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NOW is proud to present the next instalment in our ongoing ‘Yearbook’ series, and the final one representing an individual year from the 1980s: NOW – Yearbook 1989. 78 tracks across 4CDs – celebrating a magnificent and eclectic year in pop! This release is available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 78 featured tracks. Also available as 42 tracks across 3LPs, pressed in stunning pink vinyl…celebrating a magnificent and eclectic year in pop!

Side-A features Alex Désert and Deston Berry of Hepcat, in addition to Malik Moore of The Lions. Side-B features Asdru Sierra, vocalist of Ozomatli. Produced, Mixed, and Recorded by Dan Ubick (The Lions, Connie Price and the Keystones). Previous steady radio play on BBC Radio 6, KCRW, SoHo Radio, etc... Very popular among DJ’s and collectors worldwide. To round out their second wave of 7" singles, Night Owls bring the heat once again with their signature sound and vision.

Re-imagining two Aaron Neville classics, “Hercules” feat. Alex Désert and The Lions b/w “Tell It Like It Is” feat. Asdru Sierra from Ozomatli, Night Owls up the ante by bringing in some heavy hitters for both sides of this 45. Side A's "Hercules" features long-time collaborators and bandmates from The Lions (Stones Throw, Ubiquity, NYCT) - the soulful tenor of Alex Désert (also Hepcat) on lead blending seamlessly with the familiar voices of Deston Berry (Hepcat) and Malik Moore (Ocean 11) on backing harmonies. The Lions front line locks in tight from the many years performing together on top of a darker and grittier interpretation of Allen Toussaint’s masterpiece complete with fuzzed-out guitar, Space Echoes and rhythm drops. On the flip, "Tell It Like It Is" keeps the momentum going and hips swaying with added Colombian percussion elements and California lowrider vibes. Featuring L.A. family and multi-talented vocalist of Ozomatli, Asdru Sierra, on lead and Night Owl Dan Ubick on backing vocals Side B creates a unique blend of reggae and Cumbia into a very fresh take on this multi-generational hit

Souleance's love of oriental and Mediterranean music is well proven.

The duo Soulist and Fulgeance surprise once again with this new EP with Turkish-funk & disco-psychedelic influences. An instrumental EP that blends Sylvester's funk and disco with intoxicating melodies inspired by Barış Manço or Hamid El Shaery. The result is a raw, powerful sound of mixed funk. KEBAB DISCOTHEQUE is a tribute to the Oriental music that Souleance has loved since its beginnings, be it Turkish, Moroccan, Armenian or Iranian. Each track is a percussive and danceable journey, sometimes lyrical, with smells as sweet and round as a bass sound, as well as the spiced melodies that titillate your musical sweet tooth.

Halumi opens this EP with a guest appearance by the talented Özgür, a promising artist who enhances this first single with his magnificent Anatolian voice for an explosive funk à la Tom Tom Club funk with heady melodies! A perfect warm-up for this dance-dinner! Kaymak open the club doors and takes us on an impulsive, uncontrollable dance step ! A track as catchy as it is transcendent, but also a road trip in a convertible car on which you see the best moments of your life flash by. Souleance recommends this sweet and salty cheese called “kaymak”, and leaves you the joy of discovering it if you happen to be in Turkey (to be consumed on site only*). Belseance is a tribute to the beautiful Marseille’s district, where cultures meet and mingle. This track was bound to be bouncy, joyful, groovy and rhythmically exciting. The ingredients? “Jazz bass sauce”, “moog” peppers & “analog” spices. Neşe (i.e. “joy”, “elation”) is a return to the beat and groove mastered for years by Souleance. A moment of perfect digestion to finally savor the silences between notes, the signature swing of the longstanding duo. A shivering “laid back” track where Fulgeance's bass lines remain as seductive as ever, all this without ever letting you dance with “style” - and why not add a finely sweetened baklava to the mix? And finally, like an invigorating “mint tea”, No Dancing gently slaps you in the face with its “smoky disco” ambience! With its powerful kicks and fluorescent pink lasers ambiance, arpeggio bass and hypnotic “Zurna” flutes, you’re still listening to Souleance, not at “Club Méditerranée”, but in their very own discotheque: KEBAB DISCOTHEQUE.

A refined popular sandwich. An evening to remember

Show Your Power” music was part of a studio session with Nickodemus & Costa Rican rising star & versatile producer Barzo. Produced around the time Nickodemus was working on his album "Soul and Science". After many weeks of searching for the right vocalist Nickodemus finally connected with Ghanian vocalist Zongo Abongo who collaborated on 3 of his songs. Musically, "Show Your Power" is an uptempo joint with hard hitting afro-Caribbean beats & Rhythms, a UK inspired dub bassline & ska horns.

On the flip side, Mr. Doris shows his diversity also in the studio with good friend & producer Much Maligned for this heavy hitting Afro-Caribbean dance-floor shaker "Want Some More"

"1980 was a huge year in pop music with every genre competing for hits. We have already included many tracks on the records of the 1980 Yearbook, the 80-84 Final Chapter, and their extras so far in our appreciation of the year…

Those tracks were generally the bigger hits of the year, with their chart achievement a factor in their inclusion – however – that’s not the whole singles story of the year, and our celebration of 1980 wouldn’t be complete without shining a light on some of the years’ singles that have been compiled much less frequently over the years.

Welcome to THE VAULT for 1980… Some of the tracks included were Top 40 hits, some missed the chart completely. Some were representative of massive selling albums, and some were big hits in the U.S. and not in the U.K… but all are part of the wonderful pop story of 1980. "

wetdogg was born in a grotto in Detroit, Michigan with a mission to information to the masses. Through sonic awakening, wetdoggs mission is to enlighten the subconscious and shine light on the deepest crevices of the human psyche. Allowing pathways back into animalistic intuition and away from the technocracy, dig a hole, plant a seed, run in circles and free your mind.

Coming out of Detroit based label Hold Me Records started by Detroit Techno aficionado MGUN and Underground don of all dons Ryan Spencer, wetdogg releases her first Album pssssssp…

From the artist:
"When a dog runs into a river and comes out and shakes itself dry, there is no data collected, technology does not aim to control those that it cannot. Numbers are definite and infinite, a linear path to doomsday. With every move we make, we are tracked and traced and categorized in order to sell ourselves into data hell. Intimacy used to have meaning, the present moment, truth and love but so much of it has been taken captive by technology that seeks to psychologically manipulate and control. A dog runs into the water because that is what dogs do, but it seems these days we are starved from our natural instincts, instead relying on someone else's answer that we of course seek online. "

Using the primitive technology of the password journal (often marketed to little girls to keep their secrets) wetdogg uses the idea of the password journal to imagine a utopia free of the surveillance state in her upcoming album pssssssp…

Founded in 2022, Hold Me Recordings is an independent record label based in southwest Detroit, MI. It is run by Manuel Gonzales (MGUN) & Ryan Spencer, who with a deep-rooted connection to the city's musical history, showcase innovative sounds that challenge the status quo and push the boundaries of contemporary electronic music. Focused on promoting both emerging and established artists, Hold Me is releasing genre-defying tracks that blend unconventional productions with the sincerity of Detroit's legacy. From experimental techno, to downtempo and ambient, Hold Me is committed to offering music that sounds fresh, exciting, and unlike anything you've heard before.

In the Andes of Peru, in a valley formed by the Huallaga River, lies the city of Huanuco. There, a little over fifty years ago, the emblematic cumbia band Los Darlings de Huánuco was born, and since then their compositions have gone around the world, bringing their homeland to the ears of music lovers and collectors. Adversities kept them away from music for two decades, but in spite of this, they marked a parallel path and created their own history in the maximum splendor of Peruvian cumbia. In a valley formed by the Huallaga River lies a temperate land located on the eastern slopes of the central Andes of Peru: Huánuco. A little more than seventy years ago, in that land of mountains and starry skies at almost 2,000 meters above sea level, Juan Nájera was born. A multifaceted musician by profession, he did not always have the privilege of being able to dedicate his life to music. For almost ten years he ran a family hardware store in Huánuco and then a mechanic shop on La Marina Avenue in Lima. He was also a truck driver. A decade of military dictatorships in Latin America made the artist's path very hard in the region, and Peru was no exception. Nájera was only nineteen when his first son was born. He had to make a living and the possibilities for entrepreneurship were slim. But if we go back in history, Juan Nájera was, first and foremost, a boy who dreamed of becoming a musician. Later, he was a boy who made it. Los Darlings de Huánuco managed to cross borders, not only in the capital of Peru, but also abroad. There are many collectors and music lovers around the world who seek and appreciate their songs, musical gems that have toured different latitudes and have managed to position this band from the Peruvian countryside in the most remote places on the planet. In a country characterized by its centralism, where opportunities in the countryside are much scarcer than in the capital, where the foreigner is greeted with more warmth than the local, and where getting ahead, especially in the musical field, implies an extraordinary effort, Los Darlings de Huánuco managed to take their sound to where they never thought it would be possible. From the Andes to the skyscrapers, from the heart of Huánuco to the immensity of other continents.

After a collage tape collab with Bardo Todol back in 2022 (SUC52, Magnetic Road to Hell) Robert Millis finally gets his Discrepant debut proper, a much overdue entryin our random catalogue of lost musical oddities.

The not so self explanatory title Interior Music explores Millis obsession with hidden sounds and its anomalies. An hermetic rearrangement of emptiness could be another more big headed title. But I leave the man to talk about his thing:

‘’The phrase interior music occurred to me a few years ago as a way to describe some recent work. It’s about the resonances inside of hollow wooden chambers (and hollow heads) like gramophones and talking machines, music boxes, instruments, metal containers, and resonant rooms. It’s about exploring tiny audio fragments—single notes, vinyl and shellac surface noise, recording mishaps and anomalies—and arranging them into something meaningful. It is about my own interior mishaps and anomalies and attempts to arrange THEM into something meaningful. It also references “interior design” with the placement of sounds in specific locations, layers or in juxtapositions.

Inspirations include Steve Roden’s lowercase work, Toshiya Tsunoda’s field recordings, Eliane Radique’s slowly shifting ambiances, and the musique concrete of Pierre Schaeffer, as well as the dhrupad and kayal traditions of Indian classical music—especially Kesarbai Kerkar and the Dagar family who have a sublime way of stretching out individual notes and exploring their endless permutations, combinations and connotations.’’

Robert Millis is a sound artist known for his work with Climax Golden Twins, the Helen Scarsdale Agency, the soundtrack to cult horror film Session 9, the Victrola Favorites book and cassette series, and many releases on Sublime Frequencies including Indian Talking Machine, Paris to Calcutta: Men and Music on the Desert Road, compilations of the earliest music recorded in Korea, Japan and Myanmar, and the documentaries This World is Unreal Like a Snake in a Rope and Phi Ta Khon: Ghosts of Isan. Somehow he is a Fulbright scholar (to India 2012-13) and the recipient of a Guggenheim Fellowship (2020). He has or currently does play with AFCGT, Idol Ko Si, and/or Telescoping.

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

Deerhoof haben sich schon vor langer Zeit als eine der großartigsten Rockgruppen des Planeten etabliert - wer das für übertrieben hält, hat noch nicht genug Zeit damit verbracht, Deerhoof zu hören - das wahnsinnig erfinderische Quartett behandelt jedes seiner neuen Alben als eine Gelegenheit zur kreativen Wiedergeburt. Und doch sind sie irgendwie auch zutiefst zuverlässig, eine seltsame, aber wahre Beschreibung für eine Band, die so kreativ rastlos ist. Man weiß nie, wie ein neues Deerhoof-Album klingen wird, außer dass es immer nach Deerhoof klingen wird. Die Band wird durch solche Paradoxien definiert, wie "Noble and Godlike in Ruin" erneut bestätigt. Ihr neuestes Album ist entweder ein Porträt einer Welt, die in monströsen Hass, Entmenschlichung und Dollarzeichen abgleitet, oder ein eindringliches Selbstporträt der Band als Monster: ein intelligentes, sensibles, hybrides Wesen, das unermüdlich von Liebe singt, sich aber zunehmend von dieser Welt entfremdet. Die Musik ist fröhlich und ahnungsvoll, kybernetisch und zutiefst menschlich, alles zugleich. Streicher, die an avantgardistische Kammermusik und klassische Horrorfilm-Soundtracks erinnern, prallen auf Gitarren- und Basslinien. Das Schlagzeug ist manchmal gefiltert und klingt fast elektronisch, aber kein Computer könnte einen so funkigen und dynamischen Rhythmus erzeugen, bei dem jede winzige Variation von einem Snare-Schlag zum nächsten Welten der Möglichkeiten vermittelt. An der Spitze steht die unnachahmliche Altstimme von Satomi Matsuzaki. Eine Stimme der Einsamkeit, deren schlichte Ruhe seltsam außerhalb des Mahlstroms der Band zu stehen scheint, zu dem sie mit ihren zackig-präzisen Bassläufen selbst beiträgt. Als Einwanderin der ersten Generation in den USA hat sie nie versucht, ihren japanischen Akzent oder ihre Karaoke-esken Vortrag zu verbergen. Auf "Noble und Godlike in Ruin" wirkt dies abwechselnd als Ausdruck von Einsamkeit und als kühle Provokation gegenüber Systemen der Unterdrückung und Kontrolle. ,Kindness is all I needed from you", singt sie auf dem epischen Albumabschluss ,Immigrant Songs`. ,But you think we're in your house." Nicht lange danach explodiert der Song, sein eng gewickelter Art-Pop macht Platz für mehrere Minuten heulenden Lärm. Auch wenn das Thema düster sein mag - wie könnte es anders sein - tragen die Songs trotzigen Optimismus in ihrer Weigerung, sich den Konventionen oder überlieferten Weisheiten zu beugen. Da ist diese berühmte Zeile von Dylan Thomas über das Wüten gegen das Sterben des Lichts: "Noble and Godlike in Ruin" fühlt sich ein wenig so an. Die Welt mag untergehen, aber Deerhoof gehen schwungvoll unter.

Louis Philippe und The Night Mail sind zurück mit einem neuen, fesselnden Album, auf dem die Songs wieder einmal makellos sind. Die Reise geht dieses Mal weiter, weg vom Klassischen, hin zum Unerwarteten. Neue Synthesizer und Claps machen das Ganze unmittelbar und plötzlich, während Stimmen wie aus luftiger Höhe und scheinbar spielerisch-furchtlos durch das Album rufen. Neben den üblichen Geschichten, die man sich so erzählt, gibt es eine geheime, parallele Version der Pophistorie, die von den wahren Enthusiasten und Eklektikern geschrieben wurde. Von jenen, für die ein Dauerbrenner wie Pet Sounds nicht nur Anlass zu endlosen Behauptungen über seine Außergewöhnlichkeit war, sondern auch mündete in einer Aneinanderreihung harmonischer Reichtümer, die bis ins einundzwanzigste Jahrhundert reicht. In diesem alternativen Universum ist Philippe Auclair alias Louis Philippe, anglo-französischer Singer-Songwriter sondergleichen, seit vier Jahrzehnten eine bewunderte Größe. Philippes musikalische Anfänge liegen als Pop-Protagonist und Haus-Produzent bei Mike Always legendärem Label él Records. Von hier aus führten ihn seine Ausflüge in den Shibuya-Sound und zur Zusammenarbeit mit Leuten wie Bertrand Burgalat, Dave Gregory von XTC, Sean O"Hagan von High Llamas und Stuart Moxham von Young Marble Giants bis hin zu seinen jüngsten Abenteuern mit The Night Mail. The Night Mail kamen vor zehn Jahren zusammen, um ein Album mit dem unterschätzten Post-Glam-Genie John Howard aufzunehmen. Nach diesem einmaligen Projekt verbrachten sie ein paar Abende in London, um als Begleitband für Robert Forster und Louis Philippe zu spielen, und schlossen dabei eine Allianz mit Letzterem, die 2020 zu ihrem ersten gemeinsamen Album Thunderclouds führen sollte. Angesichts der Komplexität, den reichhaltigen Sound dieses Albums auf der Bühne zu realisieren, holte Philippe seinen langjährigen Partner, musikalische Koryphäe und Multiinstrumentalist Danny Manners an Bord.

Calibro 35 unleash a limited 7" feat Piero Umiliani's Italo-Cosmic-Disco classic 'Discomania' and Azymuth Brazilian-Disco stormer 'Jazz Carnival' on the B-side. Calibro 35 continue their journey into the world of cinematic jazz-disco-funk with the release of a new 7" featuring two afro-disco stormers. On the A side Calibro 35 deliver an heavily afro-funk infused version of Piero Umiliani's Italo-Cosmic-Disco classic 'Discomania' while on the flip side the Milanese band drop an equally explosive B-side with their own reinterpretation of Brazialian-Disco hit 'Jazz Carnival' by Azymuth. Both songs are taken from the highly anticipated new album 'Exploration' that drop June 06 worldwide via Record Kicks. The 7" is limited to 500 copies worldwide and is an instant's collector item. Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years," Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. Active since 2007, during their long career, they 1 have been sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay-Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day"), and Demigodz ("The Summer Of Sam"). They 2 have played major venues and festivals all over Europe, and as unique musicians, they have collaborated with, among others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland, and Rokia Traoré.

GOLD DISC CLASSIC SERIES
Re-Issue of the 1st ever Vibronics 7" single, side A is the original mix, side B is a previously un-released dub version.
Originally released in 1998 as played by JAH SHAKA. It is now presented in a beautiful gold sleeve.
Part of the SCOOPS Gold Disc Classic Series !!

Vibronics is one of the most established names in UK Dub/Reggae music achieving millions of views on YouTube,
millions of Spotify streams and many tens of thousands of vinyl record sales.
Collaborators include Michael prophet, Macka B, Iration Steppas, Soom T, Aba-Shanti and more.

GOLD DISC CLASSIC SERIES

Classic track with the voice of our dear friend & legendaryJamaican vocalist Michael Prophet. For sure one of our most successful tunes ever released and a timeless roots anthem that we still play at every session. Here we re-issue it with a never before heard dubplate mix on the b-side. Part of the SCOOPS Gold Disc Classic Series !!


Vibronics is one of the most established names in UK Dub/Reggae music achieving millions of views on YouTube, millions of Spotify streams and many tens of thousands of vinyl record sales. Collaborators include Michael prophet, Macka B, Iration Steppas, Soom T, Aba-Shanti and more.

GOLD DISC CLASSIC SERIES


The biggest and baddest Vibronics anthem of all time featuring the original clarion call from Professa Natti. The Professa rose to fame
as mic chanter on the Jah Tubbys Sound System. This tune was first released back in 2012 and immediately sold out, the vinyl record has
now become a serious collectors item. Here we re-issue it with a never before heard dub mix on the b-side. Part of the SCOOPS Gold Disc Classic Series !!


Vibronics is one of the most established names in UK Dub/Reggae music achieving millions of views on YouTube, millions of Spotify
streams and many tens of thousands of vinyl record sales. Collaborators include Michael prophet, Macka B, Iration Steppas, Soom T,
Aba-Shanti and more.

The third vinyl EP from Vision Collective Recordings based in Cork City Ireland contains
four new tracks by four different artists/producers covering various styles within the deep
house, electronic music & house music spectrum

Horizon is a new collaborative album by Resavoir and Matt Gold. Across the 10 tracks the two Chicago-based producers combine their distinct sensibilities to create a hypnotic and inviting love letter to their shared admiration for "60s and "70s Brazilian music. Resavoir leading man Will Miller - the acclaimed trumpeter, composer, and producer who"s worked with SZA, Whitney, and more-makes room at the table for Gold - a seasoned multi-instrumentalist and accomplished guitarist who has collaborated with the likes of Makaya McCraven and Greg Ward - and the results are distinctly new for both of them. The sunny and expansive tunes on Horizon are as immersive as they are endlessly replayable, a dynamic and joyous body of work.

New Generation Carnival Riddims from St. Lucia and Dominica A hurricane of turbo-charged, body-buzzing tracks collide on Road Fever, a compilation of razor-produced, road-tested instrumental riddims from St. Lucia, Dominica & Guadeloupe that showcases the producers forging the future of Caribbean music in 2025. Road Fever draws together instrumental Dennery Segment and Bouyon riddims originally made for vocalists, presented for the first time as stand alone pieces of music. Distilling carnival riddims down to the bare bones, producers push minimal 150+bpms, FL-percussion packs, DJ/vox samples & synth riffs, bridging trap, drill, dancehall, sped-up Haitian konpa & Angolan kuduro. Ricocheting at the intersection of TikTok culture, best heard blasted through walls of speakers travelled by stage-sized carnival trucks or via bluetooth car speakers, St.Lucia"s "Dennery Segment" sound, (as iconic producer, G6 described in an interview), "sparks your inside; a sound you can"t hear and not move". Amsterdam-based, Curaçao-raised compiler Rozaly echoes G6: "Once you hear it, you can"t unhear or unfeel it. This is a musical movement with an entire history with so many relevant reasons why it still exists, and why it exists the way it exists right now". Rozaly concludes, "there is nothing more simple, let the artists speak."

Following the first two releases on Sea~rène, GiGi FM returns with “Virgo Space Acid”, a deeply personal and sonically assertive exploration of transformation and healing.

Rooted in the energies of 2025, the Year of the Snake, this four-track EP channels the mystery and intuition of the serpent, weaving together Virgo’s archetypal forces of the healer and the alchemist.



Across driven beats, hypnotic acid sequences, and vocal-infused textures, “Virgo Space Acid” reflects a journey of renewal, self-ownership, and inner power.

From Berghain to The Bunker New York, GiGi FM has long been known for her ability to channel movement into sound. With “Virgo Space Acid”, she refines her craft even further, working with fewer elements yet pushing them to their fullest expressive potential. She explores the full range of her voice, shaping it into textures, atmospheric layers, and even percussion, while separately reworking classic 909 drum machine sounds into something entirely her own. This EP is a statement of both discipline and liberation, where minimalism meets deep transformation.



Opener “Calibration” sets the tone with its mantra-like intention: an invitation to realign and tune into one’s own energy. Built around a driving bassline, nostalgic yet forward-moving synths, and GiGi’s own spoken word, “A breath holds time, calibrates space”, the track creates a moment of clarity before the journey begins.

“Mercury” follows, embodying the trickster, the messenger, the shapeshifter. Playful and urgent, its bouncing synth sequences move like conversations in motion, with rising tones driving the track forward, pushing toward a restless ascension that mirrors Mercury’s role as a bridge between realms, both celestial and internal.

The title track, “Virgo Space Acid”, is the wormhole: the brain battle, the transformation. With a heavyweight 303 bassline, spiraling bleeps reminiscent of birds, and powerful classic 909, it is pure tension and release, an acid-drenched trip through motion and evolution.

Closing the record, “Floresta” is a sensual and grounding moment of reflection. Named after the stage at Waking Life Festival where GiGi felt a pivotal shift in her healing journey, the track mirrors the scene with dub chord sequences, emotional rising pads, and percussive vocal elements. Like the purple and pink drapes floating above the dance floor at sunset, Floresta is both a farewell and a prelude, a misty horizon where one chapter closes and another awaits.

With “Virgo Space Acid”, GiGi FM continues to expand her sonic language, deepening her connection between body, rhythm, and transformation. More assertive, more urgent, yet deeply intuitive, this is a record of movement, clarity, and self-empowerment.



"We are Sea~rène, swimming in-between supernatural tides, forever following the emotional waves of the universe." GiGi FM

2025 Repress

Om Unit surprises us with a second volume of his 'Acid Dub Studies' project, once again fusing his love for the 303 with studio techniques given to us by musical heroes such as King Tubby, Adrian Sherwood, Jammys and Basic Channel

This second volume further solidifies the convincing narrative created by its best-selling predecessor, heading in a more groove-based direction in places whilst being underpinned by the same sonic narrative that has been enjoyed by many music fans from a variety of different spheres for the past 18 months or so

Support so far for the Acid Dub Studies project has come from many corners including some of the most highly respected names in UK Radio such as Don Letts and Steve Barker, Benji B and Tom Ravenscroft as well as a whole host of truly global worldwide underground support both via radio and in the dance

Om Unit says of this record: 'I felt encouraged by the sheer love for the original selection of works to go back in again and continue to experiment with this approach to writing whilst refining some of the process. Being able to combine processes and influence has been the mainstay of my creative life and I hope this next volume of Acid Dub will be enjoyed by everyone who was a fan of the first'

The beloved 303 bassline continues to inspire every new generation and Acid Dub Studies II is another storybook of sound in that vast continuum that shows no sign of slowing down.

Claire Chicha aka Spill Tab is feeling more free than ever before. The LA-based, French-Korean songwriter and producer,has spent the past five years as spill tab honing a sound that is as raw-edged as it is refined, channelling low-slung guitar-strumming confessionals as well as the earworming melodic hooks of anthemic pop to produce a heady and distinctive mix.

Following the 2019 release of her intimate and infectious debut single “Decompose”, Spill Tab has evolved her spill tab project through three EPs: 2020’s synth-pop influenced Oatmilk, 2021’s playful, uptempo Bonnie, featuring Gus Dapperton and Tommy Genesis, and 2023’s co-produced, sonically-intricate Klepto, which gleefully meanders from the Hiatus Kaiyote-influenced jazz freakouts of “CRÈME BRÛLÉE!” to the guitar-chugging thump of “Splinter”. Live, meanwhile, Spill Tab has been tapped for her explosively energetic presence to open the North American leg of popstar Sabrina Carpenter’s tour, as well as touring through Australia with alt-rock trio Wallows.
With “PINK LEMONADE”, opening single from her forthcoming debut album “ANGIE” , spill tab’s freewheeling sound finds its fullest expression, harnessing this onstage experience and recorded experimentation with her bass-weight and pitched-up vocals. Here we find Chicha only ever chasing that “weird thing”, fizzing with an infectious enthusiasm and intricate musicianship. “The best songs come from writing the main idea in a day, as it’s so instinctual,” she says, such as “PINK LEMONADE” recorded “from a clip taken out of a 40-minute jam that we then chopped and spliced”.
Born to her French Algerian composer father and Korean pianist mother, Claire Chicha spent her early childhood in the mixing room of her parents’ LA post-production studio, bringing coffees to artists as they tracked scores for exciting new projects. “I hung out in that studio all the time until I was around 10 years old, absorbing jazz music my dad was into and classical music that my mom loved,” Chicha says. “My mom had a big hand in making me an adventurous kid, always trying new things from piano to harp and violin, forever soaking up new sounds.”

At 12, Chicha’s life was uprooted as she relocated to Thailand to live with her mother’s family following the collapse of her parents’ business after the 2008 recession. What followed was an unstable and formative few years of early teenagedom, navigating new cultures and life changes. In Thailand, Chicha began learning guitar to cover the Paramore and Green Day tracks she had grown to love while also becoming immersed in Thai traditional music. After a year, she moved once more to live with her aunt in Paris and there she was introduced to the classic sound of Serge Gainsbourg and Édith Piaf before ultimately returning to LA following the untimely death of her father.

“I had to become a real people person to fit in everywhere I was moving, and it immersed me into so many different styles of music,” she says. “I went from listening to the nasal singing of Thai traditional music at muay thai fights in Bangkok, to emotive classic French songs. It definitely informed the need to experiment with my sound as I became more interested in making music.”

At high school in LA, Chicha joined one of the country’s foremost show choirs and realised a natural aptitude for stagecraft and performance as she sang medleys in competitions throughout the US. Going on to study Music Business at NYU, Chicha found a love for the alternative soul and singer-songwriting of the likes of Moses Sumney and Bon Iver, as well as developing her own sound while spending summers interning as an A&R at Atlantic Records and being exposed to the gamut of New York’s live music scene.

“I was going to so many shows as an A&R intern and seeing just how much a lot of music sounded alike,” she says. “It made me realise I wanted my music to feel different, to cut through the noise but still make something that felt honest to me.”

Beginning to independently release tracks, Soill Tab gradually built a loyal fanbase with the release of wistful early numbers “Calvaire” and “Cotton Candy” and soon found herself signed to a major label. Yet, as her career progressed through the COVID pandemic the demands of a corporate major began to conflict with her own searching style. “My last two EPs were under contract and it felt like I was always chasing the carrot,” she says, “I felt a certain pressure to put out tracks quickly and find that ‘hit’. It wasn’t the right environment to truly make what I wanted.”

Ultimately parting ways with her label, Chicha began work on a new album, exploring new sounds and ideas with her LA-based community of collaborators like producer David Marinelli, Solomonophonic, Wyatt and Austin and John DeBold, without expectation. “It became this beautiful experience of only following ideas that I really believed in and exploring all the musical avenues I hadn’t before,” she says. “I’ve never been more excited about songs and I’ve never felt like a project is more mine.”

Writing and recording while touring with Sabrina Carpenter and Wallows, Chicha road-tested her new tracks to see what might land best with an audience who had likely never heard her music before. “You have to win people’s hearts as an opener and you can see what resonates and what doesn’t,” she says. “I would watch people fall in love or not and it’s usually always the song you’re having the most fun with that does the best. That’s what I put on the record.”

« Angie », Spill’s Tab debut album is relased on because Music and expected for May 16th release.

Repress!

When we first heard the tracks that are now part of this EP we were convinced an Italian producer from the 90’s had just dusted off a pack of DATS from his archives. Little we knew that Derral was a young, fresh and very talented gentleman from the outskirts of Barcelona. The 4 tracks on this OCD release are reminiscent of what it could be heard in Italy’s Riviera Adriatica legendary clubs in the early 90’s or on labels like UMM, MBG, or Heartbeat and the whole EP is a sneak peak into the promising future Derral has ahead of him.

Mr. Computer sees two figureheads of Dutch electronics pay homage to the voice of electro disco, the vocoder. Figi and Luca dell’Orso team up to sing praise of a tool that has crossed genres and styles and give the little metal larynx deserved limelight on their own three track theatre. Rumbling bass is shot through with crisp snaps in the title piece, warbling vocals rising as keys dance in this wonderful collaboration.

Production across the 12” is beautifully clean and sharp, allowing the rich analogue sound and robotic lyrics to be fully appreciated. Of course, as happens with the vocoder, those lyrics are just that shade of bittersweet. That brooding quality is used to full effect by Luca dell’Orso in “Fire with Fire”. A bold and daring melody is countered by a tale flecked with sorrow, the brightness and immersion of synths contrasted by the filtered and fractured human voice. Figi flies solo for the finale. “Moonlight (Vocoder Version)” dips words in a thick mechanical syrup, a story of burning love recanted to moonbeam rinses and bending disco bars.

A true celebration of man and machine.

12-inchers from Dublin disco messers Fatty Fatty only come along once in a while, but this summer they've got 2 biggies lined up for festival messing, sunset disco joy and eyes-down dirty basement feel...

Pablo and Shoey's 'Raw Human Emotion' EP features 3 tracks never before seen on vinyl and showcases the range of their productions neatly. First up you've got 'Raw Human Emotion Part 2', a track they provided for a Paper Disco compilation many moons ago. Chopping up sections of an old disco-soul stomper and getting deep inside the loops before rising to a joyous hands in the air climax, this is a peak-time winner that brings everyone together.

Flip over for two lost gems from the 'Do It Backwards' EP for Sprechen, which got lost in the chaos of the first Covid lockdown.

'Shoey's Acid Trip' is a peak time, hands aloft, laser reacher - acid preacher style slammer that builds like a bastard, while Pablo's 'Air Raid Dub' of the title track melds a wonky as heck bassline with a wicked boogie breakdown before slamming back in, rave sirens and all. Serious 3am tackle all round...And the likes of Justin Robertson and Severino of Horse Meat Disco agreed at the time, with the latter proclaiming 'Now this is something different...'. The whole EP fits that bill, and should do some serious damage around the place this summer...

The project by Jens-Uwe Beyer and Thomas Venker boasts a remarkable origin story. In 2017, Venker, co-founder and co-editor-in-chief of Cologne’s Kaput magazine, hosted a gathering at Beyer's house, bringing together journalists, creatives, and musicians. To mark the occasion, the pair decided to join forces for an impromptu ambient-electronic performance, presenting themselves as a two-man band. That evening, donned in special costumes designed by artist Sarah Szczesny and fuelled by a generous amount of Japanese whisky, Hasan Poppu was born. Over the course of the pandemic, the duo thought about creating a record based on the live recording of their premiere show. However, the synergy of their collaborative creative energies led them in entirely novel directions. Their self-titled, double-sided album traverses a wild and raucous terrain, moving swiftly from hybrid noise-techno to giddy party ecstasy, to strange and shadowy atmospheres.

Including remixes by YPY, Hibotep, Lena Willikens, Efdemin and Barnt, the 11 tracks span a dizzying array of experimental dance-facing styles. 'Die-Biden' kicks off as a high-vibrational vocal experiment seemingly voiced by a sentient German vocoder. 'Kodō' follows, featuring Venker's playful mantra set against a stomping beat. Willikens' reimagining of 'Teiko' transports the track to obscure realms inhabited by strange creatures emitting ungodly sounds. Meanwhile, Efdemin's take on 'Ekusutashī' pulsates with a kinetic buzz. Flipping over to the B-side, 'Sakura' is a euphoric wall of drone punctuated by eerie whispers and mystical singing. Then, the second installment of 'Kodō' takes a fresh trajectory with a touch of Barnt’s electronic groove stylings. Finally, Hibotep's 'Shojo no yo ni flp' serves as the finsher – an unrepentant trance belter that disintegrates into sampled fragments. Loosely translating to "broken pop music," Hasan Poppu is informed by Beyer and Venker's shared love for Japan. The band takes their cues from the country’s rich sonic cultures while also drawing on Venker's wordsmith background and Beyer's flair for melding melodic tech-house with song-based synth-pop. Originally out on Beachcoma Recordings, Hasan Poppu’s debut album gets a new lease of life on Osàre! Editions with a digital and limited edition cassette tape release. Sarah Szczesny reprises her role in shaping the visual identity of Hasan Poppu by creating beautiful, painterly artwork for the record. words by Hannah Pezzack

For customers of the Rush Hour shop, this item ships for its may 23rd release date. Any items ordered along with this will ship then also

A classic returns. Mystery, one of The RAH Band’s most beloved albums, celebrates its 40th anniversary with this long-awaited reissue - the album's first time on vinyl since its original 1985 release.

The RAH Band, the brainchild of producer and arranger Richard Anthony Hewson, has been synthesizing jazz, funk, and electronic pop into out-of-this-world tracks since the late 1970s. Mystery marked an important moment in Richard's career, following on from The Crunch & Beyond (1978), RAH (1980), and Going Up (1983). With this album, Hewson took his pop songwriting and commercial success to new heights while never compromising his unique and unbound production style.

At the heart of the album are eight perfectly crafted pop songs, each standing strong on its own, with no filler in sight. The lead single, Are You Satisfied?, set the tone for the album’s jazz-funk evolution, but it was Clouds Across The Moon, with its futuristic narrative of love and longing across the cosmos, that became a chart-topping phenomenon, reaching #6 in the UK. The track’s space-age storytelling cemented its place in pop history, with many still recalling that 1985 Top of the Pops performance as the moment they fell in love with The RAH Band - if you know, you know.

From the dreamy synth-jazz of Float, a club and radio favourite to this day, to the smooth saxophone solo on Out On The Edge, recently featured on Steven Julien (aka Funkineven)'s DJ Kicks mix, Mystery remains an essential album four decades later - a testament to the genius of one of the most quietly influential songwriter-producer-arrangers of our time.

REPRESS of the highly acclaimed album. Black Metal is one hell of an album. It's a downbeat, dark folk album, that manages to capture the vibe of the band's earlier work quite well. Pelander has managed to make a "doom album" without actually making one in the traditional sense. Black Metal manages to capture the world weary, woeful, attitude and vibe of doom better than a ton of albums that crank up the Sabbath worship to ridiculous levels. It's a work of darkness and despair and therefore it is another captivating chapter of this band's discography. (New Noise Magazine)

Gold nugget vinyl, limited to 200 copies. Black Metal is one hell of an album. It's a downbeat, dark folk album, that manages to capture the vibe of the band's earlier work quite well. Pelander has managed to make a "doom album" without actually making one in the traditional sense. Black Metal manages to capture the world weary, woeful, attitude and vibe of doom better than a ton of albums that crank up the Sabbath worship to ridiculous levels. It's a work of darkness and despair and therefore it is another captivating chapter of this band's discography. (New Noise Magazine)

This music shouldn't be a collector-only affair: to celebrate the birth of MKNK, his first label in 20 years, Manu le Malin is unveiling Derniere Danse Part I, a four-track collection of sought-after and difficult to find past releases, all remastered by Scan X and Deathmachine.

Pavilions neue Compilation "Break The Glass, Burn The Cage (The Sound Of Indie Punk Rock)" feiert alles, was Indie und Punk ausmacht. Die Welt der engen, verschwitzten Grassroots-Locations mit elektrisierenden Gitarrenriffs, mitreissenden Basslines und den Stimmen der Bands, die man unbedingt gehört haben muss. Mit herausragenden Tracks von Lime Garden, SPRINTS, Lambrini Girls, Sunflower Bean, English Teacher, Dream Wife, Panic Shack oder, Big Joanie kanalisiert die Compilation die rohe Energie und den rebellischen Geist, die man nur erlangen kann, wenn man sich tief um die Ungerechtigkeiten und den Hass in dieser Welt kümmert. Es ist eine Soundreise durch die Angst, Leidenschaft, den Spass und die Freiheit, die man findet, wenn man "es dem Mann zeigt".

"Break The Glass, Burn The Cage (The Sound Of Indie Punk Rock)" wird am Internationalen Frauentag 2025 als Charity-Album angekündigt, alle Tracks wurden freundlicherweise von den Bands kostenlos gespendet. Somit geht der gesamte Gewinn aus jedem Verkauf an die beiden ausgewählten Wohltätigkeitsorganisationen, die ihr Möglichstes tun, um Frauen und Mädchen aus allen Schichten und Altersgruppen zu helfen, von häuslicher Gewalt über Trauerfälle bis hin zu Obdachlosigkeit und Krieg – Brighton Women's Centre & War Child. Das Album erscheint als recyceltes Vinyl und CD in limitierten Auflagen.

"Something Soft", das zweite Album der irischen Post-Punk-Brandstifter M(h)aol, ist alles andere als soft. Von der ersten Note des Eröffnungsstücks von "Something Soft" bis zu den verzerrten Schreien des letzten Stücks fühlt sich die Platte antagonistisch gegenüber dem Konzept der Sanftheit an, klanglich und thematisch. Es ist eine unapologetische Annäherung an intersektionellen Feminismus, Tierschutz, Konsum und den Kampf um einen Platz in einer Welt, der es an Empathie mangelt. Was M(h)aol bietet, ist Katharsis in zwei Formen: die Art, die man bekommt, wenn man anderen gegenüber offen ist, und die Art, die man bekommt, wenn man mit Recht etwas kaputt macht. Wut und Empathie effektiv zu kanalisieren ist ein Akt der Widerstandsfähigkeit, und um "Something Soft" zu machen, mussten M(h)aol besonders widerstandsfähig werden. Nach ihrem gefeierten Debüt "Attachment Styles" änderte sich das Line-up von M(h)aol und bestand nun aus dem Kerntrio Constance Keane (Schlagzeug/Gesang, sie/ihr), Jamie Hyland (Bass/Gesang, sie/ihr) und Sean Nolan (Gitarre, er/ihm). Dieser Prozess veränderte die Herangehensweise der Band an das Songwriting und die Auftritte und führte zu einem unerwarteten Durchbruch. "Something Soft" zeichnet sich durch einen dringlicheren Sound aus, der sich eng um den Rhythmus von Hyland und Keane legt. In Songs wie "Pursuit" und "Snare" verbindet sich Keanes Gesang mit dem Schlagzeug, als würden ihre Worte durch ihr Spiel zum Leben erweckt und direkt aus ihrem Körper kommen. Vor dem Hintergrund dieser ängstlichen und schwadronierenden Tracks nimmt ihre Stimme den Raum eines inneren Monologs ein, in dem sie von einem angespannten Heimweg und von der Misogynie im Green Room aus einer Position der drolligen Beobachtung heraus erzählt - eine universelle Erfahrung, die in spezifischen Details wiedergegeben wird. Wie seine Vorgänger "Attachment Styles" und die "Gender Studies" EP wurde auch "Something Soft" von Jamie Hyland aufgenommen. Es ist die technisch ausgefeilteste der bisherigen M(h)aol-Aufnahmen, denn die Band, zu der auch Sarah Deegan vom Pixie Cut Rhythm Orchestra am Bass gehört, zog in das Dubliner Ailfionn Studio, wo sie die räumlichen Gegebenheiten und das Studio-Equipment nutzten, um ihrem Sound mehr Nuancen zu verleihen. Die zusätzlichen Sessions und das Können hinter den Reglern waren ein Segen, aber für eine Band, die es gewohnt ist, unter extremem Zeitdruck zu arbeiten, war dies eine unerwartete Herausforderung: Konnten M(h)aol das Gefühl der Unmittelbarkeit beibehalten, das ihre Musik bis zu diesem Zeitpunkt geprägt hatte? Songs wie "DM:AM" zerstreuten diese Sorge schnell, indem sie innerhalb von 20 Minuten aus einem Drone entstanden, den Nolan spielte, während Hyland ihr Aufnahme-Equipment aufbaute und sich beeilte, den Song einzufangen, sobald Keane und Deegan dazukamen. Eine der geisterhaften Hymnen von "Something Soft", "1800-Call-Me-Back", begann als Scherz, dass die Band einen Fußballgesang schreiben sollte, wurde aber weitaus komplexer - die köstliche Balance aus Chaos und Klarheit, die sie gefunden haben, wäre ohne Zeit unmöglich gewesen. "I Miss My Dog" ist weniger spontan, aber seine Meditation über Trauer baut sich in einem halsbrecherischen Tempo auf, von Rückkopplungen über Keanes Schlagzeugspiel und Gesang bis hin zu einem spektakulären Schluss, der die Trauer in Bass und Gitarre erstickt, eine der größten technischen Leistungen von M(h)aol bis heute. Der Feinschliff unterstreicht den schelmischen Charme von M(h)aol und lässt das Intime hymnisch wirken, indem persönliche Erfahrungen genutzt werden, um die allgemeinen Systeme, unter denen wir leben, zu beschreiben. Für diejenigen, die sich in den Songs von M(h)aol wiedererkennen, ist das Hören von "Something Soft" wie ein Sprung in einen lang laufenden Chat-Thread, voller Wut und Humor.

2005's Naturally was a pivotal moment in the history of soul music. It was the first Daptone album tracked at the renowned "House of Soul", a recording studio handbuilt by Sharon and the rest of the Daptone family in a two story rental in Bushwick, Brooklyn. The album has gone on to sell over 200,000 records, with hit singles "How Long Do I Have To Wait?" and "This Land is Your Land" streaming in the hundreds of millions- staggering figures for a wholly independent release.

Up to this point Sharon Jones & the Dap-Kings had yet to reach an audience outside of dingy, hole-in-the-wall clubs, dive bars, and underground DJ parties, attended by only the most in-the-know. This was the scene where the band began to flourish, developing the sound that would forever alter the musical landscape and set a lofty new bar for what could be considered real-deal soul music. It made Daptone a household name and opened doors for countless musicians and record labels to come. Naturally sparked a renaissance that is still vibrating today- a testament to Sharon Jones' legacy as the undisputed, reigning Queen of Heavyweight Soul.

Your Grandparents sind von der Zeit fasziniert. Sie kann weder erschaffen noch getötet werden; es gibt nie genug von ihr, aber sie kann sich ewig hinziehen. Zeit ist eine Art Währung, die man sparen, ausgeben und verspielen kann. Am Ende macht sie uns alle zu Narren. Das Trio aus Los Angeles - der Produzent Cole Thompson und die Sänger/Rapper DaCosta und Jean Carter - setzen sich auf ihrem Debütalbum "The Dial" intensiv mit diesen unterschiedlichen Ideen auseinander. Die Platte ist eine Meditation über die Zeit, aber sie zeigt, dass man in der Gegenwart verwurzelt bleiben muss, um das Konzept und all seine Qualitäten wirklich zu begreifen. Die Gruppe, die sich in der Schule in Culver City kennengelernt hat und jetzt Mitte/Ende 20 ist, macht seit einem Jahrzehnt Musik und hat geduldig zugesehen, wie sich die Teile ihrer Karriere zusammenfügten. Es scheint, als würden sie ihre genre-agnostischen, aber im Hip-Hop verwurzelten Songs dem Kosmos entreißen, einen Moment der Inspiration aufgreifen - ein Loop hier, eine Textzeile dort - und in einem Bewusstseinsstrom fortfahren. "The Dial" nahm langsamer Gestalt an, mit dem, was DaCosta "fokussierte Intentionalität" nennt. Your Grandparents hackten auf dem Material herum und achteten darauf, kein einziges Element zu überstürzen. Das Ergebnis ist atemberaubend: eine kaleidoskopische Reise durch Herzschmerz und Freude, Momente der Frustration und Hoffnung. Ihr Gesang wechselt mühelos zwischen elastischen Band-Rap-Flows und goldfarbenen Melodien, während die Produktion durch die Zeit reicht und Einflüsse - von House zu G-Funk über Boogie im J Dilla-Timing bis hin zu ESG-informiertem Dance-Punk - zu einem einzigartigen Ganzen verschmilzt.

"The recordings Contained herein are contained here after many years on the shelf..." So begin Michael Hurley's notes to these unbelievably great recordings from 1964...never before heard. Recorded by Fred Ramsey as part of the same sessions that resulted in Michael's First Songs LP on Folkways. Side A starts with What'llya Do, What'llya Say?, a pretty psychedelic classic that can very well put you into some kinda trance. After that we hear The Blues Had Gone Away - a sad drifty little tune, then Pretty Girl On Rollerskates, with a rare Hurley harmonica solo & hallucinatory lyrics worthy of some examination, and then a beautiful alternate take on one of Michael's all time greats - The Tea Song. Side B starts up with yet more alternate takes of songs from the Folkways LP - this time of Intersoular Blues & I Like My Wine. After that we get to hear two great compositions for the first time, & man oh man are they pretty - Hey Hey Hey Hey & I Love You Babe. Real great stuff all around that we recommend for deep into it Hurley fans & newcomers to his art alike. Michael Hurley is a great American song writer with his own unique way of seeing the world & this LP is a great testament to his vision. Co-release with our friends Nero's Neptune.

The Tower is the third studio album by Norwegian hard rock band Vulture Industries. Originally released by Season of Mist on February 24, 2017, the vinyl edition has been sold out for years and sought after by many fans. Known for their mix of progressive metal, dark rock, and theatrical elements, the album continues the band's exploration of complex and atmospheric soundscapes. It combines intricate, sometimes dissonant riffs with elements of black metal, post-punk, and art rock, often switching between atmospheric, melodic sections and more aggressive, intense passages. Lyrically, the album delves into themes of personal conflict, societal decay, and existential despair. The title track, "The Tower," captures the essence of the album with its metaphorical exploration of isolation and oppression. The lyrics are abstract and poetic, inviting listeners to reflect on the human condition and the psychological weight of modern life. The album's concept is built around these dark, thought-provoking themes, creating an immersive experience. Critically, The Tower was praised for its ambitious and multi-faceted approach, with many highlighting its blend of progressive structures and emotional depth. It marked a progression for Vulture Industries in terms of musical maturity, as they refined their sound and further distanced themselves from traditional metal tropes. The album resonated with fans of avant-garde metal, drawing attention for its blend of challenging music and poetic, introspective lyricism.

Causa Sui return with the perfect companion to last year's tour de force, "From The Source". Whereas that record was a tightly structured piece of work, that condensed many aspects of the band's sound into a concise 45 minute LP, "In Flux" presents the more loose and impulsive side of Causa Sui. After an introductory suite in classic Causa Sui territory, with deep fuzz riffs and syncopated grooves, things gradually become more outlandish. The following three vinyl sides see the band channeling Hot Rats-style jazz fusion, the oceanic post-rock of late-period Talk Talk, and the impulsive, anarchic experimentalism of Can's "Tago Mago" into their own beatific brew. On "Spree", the band abandons guitar entirely, relying on a dual synthesizer on top of drums and bass instead, yet maintains that uniquely Sui-an vibe.The centerpiece in this set, "Astral Shores", unfolds over 16 minutes - from gently hypnotic, ritualistic folk, through motoric psychedelia and back again. It's been many years since Causa Sui have sounded this unmoored on a studio record. "In Flux" is an essential chapter in the band's ever-changing oeuvre. The double 10" format might seem like an odd choice, but splitting the album into four short, distinctive parts makes perfect sense stylistically. Each side has a character all off its own, taking the listener somewhere different. Still a continious CD version is available as well.

"Amazing! Like stumbling on a treasure-trove of unheard Charlie Patton and Blind Willie McTell 78s, but imbued with the spirit of Mahlathini and Ladysmith." Joe Boyd

'But for this compilation of rescued songs masterfully restored from rare 78 rpm shellacs, few could imagine the diversely beautiful roots of Zulu Guitar Music emerging during the period 1950 – 1965. Story-tellers and master musicians appropriate outlaw personae, re-purpose country and western, Hawaiian and other styles, to stretch and challenge our notion of “the Zulu guitar”.

Twenty-five songs (18 on vinyl) plunge us into the depths of the migrant experience. Translations in the liner notes offer us glimpses of pugnacity, melancholy and heartache, all coloured by the paternalism that circumscribed the singers’ apartheid-dominated lives.

The early *mbaqanga* undertow in many of the songs subverts the wanderlust of Country and Western music into a fugitivity burdened by nostalgia. Something irretrievable has been lost, prompting a blending of ideas and cultures to make sense through thankless acts of musical divination. Inadvertently they have been thrust into the role of the antihero, where outwitting competition for lovers is as important as evading the Black Jacks (apartheid’s municipal cops) and their informants.

Considering the politically repressive period that this music emerges from, we can surmise that the specificity in the storytelling went a long way towards evading censure. But even when words are absent, there is a narrative arc suggested by the musical expression.

With most of the master tapes wilfully destroyed or lost, modern transcription and restoration techniques from the original shellac discs present the original sound most likely more clearly than ever heard before.'

Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music and Siemon Allen at Flatinternational.
Artwork design by Siemon Allen.
Liner note and translations by Kwanele Sosibo.
Audio restoration and lacquers by Frank Merritt at The Carvery and pressed at Pallas, Germany.
Original 78rpm recordings sourced from the collections of Chris Albertyn at Matsuli Music, and Siemon Allen at the Flatinternational Archive.

The deadbeat Danish duo return to serenade us with their signature sound of fuzzed-out garage-rock guitars, falsetto vocal supremacy, and an unyielding rhythm section. Gabestok find themselves lodged at the pinch point between the grandiose and the garage, crafting songs that are at once eminently epic yet raw and direct. Alle Dør I Fremtiden is a road trip into oblivion, always accelerating toward some unknown precipice until inevitably driving you over the edge. Laying in the wreckage of an old car smelling of stale cigarettes and beer you wonder what happened, then flip the record and start again.
A short conceptual album steeped in hopelessness, regression, power, and the almighty battle against mob mentality in the wake of advancing technology and knowledge. Set amidst a geomagnetic storm on a desolate, scorched Earth, we follow an obsessive collector who has amassed a vast physical repository of lost knowledge now esoteric in an era of hard drives and remote storage. Books, piles of papers, and artefacts are all locked away in his private Citadel, far removed from a population of spiritless people, trapped within their own thought-prisons, fiercely guarded by corporate algorithms.
Fire and flames come in many disguises and eventually We All Die in the Future.

'Test Driving The New Prius' is a 35 minute radio play (with sound effects) written and performed by Jim Fry (Earl Brutus, Pre New) and Luke Haines. (The Auteurs, Baader Meinhof a.o.). Just as that other modernist masterpiece Ulysses depicted a day in the life of Leopold Bloom, Test Driving The New Prius follows the life in a daze of Endgame Man. In this tale of derring-do our hero acts out a perilous adventure in the 400 yards between his home, his local pub and the off-licence. With nervous system reduced to a series of involuntary twitches and reality reduced to a background hum of decades of half absorbed mindless daytime TV wittering. Can Endgame Man get home and make it through to Wednesday with only his spirit familiars - an endless trail of 75cl bottles of Glen's vodka to guide him? With cameos from Jayne MacDonald, Brian Eno, Martin Degville /sigue Sigue Sputnik) and the cast of Blankety Blank (1980). Written and executed by Jim Fry and Luke Haines Originally Broadcast as a Radio Play in 2022, now a limited-edition 12-inch vinyl LP on berry red vinyl,exclusively released for RSD 2025

Im klassischen, nicht-popkulturellen Sinne bezieht sich der Begriff "Schamanismus" in erster Linie auf die spirituellen Praktiken der indigenen Völker Sibiriens. Schamanen interagieren als Beschützer ihrer Gemeinschaften über veränderte Bewusstseinszustände mit der Geisterwelt. Auf ihrem Album "Songs of the Shaman" interpretieren NYTT LAND traditionelle schamanische Gesänge und Zaubersprüche der mandschu-tungusischen Sprachgruppen unter Sibiriens Ethnien. Bei diesen Liedern kommen sehr alte musikalische Techniken wie Kehlkopfgesang und Trommeln zum Einsatz. Alle Gesänge wurden in der jeweiligen Originalsprache aufgenommen. Damit will die Band deren ursprüngliche Kraft bewahren, die auch aus der Intonation sowie dem Sprachrhythmus der Worte entsteht. Diese Sammlung alter Magie in Form von Geisterbeschwörungen, Abwehrzaubern und Segensprüchen wurde sorgfältig ausgewählt und schließt Schadflüche bewusst aus. NYTT LAND sind eine rituelle nordische Folk-Band, die das Ehepaar Natalya und Anatoly Pakhalenko im August 2013 in der westsibirischen Stadt Kalachinsk gründete, welche am Ufer des Flusses Om und als Station der Transsibirischen Eisenbahn errichtet wurde. Nach drei in Eigenregie veröffentlichten Alben, "Nytt Land" (2013), "Hávamál" (2015) und "Scopun: Songs from the Elder Edda" (2016), erschien im Jahr 2017 mit "Fimbulvinter" ihr Debüt bei einem Label, auf das kurz darauf das Album "Oðal" (2018) folgte. Während NYTT LAND auch weiterhin Werke in Eigenregie veröffentlichten, traten die sibirischen Elemente in ihrer Musik auf ihrem dritten Label-Album "Ritual" stärker als jemals zuvor in den Vordergrund.