assault. Then the final sombre entreaty of ‘You Can’t Buy Back The Dead’ warns us that ‘Enough’s never enough; absolute power will corrupt; the war machine still rumbles on’ before fading into the future.

The highly anticipated 3rd full-length by this Finnish band. Morbific is a rotten-to-the-core Death Metal trio deformed in the filthy and profaned boneyard of Kitee in early 2020, featuring Olli (guitar), Jusa (vocals / bass) and Onni (drums). The band’s Pestilent Hordes demo was unleashed in the summer of 2020, and it rapidly gained them some following amongst the finest gourmets of the variety of festering, moldering and disgusting Death Metal that’s malignantly influenced by Autopsy, Rottrevore, Deteriorot, Mortician, Grave, Maimed, Undergang, Impetigo and ancient Finnish masters of death and decay, such as Funebre and Disgrace. Shortly after, in the spring of 2021, the debut full-length Ominous Seep of Putridity saw the odious light of day to unanimous praise by both the fans and the media. Just a year later, and now aligned with Memento Mori, Morbific released their second full-length, Squirm Beyond the Mortal Realm. Aptly titled, the album quickly became a cult favorite of utterly uncomfortable, slimy Death Metal. Now, Morbific are prepared to eclipse such a sewer-dwelling “highwater” mark with Bloom of the Abnormal Flesh. Whereas its not-inconsiderable predecessor confronted the listener with a blown-out, almost demo-level feel, the Finns’ third full-length proves that they can move and mesmerize and maim no matter what the soundfield is. And on Bloom of the Abnormal Flesh, it’s a raw-yet-robust show of strength, “classic” Death Metal production in a most late 80’s fashion; just witness that gurgling, fuzz-tinged bass and feel its radioactive waves envelope you. But production is one thing and songwriting is another, and with the latter, Morbific are truly hitting their stride here. Lumbering and stomping, with well-timed bouts of disgusting gallop or even ragged blasts, their songwriting twists and indeed squirms with off-kilter insanity; some would call it chaos, if not for the exceptionally tight musicianship on display here, with the sum result being an uncomfortableness that bubbles up from a deeper gutter. Thankfully, Bloom of the Abnormal Flesh conveys its dark, disgusting and unconventional aura across every element -said chops simply heighten these sensations- and is, thus far, Morbific’s best melding of form and content. Cro-Magnon as ever but somehow enlightened in the creepiest sense possible, Morbific continue their reputation as Finland’s filthiest and Death Metal’s untrendiest weirdoes. Vividly captured by Chase Slaker’s cover artwork, Bloom of the Abnormal Flesh is the foulest stench only for the brave!

Best of' albums are invariably repackaged collections of old recordings, so Vice Squad's `Punk Rockers' is a breath of fresh air The songs have been lovingly recorded and remastered, keeping all the original fire and adding decades of experience gained from punishing tours and continuous songwriting Beki is the original architect of the songs and the Vice Squad name, and she is the sole surviving member of the original lineup to have continued as a full-time musician Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious `If I Knew What I Know Now' and `The World Is Wrong' are examples of Vice Squad's ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, `Battle of Britain', showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent `If I Knew What I Know Now', followed by the sparkling old-school tongue-twister `Out of Reach'. Next up is the visceral `Get A Life', an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic `Resurrection'. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of `Allergy' underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime `Sniffing Glue', a near-perfect punk love song that would be a huge hit if not for its subject matter. `Ordinary Girl' is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. `The World Is Wrong' is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It's always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, `Citizen', and continue with another teenage opus, the quite brutal `Scarred For Life'. `Voice of the People' is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, `Freedom of speech is against the law; now we're all criminals,' snarls its derision at red-handed red tape. `Punk Police' sneers over a catchy-as-COVID guitar riff, and the lyrics, `Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,' call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, `Humane', and I'm struck by how relevant the older songs are. Chocks away, and the awesome 'Spitfire' takes flight like Motörhead on extra amphetamines. Merlin engines fade into `Born In A War', the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the `Last Rockers', the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.'

Best of' albums are invariably repackaged collections of old recordings, so Vice Squad's `Punk Rockers' is a breath of fresh air The songs have been lovingly recorded and remastered, keeping all the original fire and adding decades of experience gained from punishing tours and continuous songwriting Beki is the original architect of the songs and the Vice Squad name, and she is the sole surviving member of the original lineup to have continued as a full-time musician Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious `If I Knew What I Know Now' and `The World Is Wrong' are examples of Vice Squad's ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, `Battle of Britain', showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent `If I Knew What I Know Now', followed by the sparkling old-school tongue-twister `Out of Reach'. Next up is the visceral `Get A Life', an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic `Resurrection'. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of `Allergy' underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime `Sniffing Glue', a near-perfect punk love song that would be a huge hit if not for its subject matter. `Ordinary Girl' is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. `The World Is Wrong' is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It's always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, `Citizen', and continue with another teenage opus, the quite brutal `Scarred For Life'. `Voice of the People' is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, `Freedom of speech is against the law; now we're all criminals,' snarls its derision at red-handed red tape. `Punk Police' sneers over a catchy-as-COVID guitar riff, and the lyrics, `Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,' call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, `Humane', and I'm struck by how relevant the older songs are. Chocks away, and the awesome 'Spitfire' takes flight like Motörhead on extra amphetamines. Merlin engines fade into `Born In A War', the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the `Last Rockers', the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.'

SASSYHIYA want to take you somewhere. The journey starts in Kathy and Helen's flat in South London. Sit down, close your eyes, and immerse yourself... You are on your way to a musical rainforest a long way from Camberwell. Explore your new surroundings, and you will find beautiful pop blooms like Let's See What We Can Find, as bright and vibrant as The Sundays, thrusting their colourful faces up from the forest floor. You'll find tangles of sharp-edged guitar, as if Swiss she-punks Kleenex had been left to evolve here in the rich fertile soil (I Had A Thought). You'll find dark pools full of lyrical complexity, deceptively deep and immersive, with shimmering reflections of The Go-Betweens (Perennial). And you'll come across delicate love songs, creeping up the trunks and branches of the bass and drums, displaying their fragile beauty (Thank You And Goodbye). And what's that exotic striped animal prowling through the undergrowth? Actually, it's Crayon Potato, Sassyhiya's pet cat, the other resident of their flat in South London, taking up her role as the feline star of a lilting, singalong anthem written in her honour. That's what is so great about this album. You are somehow, simultaneously, exploring the most exotic forest in the world while also sitting in a flat in an ordinary, familiar English street with Sassyhiya and their cat. This album transports you without pretending the real world doesn't exist: it doesn't get all mystical on you (Take You Somewhere is as unlike Enya as anything you've heard). Sometimes you might be reminded of Girls At Our Best, and then Delta 5. You might even, on occasion, think of Echo and the Bunnymen. Sassyhiya (pronounced "Sassy Hiya") were formed when Helen and Kathy, real-life partners and co-songwriters, joined up with Pablo and Neil (drums and guitar). Helen had previously been in Boys Forever and Basic Plumbing, collaborating with much-missed Veronica Falls musician Patrick Doyle. She and Kathy then formed Barry, a stripped-down queercore outfit, with Bart McDonagh (The Male Gays) and Mark Amura (My Executive Dysfunction). Sassyhiya feels like a culmination of all these elements, hitting the sweet spot between post-punk and indie pop. They know their way around a melody but still keep it wonky, with influences ranging from the Breeders and Broadcast to Dolly Parton.

DJ support - Alix Perez, Fracture, Lenzman, Kyle Hall, Doc Scott.

Introducing a new remix EP series from Rosebay Music aiming to connect the dots between soulful D&B and more disparate styles, tempos and scenes - with remixes coming in from a carefully selected group of artists reinterpreting tunes from the catalogue in fresh and unexpected ways.

Detroit’s Kyle Hall has been 1 of the cities main ambassadors of soulful, gritty house & techno over the last 15 years. Here he’s joined by instrumentalist Ian Fink to deliver a classic slice of deep and raw Detroit house music in his remix of Submorphics - Blastoff. This unforeseen linkup between Kyle Hall and Submorphics represents a rare joining of forces between 2 Detroit-born artists who have both repped their hometown’s aesthetic quite heavily in their respective scenes.

Noodles142 is the new alias of D&B star Satl - making fresh bangers fusing UKG, techno, dubstep and bass music in a classic-yet-futuristic way. Here he flips Submorphics - Hey Baby into deep, dark and dubby 140 territory paying homage to middle-of-the-night Detroit grittyness.

Primitive Instinct has quickly become one of the hottest upcoming names in D&B, repping Bristol with ultra-modern production, swinging drums, gorgeous synth work and amazing vocal sample manipulation. His stellar EP on The North Quarter convinced Rosebay to get him to remix Submorphics - Cinerama; and the result is a truly infectious dancefloor weapon.

The final remix comes from one of the current stars of 1985 Music: Trail. Repping the Toulouse D&B scene over the last few years, Trail has a unique knack for melody, harmony and groove that sets him apart from other modern liquid artists. Here he flips Submorphics, Zar & aya dia’s modern classic “Another Level Of Love” into a trippy and experimental heater. A diverse and eclectic selection of remixes from some very intriguing artists each existing in their own lane. Enjoy the ride!

Marco Faraone is the latest artist on DCLTD imprint with his ‘Open Your Eyes’ four tracker. 'Open Your Eyes': the title track combines roiling fast techno beats, with pizzicato 'plucked string' insistent, subtly dominating monotone strand throughout, all peppered with a deep male vocal command - 'concentrate', until the big breakdown's drop is heralded by female voice 'open your eyes' and a fast ride to the satisfying end. Uncompromising and invasive in the best way. 'Enigma': the techno beats ride alongside a resonant synth melody with an 80s vibe, hypnotic and upbeat, counterpointed by a touch of melancholy in the intruding high synth notes in the breakdown. A deep, danceable techno track with emotion baked in.

'Convert The Energy': Fast and dark, with a whomping beat, metallic percussion, and a repeating monotone phrase stealthily gripping the hearer, while urgent, deep male layered vocal riff - 'convert' - becomes a layered, processed vocal delivery of 'machine designed to convert energy', emphasis suitably on the last word. 'Haze': a stotting fast drum beat and hissy hi-hats underlie a repeating melodic synth phrase with a noughties trance feel, crescendoing into a plangent, almost-piano sound, punctuated by single notes like trumpet calls, clattery or jangling intrusions, mysterious and intriguing.

Dana Schechter: Lap Steel Guitar, Bass, Electronics. - Paul Wallfisch: Piano, Organ, SOMA Pipe, Guitaret. Music from the Vienna Volkstheater production of Wolfram Lotz's play "Die Politiker" directed by Kay Voges; performed live in the theatre, spring 2022. These 2 beautiful exiles travel limbic landscapes and underwater dreams with a map that disintegrates instantly when viewed. Their fractured sounds dissolve and reconfigure endlessly in our cochlea and infest our imaginations with spiked armies of ultra-vivid, sentient and carnivorous coral predators, atavistically intent on devouring the sweet meat hiding deep in the center of the amygdala. Michael Gira (SWANS). Wallfisch has played in bands like Firewater and Little Annie, while Schechter has logged time with American Music Club, Angels of Light and her own Insect Ark, among others; both spent time touring and recording with SWANS. They've been friends since meeting in New York in the 1990s. Years later they forged a stronger connection as bandmates in Botanica. They renewed their artistic partnership in 2021, when Paul invited Dana to Vienna to develop the music for a theatrical spectacle called Die Politiker written by Kleist prize winner Wolfram Lotz. The music from the production provides the foundation for the duo's first album, The Heart of A Whale. Across its six intense tracks one can detect a subtle homage to storied Berlin musical traditions, as the pair puts a raw, often brutal veneer on songs steeped in Weimar cabaret (a la Tom Waits) but updated with a visceral mixture of noise, post-punk, and industrial elements. Performed on a panoply of instruments from bass, organ and lap steel to SOMA Synths, Guitaret, a variety of electronics and a grand piano hammered with a shoe, the music reflects the New York- Berlin nexus they've both been part of for decades. Echoes of Swans, Einstürzende Neubauten and The Birthday Party, but also hints of Throbbing Gristle, Eno and even William Basinski and Michael Gordon. The music can't be contained by any single tradition, with a decidedly experimental bent that ruptures the fixed rhythm of rock for something more theatrical and emotionally harrowing.

Under his Orion Westbrook alias, the man cooks up some serious heavy-hitting house grooves with a funky twist that hits just right. Side A brings the heat with Pasadena’s own queen Moniquea, laying down her signature style — smooth, confident, somewhere between singing and rapping, and always on point. She glides effortlessly over this modern boogie gem, oozing style and swagger. The wildest part? These two only met once — but the chemistry is undeniable. Flip it to Side B and you’re treated to the sultry voice of Mae Rojas, a familiar name from the Cee-O-Funk sessions. Her sweet R’n’B flavor blends perfectly with a catchy, cosmic-tinged beat that’s equal parts seductive and futuristic. Personal but danceable — the kind of cut that lingers. Both tracks walk the line between dancefloor fire and laidback cruise, and that’s the magic here — funky, versatile, and 100% fresh.

You find yourself two thousand meters below the earth’s surface surrounded by overwhelming darkness. Cold and wet, the path has collapsed behind you. You have nowhere to go, but still you scream. You scream, and scream, echoing into the darkness, dissolving your throat like acid. It’s no use. There’s no way out. You die here. OSSUARY have made this cave for you.
“Abhorrent Worship” is a relentless, pummeling assault: 6 tracks in 37 minutes of cacophonous, suffocating evil punctuated with distorted, droning atmospheres. Hissing and dripping wet with bile, vocals incant beneath monstrous searing, chugging guitars and thunderous, pounding drums & bass at a primordial pace executed with precision and finesse.
Ossuary take their time between releases, which shows, and once again “Abhorrent Worship” is worth the wait. Once you press play there’s no going back, accept your fate happily or not. You die here. (KD)

A true royal rebel without a cause joins the Step Ball Chain chosen family. Berlin psy-con Yazzus presents a sexy sweatfest; a four track original EP featuring DJ Fuckoff of tech-trodden club stompers that will shake and break you. Operating in a lane of her own, she draws on her UK roots with bass laden bounce and never forgets to add that sapphic touch crucial to SBC. “Rebel Royale” is keeping techno freaky, cheeky and ahead of the curve.

Quintessentially out of control, elements of tension and release are toyed with throughout all the tracks, the building and driving addictive synth work in Venom & Vision; Serpent’s Rising sending even the most sane into a spiral. Basslines come thick and heavy, chunky by nature and particularly prevalent in Delicately Mad and My Lipgloss My Rules, they are the backbone of the record. Don’t get it twisted, this isn’t some run of the mill techno; the modular bleeps and freakouts, FX and vocals are wired and inspired; the glue showcasing Yazzus’s fully sick technical abilities. Last but not least, she entails the help of friend DJ Fuckoff; haunted slippery vocals are a match made in heaven for the percussive psy workout Erotica.

Caroline Polachek released her solo debut Pang back in 2019 after having been the lead singer of the acclaimed band Chairlift for more than 10 years. Immediately upon release Pang received major hype and critical acclaim, but in the years since, it has practically achieved a monolithic status in modern art pop.

Not surprisingly, expectations are huge for her sophomore album Desire, I Want to Turn Into You, but with excellent singles like "Billions" and "Sunset", it is evident that Polachek is a headstrong and original pop star who is here to stay!

Following the resounding success of the first volume, which sold 600 copies during its confinement, Aktshun returns with a second E.P. featuring 6 vibrant, eclectic tracks. This new opus is rooted in smooth Detroit house, high-energy disco-funk, the wild nights of Paradise Garage and the unique ambience of Bronx block parties.
The Aktshun duo, formed by Marotti - producer and creator of electronic instruments - and Marrrtin - DJ, graffiti artist, producer and member of Funky Bijou -, unite their passions for house, disco, hip-hop, funk and musical illustration to offer a rich and captivating sonic experience.
The first track, “Light Headed”, featuring the American singer Saucy Lady, priestess of modern funk, who has collaborated with E Live and J-Zone, among others, blends frenzied percussion, warm Fender Rhodes chords and a heady melodic chorus, ideal for rocking dancefloors this summer.
“Respect” offers a hybrid fusion of house and disco, where we imagine Moodymann crossing paths with Chromeo, buoyed by a hypnotic Moog solo.
“Vibration” pays homage to Loleatta Holloway and her iconic ‘Love Sensation’, evoking David Mancuso's legendary evenings at the Loft, between gospel and dance.
“Brokjazz” has a deep house vibe, blending tropical vocals with bewitching sensuality.
“Chaussette” offers an irresistible jazz-funk groove, while ‘Gonalate’ is inspired by classic disco-funk sounds, with a piano reminiscent of the legendary compositions of bands such as Change, D-Train and West End Records legends.
Finally, the cover of this new E.P. is signed by Brazilian artist NIHAO, bringing a unique and colorful visual touch to this musical creation.

To celebrate its 20th anniversary, Chinese Man revisits We've Been Here Before with a special expanded and reimagined edition. On the menu: unreleased tracks, remixes, live versions, and original reinterpretations featuring special guests such as La Yegros, OBF, and Chill Bump. This rework offers a fresh perspective on the trio's universe, driven by remixes from Manudigital, G?EG, and Lorkestra, who bring a wave of modern energy to the group's iconic tracks. The album also revisits Chinese Man's classics, including a brand-new version of Get Up and a powerful live performance of the legendary I've Got That Tune, featuring General Elektriks. A touch of the past, a bold step into the future - this shape-shifting album is a heartfelt anniversary gift.

Originally released in 2003, Marcos Valle’s Contrasts combined early noughties production techniques with his trademark Brazilian songwriting brilliance. The album quickly became one of Valle’s most in-demand, with tracks like the triumphant “Parabéns” (which was sampled by Childish Gambino, covered by Tom Misch and remixed by Misa Negra) and bossa beach classic “Agua de Coco”, both becoming firm fan favourites.

Produced by Roc Hunter, and executive produced by Joe Davis, with musicians including Robertinho Silva (percussion), Alex Malheiros (bass), and Marcos’ wife Patricia Alvi (vocals), Contrasts encapsulated Valle’s ever evolving musical vision, bringing together samba, baião, bossa pop, broken beat, house, trip-hop and more, on one era-defining record.

After 22 years, Contrasts is finally set for a double LP vinyl and CD reissue, with the original mix of “Valeu” and “My Nightingale” making it onto the vinyl edition for the first time.

Krystof is the nom de plume of Polish-born composer, producer and DJ Krzysztof Skonieczny. After a decade in London, Krystof relocated to the remote, serrated landscape of La Palma, in Spain's Canary Islands. There he came into possession of a piece of land scattered with natural caves - one of which became his home and recording studio.

It was here that Krystof wrote his debut album, Diario di Vacanza. This record is a paean to the fertile terrain of La Palma, replete with its tangled networks of hiking paths, minas galerias (water tunnels), black sand beaches and banana groves.

Recordings of these spaces, melded with modular synthesis and electronic composition, form the basis for Krystof's work. These are soundscapes that hum with volcanic activity, bubble, burst and chatter - cooling to reveal locations, impressions, and fragments of a shared lived experience on the island.

Formed in 2012 by long-time musical companions Oyvind Holm and Hogne Galaen,
the band quickly grew into the six- piece musical force they are today. Their unique
sound fuses cosmic Americana and rich vocal harmonies with catchy melodies, highspirited improvisation, and contagious musical energy that will leave you craving
more.
The six members come from diverse musical backgrounds but are united by their
shared love of psychedelia and cosmic Americana. They draw particular inspiration
from the California sound of the late '60s, with bands like The Byrds, Crosby, Stills,
Nash & Young, and the Grateful Dead as key infuences.
Between 2012 and 2019, the band recorded and released fve critically acclaimed
albums, two of which were recorded in the California desert at the legendary Rancho
De La Luna, nestled among the Joshua trees. Like many other artists, the pandemic
shook their foundations, forcing the band into an involuntary hiatus. In the aftermath
of lockdowns and other imposed restrictions, the backlash from other projects kept
them from picking up where they had left off.
However, the fall of 2024 brought new opportunities. An unexpected email from Mike
Scott of The Waterboys reignited their spirit and motivation. While on tour in Norway,
Scott discovered one of their albums and was so taken by their sound that he invited
them to contribute vocal harmonies to 'The Tourist,' a track off The Waterboys' new
album Life, Death & Dennis Hopper.
Soon after, an even greater opportunity arose--an invitation to join The Waterboys on
tour in the UK and Scandinavia. To accompany the upcoming tour, we've put together
a beginner's guide to Sugarfoot.
The compilation album Cosmic Norse Americana features nine highlights from
Sugarfoot's career so far, along with a newly recorded cover of Emitt Rhodes' 1967
track "Time Will Show The Wiser."
Sugarfoot:
Hogne Galaen - guitars, vocals
Even Granas - drums
Thomas Henriksen - keyboards
Oyvind Holm - guitars, vocals
Bent Saether - bass
Roar Oien - pedal steel
THOUGHTS AND WORDS
The Sugarfoot story begins back in 2011. But before there was Sugarfoot, there were
the Dipsomaniacs, Kulta Beats, Motorpsycho, Too Far Gone, and Deleted Waveform
Gatherings--bands that, in one way or another, featured future members of what would
eventually become Sugarfoot. Six musicians from diverse musical backgrounds,
united by a shared love of psychedelia and cosmic Americana. Drawing deep
inspiration from the California sound of the late '60s, their musical compass points
toward The Byrds, Crosby, Stills, Nash & Young, and the Grateful Dead.
I say eventually, because Sugarfoot didn't start as a band--it began as a duo. Hogne
Galaen and Oyvind Holm had previously played together in Deleted Waveform
Gatherings. But when their drummer moved out of town, the group was put on ice. Not
ones to sit still, the two of them launched a side project to keep the creative wheels
turning.
Throughout the winter of 2011, they holed up in their rehearsal space, writing and
recording rough sketches of what would soon grow into a full album. And that's when
things got interesting. They drew up a wish list--a dream lineup of musicians they'd
love to bring into the fold.
Among the names on that list were Even Granas, Thomas Henriksen, Bent Saether,
and Roar Oien, all soon to be permanent Sugarfooters. Each was invited to contribute
to the project, adding their parts to the pre-recorded tracks--without knowing what the
others were doing. Like assembling a giant musical puzzle, Galaen and Holm later
pieced the album together from these blindfolded contributions. The result was This
Love That We Outwore, released in the fall of 2012.
From there, things escalated quickly. By the following year, Sugarfoot had become a
proper band. Big Sky Country-- written and recorded collectively-- landed in 2014,
solidifying the group's evolving sound, including favourites such as Dolphins Hotel and
Ego In A Bag. When it came time to record a third album, the band felt the itch for
something new. They wanted a change of scenery--somewhere that could spark fresh
inspiration and leave its own sonic fngerprint on the production. So they asked
themselves: where could they go that carried the spirit, the legacy, the stardust of their
musical heroes?
That search led them to the California desert, to the legendary Rancho De La Luna,
nestled among the Joshua trees. Their next two albums, Different Stars (2016) and
The Santa Ana (2017), were both recorded at the Rancho. In fact, The Santa Ana was
both recorded and mixed during a two- week stay in 2015, making it a true time
capsule in the band's discography.

Repress alert! For the first time since its initial release in 2019, Voyage proudly present a repress of Huerta’s debut album Junipero. With copies changing hands on the second-hand market for £90, here’s a chance to own this cult classic!

Huerta’s debut album for Voyage is a righteous journey along the coast of California; a psychosomatic blend of melodic rhythm, natural sounds and ambient textures.

Recorded throughout 2019, Huerta combines a blissful wash of west coast inspired ambient with the more affable, rhythmic house cuts he has been previously known for. Drawing on the surrounding landscapes of his upbringing, Huerta’s ode to the Juniper tree is an immersive and introspective experience; a long player capable of taking you to an elevated state of mind.

Composed, arranged and recorded by Steve Huerta at Diesel Studios Berlin, 2019

Sleeve Design: Sam Donaldson

Man @ Work Volume 2 is the sequel to his 2002 best seller, Man @ Work, and offers
fans an impeccable set of favorites from across Hay's rich catalog, including Men at
Work classics, solo album highlights, and new material. The album opens with "Into
My Life," featuring Gregg Bissonette (Ringo Starr and His All Starr Band) and Cecilia
Noel. The song originally appeared on Hay's 1990 debut solo album, Wayfaring Sons,
and exploded in Brazil in the 90s as the theme song of a popular soap opera, growing
to rival the anthemic "Down Under" as Hay's most popular song in South America. Hay
reaches back to Men At Work's 1983 release, Cargo, for a new recording of the reggae
infected "Blue for You," which segues into a stripped-down version of the infectious
"Come Tumblin' Down" from his 2017 release Fierce Mercy. Other standout tracks on
the album include "We the People" featuring rapper Derrick "Solpowa" Rice, which Hay
was inspired to write in the midst of the polarizing US presidential election in 2024,
and with a haunting performance of "Next Year People" from the 2015 album of the
same name. This version of the song features Hay on acoustic guitar and vocals,
augmented by a string quartet.

Scavenger tones and scrambled cassette residue drift across the surface of Compressed Knowledge, a quietly astonishing new work by Philadelphia-based sound artist Tyler Games, operating here as Radio Species. Following releases on Regional Bears, Irrational Tentent, and his own now-defunct Born Physical Form imprint, Games works in a space between musique concrète, tape collage, and microsound, using an economy of gesture to create a suite of fundamentally elusive compositions. Harmonic loops stutter and fold in on themselves, hazy rhythms break free from their clocks, snatches of speech cut out mid-thought as a layer of room tone and tape gunk holds everything in suspension. There’s a sense of broadcast without a source, flickering across half-tuned frequencies––hinting at formal structures while continually slipping away from them. The result is not archival in the traditional sense, but archaeological: these tracks are partial objects, pulled from the noise floor of memory. In its refusal to resolve into stable meaning or musical form, this is work that draws from traditions of sound ethnography, experimental documentation, and concrète montage––where listening itself becomes a mode of speculative reconstruction.

Auf weltweit 1.000 Boxen limitiert, remastert sowie mit bearbeitetem Artwork ausgestattet - diese Boxset-Edition beinhaltet 5 farbige 180g-Doppel-Vinyle (inklusive D-Seiten Etching)!

Masterpeace (1999): Dieses Album markiert die triumphale Rückkehr von David Wayne am Gesang und verbindet den kultigen Metal Church-Sound mit einer modernen Produktion. Tracks wie "Sleeps With Thunder" und "Into Dust" strahlen rohe Kraft aus und machen dieses Album zu einem Meilenstein für Fans des traditionellen Heavy Metal.

The Weight Of The World (2004): Nach einer langen Pause meldete sich Metal Church mit Ronny Munroe am Ruder zurück. Songs wie "Leave Them Behind" und "Madman's Overture" unterstreichen die Unverwüstlichkeit der Band und zeigen eine neu belebte Energie, die ihren Platz im Pantheon des Metal bestätigt.

A Light In The Dark (2006): Dieses Album ist eine Hommage an die Vergangenheit und ein Schritt in die Zukunft. Es enthält Hymnen wie "Mirror Of Lies" und eine gefühlvolle Neuaufnahme von "Watch The Children Pray" Es fängt die Essenz von Metal Churchs Fähigkeit ein, ihre Wurzeln zu ehren und gleichzeitig neues klangliches Terrain zu erkunden.

This Present Wasteland (2008): Ein sehr nachdenkliches und intensives Album mit Tracks wie "Deeds Of A Dead Soul" und "Breathe Again", das persönliche und gesellschaftliche Themen mit eindringlichen Melodien und treibenden Rhythmen verbindet. Es ist ein herausragendes Kapitel in ihrer Karriere.

Generation Nothing (2013): Dieses Album ist eine Rückkehr zu den Heavy-Metal-Ursprüngen der Band und liefert modernisierte epische Hymnen. Songs wie "Scream" und der kraftvolle Titeltrack "Generation Nothing" spiegeln eine Band wider, die tief mit ihrer Vergangenheit verbunden ist, sich aber gleichzeitig entschlossen nach vorne bewegt.

Masterpeace (1999): Dieses Album markiert die triumphale Rückkehr von David Wayne am Gesang und verbindet den kultigen Metal Church-Sound mit einer modernen Produktion. Tracks wie "Sleeps With Thunder" und "Into Dust" strahlen rohe Kraft aus und machen dieses Album zu einem Meilenstein für Fans des traditionellen Heavy Metal.

The Weight Of The World (2004): Nach einer langen Pause meldete sich Metal Church mit Ronny Munroe am Ruder zurück. Songs wie "Leave Them Behind" und "Madman's Overture" unterstreichen die Unverwüstlichkeit der Band und zeigen eine neu belebte Energie, die ihren Platz im Pantheon des Metal bestätigt.

A Light In The Dark (2006): Dieses Album ist eine Hommage an die Vergangenheit und ein Schritt in die Zukunft. Es enthält Hymnen wie "Mirror Of Lies" und eine gefühlvolle Neuaufnahme von "Watch The Children Pray" Es fängt die Essenz von Metal Churchs Fähigkeit ein, ihre Wurzeln zu ehren und gleichzeitig neues klangliches Terrain zu erkunden.

This Present Wasteland (2008): Ein sehr nachdenkliches und intensives Album mit Tracks wie "Deeds Of A Dead Soul" und "Breathe Again", das persönliche und gesellschaftliche Themen mit eindringlichen Melodien und treibenden Rhythmen verbindet. Es ist ein herausragendes Kapitel in ihrer Karriere.

Generation Nothing (2013): Dieses Album ist eine Rückkehr zu den Heavy-Metal-Ursprüngen der Band und liefert modernisierte epische Hymnen. Songs wie "Scream" und der kraftvolle Titeltrack "Generation Nothing" spiegeln eine Band wider, die tief mit ihrer Vergangenheit verbunden ist, sich aber gleichzeitig entschlossen nach vorne bewegt.

On At Tubby’s Dougie Poole plays stripped down live versions of his most treasured songs in a venue beloved by musicians for its’ intimacy & acoustics as well as its’ exceptional treatment of touring musicians. This set was a natural for release as a live album as it was a special night for the band. One of those nights when the music, audience and space all come together. It was recorded right from the board with minimal mixing work in post from Dougie himself.
The version of Dougie’s live band on At Tubby’s features main stays Mike Etten on electric guitar and Connor “Catfish” Gallaher on pedal steel. On the night’s first song “Los Angeles,” Etten’s classic country licks and Catfish’s soaring slide lines perfectly compliment Dougie’s formidable acoustic work and golden baritone. You can tell these three have been playing together for years and are road tested in this formation. They tackle some of Dougie’s most loved songs, from rave-up’s (“Beth David Cemetery” & “Vaping on the Job”) to country balladry (“Must Be in There Somewhere,” “Don’t You Think I’m Funny Anymore”) and all points in between.
There are some tracks here that might be new to fans of Dougie’s recent albums. “Toshiba Sky” is a one off digital single from 2020 and “Wild Motion” is a track Dougie wrote for L.A.’s Drugdealer, who recorded it for their 2020 album Raw Honey. Live at Tubby’s also sees the recorded debut of a new Dougie composition, “Heaven Sent an Angel” which closes out the set on a heartfelt note. At Tubby’s brings the listener to a spacial place and time, and will be a thrilling listen for fans old and new.

The CD version will be released via Rotten Roll, while the vinyl will be exclusively
available through Kernkraftritter - two titans of the extreme music scene joining forces
to deliver pure goregrind chaos!
What can you expect?
A relentless onslaught of brutal riffs, blistering blast beats, and the unmistakable
vocals that have made Rectal Smegma legends. Perfect production, intense artwork
and tracks that will rip your eardrums apart.
A strong contender for the grindcore release of the year!
Join the celebration!
To properly unleash this masterpiece, an Epik release party will take place on March
29, 2025, in Braunschweig! Together with Kernkraftritter Rectal Smegma will turn the
venue into a battlefeld of infatable animals, toilet paper, and pure chaos!
Stay tuned, follow Rectal Smegma on social media, and prepare for the grindcore
apocalypse! In the meantime, Rectal Smegma will stay on duty To Serve And Protect.

Trumpeter Eddie Henderson came to prominence as a member of Herbie Hancock’s Mwandishi in the early-70s after which he recorded a pair of seminal jazz-funk fusion classics for Blue Note—Sunburst (1975, and Heritage (1976)—the latter featuring a forward-looking crew with Julian Priester, Patrice Rushen, Paul Jackson, Mike Clark, Billy Hart, Mtume, and others. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Black Vinyl LP. The world has changed, we shouldn't try and pretend otherwise. While we were shut away in isolation our routines shifted, social patterns evolved, and our hopes and dreams were twisted into cobwebs we're still trying to wipe from our fingers. Ziúr tentatively approached this on her last album Antifate, an ambitious and complex hybrid pop fever dream that looked back to a Medieval escapist fantasy as the scent of revolution seemed to hum in the air. But when restrictions were eased, she found herself staring down a discombobulated society that had trapped itself in a spiral of microwaved nostalgia and detached, narcotic repetition. Eyeroll then is Ziúr's musical panacea, a tincture to wake us from our creative slumber and prompt external connection and reflection. It's a polyphonous hex that demands human interaction, and Ziúr's hand-picked alliance of collaborators - Elvin Brandhi, Abdullah Miniawy, Iceboy Violet, Juliana Huxtable, Ledef, and James Ginzburg - each provide distinct voices that together herald a bewildering sonic epoch. Ziúr's palette had to evolve to match the scope of the project, but it was pure necessity that informed the album's defining tone. Recording mostly at night, Ziúr was conscious of the noise she was making so developed a unique way to record organic percussion. Using a set of rototoms - low profile tunable drums - she scratched, scraped and gently tapped the skins to build up the undulating and unstable rhythmic backdrop for each track. It's the first sound we hear on the opener 'Eyeroll', rattling like lost marbles against Elvin Brandhi's primal croaks and screams. And when Brandhi's twisted articulations form words, Ziúr matches the energy with chaotic thuds and serrated blasts of saturated electronics. "I roll the shittiest cigarette," she squeals like she's about to start a mosh pit at Paris's GRM Studios. Without pause, Abdullah Miniawy takes over on 'Malikan', building on the promise of material with Simo Cell, Carl Gari and HVAD with corrosive trumpet blasts and charged, politically incendiary Arabic vocals. Inspired by pre-Islamic poetry and the Qu'ranic chanters he heard growing up in Saudi Arabia and Egypt, he spins labyrinthine stories that cross between the worlds, breaking down physical and spiritual borders simultaneously. Miniawy's scope is expanded even further on his second collaboration, 'If The City Burns I Will Not Run'. "If it rains and the city drowns," he utters over gaseous electronics, "I will not run away, but I will be anxious for the heart of one close to me." After a supple vocal turn from Manchester's Iceboy Violet on 'Move On' and a surreal interlude from poet- DJ-artist-theorist Juliana Huxtable on '99 Favor Taste', Brandhi returns with two more hyperactive collaborations: ,'Nontrivial Differential' and 'Cut Cut Quote'. On the former she slices into Ziúr's skeletal jazz eruptions, screaming and crooning interchangeably, fluxing between the rap battle and the cabaret. The latter is completely different meanwhile, with Brandhi settling into her role as front-woman and groaning dizzying improvised passages that sound like grunge crossed with psychedelic no-wave. Brandhi's spiky musical history has prepared her well for this collaboration; she's a prolific producer and has been using her voice spontaneously since debuting with father-daughter improv duo Yeah You in the mid 2020s. She's found an ideal foil in Ziúr, a producer who matches her restless energy and willingness to bend formality, and leaves an indelible mark on Eyeroll. But the album's most tender moments are from Ziúr herself, who winds the album down on 'Hasty Revisionism', growling over collapsible beats and cascading strings, and comes to an unexpected conclusion with country coda 'Lacrymaturity'. Its feverish amalgamation of country music and euphoric, experimental electronics might seem incongruous at first, but in context with the rest of the album is the only possible conclusion. With Eyeroll Ziúr is making a firm statement about togetherness, humanity, and the renewal of hope when all seems lost. By bringing together such a wide but philosophically harmonic team of collaborators, she's conducted a body of work that speaks to the creative fringe in no uncertain terms. Now's the time to throw away what you think you know, and build bridges you didn't think you need. Now's the time for action. She may have spent her entire career avoiding the solipsistic trappings of "queer art", but by assembling a communal statement that questions so many normative assumptions about music, politics, and beyond, Ziúr has chanced upon her queerest album yet. Cringe? Eyeroll.

Jugoton Funk is back with a second instalment gone funkier and crazier than before - now capturing even the early 80s disco and folk decadence occurring after Tito’s death. Jugoton, the Yugoslavian discography leader by all standards, still incites our inspiration and keeps our fingers dusty for more beats, soul and jazz presented here in equal proportion. From unreleased Jugoton associated numbers by Spektar and breakbeat bombshell classics like Zlatokosa to early Yugoslavian Soul Finger renditions and groovy jazz infusions from Josipa Lisac - this compilation rounds it all up. Enjoy it while we take another 5 years to get to Vol.3.

NZO goes sick on a standout debut album for Demdike Stare’s DDS, distilling 2-step UKG, R&B and computerised funk within whirring mechanisms adjacent to mutant jungle and footwork - the proper good stuff.

On ‘Come Alive’ SoYo’s NZO bruks wild but tight on nine tunes chiselled from a distinctive percussive palette cut into fidgety, soulful samples. She dances in and around the cracks of myriad styles with a canny grasp of limb-animating, rhythmic diffraction; all stop/start rhythms and stuttering diva-vocaloids arranged with a rudely shatterproof, grooving pliability. More simply put: it’s dance music for those who like to get super loose and freaky with it.

Chopped up and stitched together over six months in Sheffield, it’s not hard to hear a lineage of advanced Afro-American rhythm science that also feeds into SND’s jerky-but-sexy angularities, and subsequently Rian Treanor’s rugged pugilism, now morphing back to the source, but heavily skewed with it. Her judicious sampling of R&B gems is offset in obliquely funked-up structures in ways that knowingly mess with conditioned anticipations yet never lose sight of the ‘floor, and we’re here for it.

Jumping in with the writhing darkside tekkerz of ‘Rolling Around’ and clocking out with a standout downbeat pearl ‘Looking For’, we hear her displace amapiano closer to halfstep D&B in ‘AXMM’, and decimate 2-step like Akufen on ‘CFML’, while ‘K-space baum bap’ appears to dart in the spaces between UKG and singeli, and the sloshing congas, bass motifs and dub chords of ‘Deadweight’ settle to a sort of aqueous UKF.

Mannequin Records presents Artificial Salvation, the long-awaited next chapter from Taiwan-born, Berlin-based artist Jing. A visceral journey into fragmented identity, post-human desire, and sonic disobedience, the album marks a bold evolution in Jing's unmistakable language—where rhythm is weapon, voice is distortion, and silence is political.

Known for her uncompromising DJ sets and past releases exploring industrial textures, field recordings, and haunting spoken word, Jing now delivers her most narrative-driven and confrontational work to date. Artificial Salvation lives at the intersection of club dystopia and spiritual unease: glitched-out techno structures collide with ghostly chants and collapsing machinery, echoing themes of surveillance, digital exile, and existential displacement.

Crafted between Taipei and Berlin, the album draws from a palette both hyper-modern and deeply ancestral—melding broken beats, noise, and vocal manipulation into an unflinching statement of intent. This is not music for escapism. This is a sonic exorcism.

deleted because bad quality !!!





'Hot Ring' sees label alpha-bear Stevie Kotey team up here with alpha-producer Bottin for a spicy, seasonal warmer. First conceived in a Venice studio session on one of Stevies regular DJ trips to Italy, the chunky discoid romper has finally seen the light of day.

The original is probably exactly what you would expect when the 1975-to-1983 music mind of Stevie melds with the Italo-movieslasher-synthbrain-tweaker that is Bottin. Lots of stabs, rolling bass and tight drums. All tied together with new synth sounds which you probably haven't heard before.





Things go dance-floor when Bottin re-rubs things down for the stripped down dub. UK based Fernando moves the groove a thousand or so miles north with a shiny and slick crisp-disco version.

Stevies 'Kotey Extra Band' collaboration album drops around Easter 2010 so stay tuned for a sleuth of bear love-ins.

Pond Life Records presents Humble B Flat’s third vinyl release – Blessings of the Sun, a spiritual jazz-infused deep house double LP.

His previous album, Source of the Nile - promoted through a more grassroots approach than this forthcoming release — saw great success, with purchases via Bandcamp by deep house legends like Osunlade and Kai Alce. It also received radio play on shows such as Macca’s acclaimed The Glove That Fits on NTS, among others.

The release has garnered heartwarming messages from the likes of Coflo, Tour-Maubourg, Delfonic, and Felipe Gordon, and was recently spotted in FloFilz’s Spotify recommendations.

Blessings of the Sun has already been lighting up dance floors at loft-inspired parties such as Giant Steps, Luar, and Beija Flor.

Blessings of the Sun is receiving a more focused promotional rollout. It has already been played on rising star Millie McKee’s NTS show. As with past releases, only a limited number of copies will be pressed. Artwork is by renowned artist Annie Fiddian Green, and more new music from Humble B Flat is on the horizon.

With a Pond Life stage takeover set for one of Resident Advisor’s top festival picks, Gottwood, pre-empting the release, we’re excited to see where this double LP from Humble B takes us.

Enjoy The Ride Records and Enjoy The Toons Records in partnership with WaterTower Music proudly present |The Day the Earth Blew Up: A Looney Tunes Movie (Original Motion Picture Soundtrack) by Emmy-nominated composer Joshua Moshier (Baskets, The Shrink Next Door). Pressed on limited edition colored vinyl, this pressing is limited to 1,000 copies.

That’s not all folks! From Ketchup Entertainment, Warner Bros. Animation, director Pete Browngardt, and the creative team behind the award-winning “Looney Tunes Cartoons” comes The Day the Earth Blew Up: Looney Tunes Movie, a brand-new buddy comedy starring one of the greatest comedic duos in history - Porky Pig and Daffy Duck! This richly crafted, hand-drawn 2D animated adventure marks the first fully animated feature-length film in Looney Tunes history, told on a scope and scale that’s truly out of this world.

Porky Pig and Daffy Duck venture to the big screen as unlikely heroes and Earth’s only hope when their antics at the local bubble gum factory uncover a secret alien mind control plot. Faced with cosmic odds, the two are determined to save their town (and the world!)... that is if they don’t drive each other totally looney in the process. Featuring the voices of acclaimed actors Eric Bauza, Candi Milo, Peter MacNicol, Wayne Knight, and Laraine Newman with the laugh-out-loud gags, vibrant visuals, and beloved characters that make the Looney Tunes so timeless and iconic. The Day the Earth Blew Up: A Looney Tunes Movie arrives in theaters on March 14, 2025.

Lela Amparo's debut album for Past Inside The Present is a smooth fusion of ambient guitar, IDM, trip-hop rhythms, orchestral arrangements and poetic vocals that draw from her American Southwest roots, international travels, and life in Gothenburg, Sweden. Amparo crafts a raw, worldly sound from these inspirations and mixes cinematic grandeur with tender grace, gorgeous melodies and head-nodding drum programming. Highlights include 'Space Us Out' with its emotional beat and piano loop, and 'You Say You Love' which combines harp and choral voices. 'Rose & Honey' reflects on isolation in Tokyo, while 'Wrong Thing' offers a Burial-style rhythm. Keep Your Soul Young is all about finding home within yourself.

Cosmin TRG is a Romanian producer who crafted some of the underground's most innovative sounds a decade or so ago, before going off to work in other creative worlds. Here, for the first time, he links with countryman DYL for a special EP that is decidedly futuristic. 'Manevre' is Romanian for 'manoeuvres' and comes in three different parts. Each one is fluid minimal sound with deft rhythms, fizzing pads, eerie melodies, sub-aquatic motifs and always absorbing atmospheres. Tammo Hesselink also adds a remix that has more prominent drums, lurching loops and menacing dystopian energy.

At this point the vast swathes of unreleased Muslimgauze material Bryn Jones left behind when he passed away over 25 years ago is as legendary as any of his work. And sure enough, there's still some being unearthed today. The new »Single #One« is the first in a series of four (three 7"s and one 12") taken from one of Jones' customary completely unlabelled DATs he sent to labels seemingly as fast as he finished them. Both sides here indicate that, even on what might have been throwaway efforts for other artists, Jones was constantly chasing his muse around new corners.

Side A begins with the kind of tough percussion loop often found on Muslimgauze releases, but even as foreboding synths start to swell in the background, Jones introduces a rhythmic, peppy little keyboard riff far jauntier than most things he created. Side B, meanwhile, takes Jones' looped hand percussion in a dubbier direction, but unlike other times he explored that space there are some elements (phased zaps, a slightly skanking rhythm) that, while not reggae exactly, makes this feel more like a traditional dub than Jones tended to make. Both sides stand in testament to a creator who never stayed in one place for very long.