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Esoteric Warfare is the fifth full-length studio album by Norwegian black metal band Mayhem. It was released by Season of Mist on 6 June 2014 in Europe and Asia, and on 10 June 2014 in North America. It is the band's first album with Teloch on guitar since Blasphemer's departure from the band in 2008. As with the previous album, the lyrics focus less on the classically Satanic themes of the band's early work, instead referring to occult and conspiracy theory concepts such as psychic powers, mind control and alien tampering with human evolution. (For instance, the song "Corpse of Care" appears to be a direct allusion to Bohemian Grove and the Cremation of Care ceremony performed there.)

2025 Repress


Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)


Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

2025 Repress

Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)


Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

In an interview released to Billboard in 2017, east coast veteran AZ explains how this collaboration with legendary DITC producer Buckwild came along:

"The sound was shifting. A lot of brothers in the street were telling me "You got to save us." And I'm like, "Save y'all from what?" So I took that title to save the people, then Buckwild played a joint in the studio called "Save Them," and I was like, "This is it."

The two don't really need no introduction: with the Brooklyn lyricist gracing the mic since the mid 90's beginning with one of his first appearances alongside Nas on "Life's A Bitch" and dropping legendary classics such as "Doe Or Die", and the Bronx producer providing beats to artists that range from old school acts such as The Notorious B.I.G., Jay Z, Kool G Rap, Big Pun, modern day legends such as Vinnie Paz, Meyhem Lauren, Termanology and, last but not least, legendary DITC members Big L, Fat Joe, Diamond D and the list goes on and on.

AZ had to recruit "some brothers who I know respect the craft" and found them in Wu-Tang Clan's own Raekwon alongside the late great Prodigy of Mobb Deep. The song was released in April 2017 and brought a breath of fresh air with its classic vibe, together with a video being released just days before Prodigy's untimely passing in June 2017. The rest, you already know, is straight up hip-hop history.

Im Eröffnungstrack von Unlearning Vol. 2, seinem fünften Soloalbum, bricht Evidence zunächst mit Mustern. "Set the autopilot, cruising speed", sagt er - eine Zeile, die an seinen charakteristischen entspannten Flow erinnert. Aber anstatt zu cruisen, wählt der aus Venice stammende Musiker die Störung. "That's a setup for a punch to land with 'true indeed'," fährt er fort und gibt den Ton für ein Album vor, bei dem es weniger um Bequemlichkeit und mehr um Transformation geht. Der Titel des Tracks "Plans Change" könnte nicht passender gewählt sein. Seit seinem Auftauchen mit Dilated Peoples hat Evidence immer eine kühle, mühelose Kontrolle ausgestrahlt. Aber "Unlearning Vol. 2" lehnt wie sein Vorgänger aus dem Jahr 2021 jedes Abgleiten in den Status eines Vermächtnisses ab. Es ist nicht nur ein stilistischer Schwenk, sondern eine tiefere, introspektivere Reise, die in technischer Meisterschaft wurzelt, aber von Instinkt und Neugier angetrieben wird. Anstatt vergangene Erfolge zu recyceln, erkundet Evidence raueres, emotionales Terrain und kreiert einen Sound, der sowohl geerdet als auch experimentell ist. Die Produktion zieht Tracks wie Sebb Bashs erschütterndes "Seeing Double", C-Lances nostalgisches "Top Seeded" und Evidence' eigenes unheimliches "Greatest Motivation" in einen hypnotischen Bann. Dennoch bleibt seine Stimme der Anker, der den Dunst mit Präzision und Tiefe durchschneidet. Tracks wie "Nothing's Perfect" zeigen seine lyrische Beweglichkeit, während "Laughing Last" Stoizismus und Verletzlichkeit in Reflexionen über Familie und Verlust verbindet. Die Kollaborateure stammen aus verschiedenen Epochen - The Alchemist, DJ Babu, Blu, Domo Genesis, Larry June, Conductor Williams und viele mehr -, doch das Projekt wird von einem gemeinsamen Ethos getragen: sich neu zu erfinden, einen neuen Kontext zu schaffen und Schmerz durch Kreativität einem Zweck zuzuführen.

RAWAX proudly presents the 6th release by Fresh & Low aka Phresh N Low on their own RAWAX TREASURES series!
This time we have the honor to re-issue "New Wave Bang" - originally released on Deep Freeze Recordings in 2000!

The 25 years anniversary edition on RAWAX is re-mastered and will be out early June.

Don't feed the Discogs Sharks!

Stephen James Buckley, aka Polypores, releases his brand new studio album on June 6th.‘Cosmically A Shambles’ sees a slight shift in direction from his signature sound, with stronger elements of rhythm and melody than his more abstract back catalogue though still remaining unmistakably Polypores. Highly textural, intricately woven modular synth tapestries, through to whirling psychedelic freak-outs with hypnotic polyrhythms and fuzzed-up drum machines.Still creating in the same method, using modular synths and ‘playing’, rather than the use of samples or studio or synthesiser pre sets, this album features more beats and textures, seeing a shift towards almost psyc or krautrock. Preceded by his first ever 7” lathe cut single ‘Whorl’, the album is released by Crackedankles Records from Stephen’s homewtown of Preston.

Berlin-based DJ and producer Moomin (Sebastian Genz) returns with *Into The Distance*, a deeply immersive album set for release on June 20th. Expanding on his signature warm, textured sound, the 10-track LP blends deep house, downtempo, and ambient influences into a hypnotic, cinematic journey.

Following his acclaimed 2011 debut *The Story About You*, Moomin has released on labels like Smallville, WOLF Music, OATH, and Aim, while also running his vinyl and tape imprint, Closer. *Into The Distance* refines his introspective, groove-driven style, with tracks like *Joni* and *A Way Out* pulsing with subtle energy, while *Caught In A Memory* and *Night Moves* evoke dreamy nostalgia.

Having stepped away from live shows in 2019 to focus on his mastering studio, Moomin's latest album reflects this period of deep creative focus-fluid, contemplative, and designed for both personal reflection and sonic exploration.

Double A-Side release by two of Englands best Streetpunk/Oi! Bands with two new songs on a ltd vinyl 10inch! GIMP FIST celebrating their 20years anniverary with brandnew track "History Repeats"."HISTORY REPEATS" is something very special in every way: The song surprises with a sound that is very atypical for Gimp Fist, with excursions into folk punk, and for good reason: It is released exactly 20 years after their first pub concert back on June 6, 2005, in Bishop Auckland, and it has captured just that atmosphere musically. Instead of merely celebrating themselves as is usual with anniversary songs, the lyrics convey a clear message to society and politics for mutual respect and peace, as the signs unfortunately point to 'History Repeats' with all the current conflicts worldwide. UK's Streetpunkers RIOT CITY RADIO shouting out loud to all football and soccer fans with their new song "We're still singing" A terrace themed anthem calling out all the 'fair weather' supporters who turn their back on their sports team when times get hard. Catchy Singalongs paired with melodic hooklines and straight forward guitars, for good reasons RIOT CITY RADIO are handled as on of UK's actual best Streetpunk bands! Classic black vinyl, here's the Gimp Fist cover art displayed.

Double A-Side release by two of Englands best Streetpunk/Oi! Bands with two new songs on a ltd vinyl 10inch! GIMP FIST celebrating their 20years anniverary with brandnew track "History Repeats"."HISTORY REPEATS" is something very special in every way: The song surprises with a sound that is very atypical for Gimp Fist, with excursions into folk punk, and for good reason: It is released exactly 20 years after their first pub concert back on June 6, 2005, in Bishop Auckland, and it has captured just that atmosphere musically. Instead of merely celebrating themselves as is usual with anniversary songs, the lyrics convey a clear message to society and politics for mutual respect and peace, as the signs unfortunately point to 'History Repeats' with all the current conflicts worldwide. UK's Streetpunkers RIOT CITY RADIO shouting out loud to all football and soccer fans with their new song "We're still singing" A terrace themed anthem calling out all the 'fair weather' supporters who turn their back on their sports team when times get hard. Catchy Singalongs paired with melodic hooklines and straight forward guitars, for good reasons RIOT CITY RADIO are handled as on of UK's actual best Streetpunk bands! Classic black vinyl, here's the Gimp Fist cover art displayed.

999 were one of the true punk rock originals came together in November 1976. 999 quickly became a cornerstone of the scene in the UK, releasing their debut single ‘I’m Alive’ in July 1977.  Within a couple of years, they were touring the USA extensively, building up a significant following Stateside and earning them some action on the US Billboard Album Chart. Throughout the late 70s and early 80s, a series of classic singles alongside the albums ‘999’, ‘Separates’, ‘The Biggest Prize in Sport,’ and ‘Concrete’ kept the band’s star in the ascendancy.
‘Live at The Basins Nightclub’ recorded in June 1987 catches the band firing on all cylinders.

Cosey Fanni Tutti has announced details of a new album, 2t2, set for release on the artist’s own imprint, Conspiracy International, on 13 June 2025 on vinyl & CD. Composed, performed and produced by Cosey Fanni Tutti, the 9-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019’s acclaimed album TUTTI. It is a personal reflection; a sonic realisation of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swingeing world events that have impacted us all. Centring on her own strength and self will, the album’s two distinct sides – one rhythmic, one more meditative – are connected by an overwhelmingly positive mood. She explains, “My overtone chanting on the track ‘Stound’ was part of that, tapping into the inner self, to the core of your being, emotionally, physically, allowing the sounds to permeate and soothe as well as create a sense of power, resistance and resilience to what we face.” Even in the more melancholic moments, there’s a lightness that she explains is an “acknowledgement that it’s alright to be sad, that’s part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance.” There are also threads from her most recent projects running through 2t2. Her latest book RE-SISTERS and the score she wrote for Caroline Catz’s film Delia Derbyshire: The Myths and Legendary Tapes are acknowledged, most directly on ‘Threnody’ which is dedicated to Delia Derbyshire and Andy Christian, an artist friend of Delia’s. He sent Cosey an abstract drawing of the same name, created one night from an improvised evening where he drew while Derbyshire intoned and sang softly as she looked at the drawings, as if reading a score expressing how they made her feel. Cosey’s process and the different strands that make up her work form a totality of vision. She goes on to say, “Once you get creating and listening, weaving, collaging sound it’s a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within.”

The artwork reflects this idea that the album is a “sound cameo”, reflecting the light within the music, and the buzz of life that exists within all of Cosey’s work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band Throbbing Gristle, one half of electronic pioneers Chris and Cosey, and as an artist channelling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream. Her first solo album, Time To Tell (1983) was followed by 2019’s Tutti and 2022’s Delia Derbyshire: The Myths and the Legendary Tapes. Her debut book, the Penderyn Music Book Prize shortlisted Art Sex Music, was published in 2017, followed by RE-SISTERS in 2022 (both Faber), which will soon get a Spanish edition.

Rachika Nayar und Nina Keith veröffentlichen am 18. Juli unter ihrem neuen Projekt Disiniblud ein selbstbetiteltes Album!

Rachika Nayar und Nina Keith, aka Disiniblud, treffen sich in Brooklyn, in einem Park, der so klein ist, dass man nicht aneinander vorbeigehen kann, ohne sich zu bemerken. Sie reden. Erst über Musik, dann über alles. Über das, was war, über das, was nicht mehr sein wird. Post-Lockdown-Liebe auf Distanz, als würde man sich an jemandem festhalten, den es nie ganz gab. Buddhismus, Hinduismus, ein Soundtrack, den sie beide als Teenager geliebt haben. Ein Gespräch ohne Worte. Eine Verbindung, die sich anfühlt wie eine längst vergessene Kindheitserinnerung. "Disiniblud", das selbstbetitetelte Album, das am 18.07.2025 via Smugglers Way erscheint, ist das Echo davon. Rachika Nayar und Nina Keith verfolgen unterschiedliche musikalische Ansätze, die sie im gemeinsamen Projekt Disiniblud zusammenführen. Rachika veränderte mit ihrer 2022er LP "Heaven Come Crashing" ihr Repertoire: Statt Ambient-Gitarren setzt sie nun auf maximalistische Synthesizer, tiefe Sub-Bässe und Amen Breaks. Diese Fusion aus Post-Rock und Elektronika wurde von Pitchfork als Best New Music ausgezeichnet und fand Anerkennung in Medien wie The New York Times, Stereogum, Fader und GQ - zudem eröffnete sie Tourneen mit M83. Nina Keith ist bekannt für ihren autodidaktischen Kompositionsstil. Ihr Debüt "MARANASATI 19111" präsentierte sie mit Instrumenten wie Cello, Klavier, Klarinette und Flöte, um persönliche Erfahrungen und Erlebnisse im Zusammenhang mit Gemeinschaftstraumata und paranormalen Ereignissen musikalisch zu verarbeiten. Mit neuen Veröffentlichungen wie "Come Back Different" featuring Julie Byrne erweitert sie ihr Spektrum durch den Einsatz modularer Synthesizer und komplexer Vokalarrangements.





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We are excited to announce our 13th edition, which you can offer for pre-order until it is ready for shipping, expected on June 1st.

FOLLOW UP TO THE CRITICALLY ACCLAIMED 2023 ALBUM ‘RPB’ (UTR151):

- #4 MOJO FOLK ALBUMS OF THE YEAR+ FOLK ALBUM OF THE MONTH:
“ IT MELTS TRAD TECHNIQUES AND MINECRAFT BURBLE INTO ‘A MASSIVE, MULTI-PLAYER ONLINE DREAM’ . INCOMPREHENSIBLE/IRRESISTIBLE’

‘ME LOST ME’S RPG (UPSET THE RHYTHM) IS AN EXCITING, IMAGINATIVE ALBUM EXPLORING THE LINKS BETWEEN TRADITIONAL INFLUENCES AND ELECTRONICS IN FERTILE WAYS.’ THE GUARDIAN - FOLK ALBUMS OF THE MONTH.

'FROM NEWCASTLE, VIA UPSET THE RHYTHM, JAYNE DENT EXPLORES FOLK ART AND FUTURISM TO SPELLBINDING EFFECT' THE QUIETUS

FULL PAGE REVIEW IN WIRE MAGAZINE:"ME LOST ME'S NEW ALBUM RPG IS FILLED WITH STORIES OF ADVENTURE AND SELF-DISCOVERY IN VERDANT NATURAL LANDSCAPES, SUNG WITH FEELING AND CLARITY"

Me Lost Me - the project of Newcastle-based artist Jayne Dent - delights in experimenting with songwriting, creating a beguiling mix of soaring vocals and atmospheric electronics that playfully push the boundaries of genre.

On Me Lost Me’s fourth full-length, This Material Moment - arriving on Upset the Rhythm on 27th June - she has created an “emotionally raw” album, her most honest and vulnerable yet.

Concerned with physicality, interpretations, and, yes, materiality, This Material Moment is an album akin to rummaging through a box of long-forgotten trinkets. With each song, Me Lost Me extracts something from the box and asks us to consider it from every angle. "This is an album which uses words as a material, a playful tool for experimentation, full of metaphor, abstraction and analogies.” Jayne says, “it has softness and anger, humour, hope and despair, intensity of feeling in all directions expressed as textures, objects, places."

With the release of This Material Moment Me Lost Me puts into practice the automatic writing techniques she developed during a workshop with Julia Holter, and in the process has spun her music in different directions that draws on poetry, psalms and using mesostic poems and phonetic translations to generate words. “Despite the chance-based writing strategies throughout, it feels like the most emotionally raw album I've ever made,” she says, likening the process to a Rorschah test which revealed things to her she wasn’t expecting to express. “I wanted to hide in stories, but I saw things plainly when I tried to write.” Having finished the writing process, Jayne realised that she had an unexpectedly personal album on her hands, into which her feelings of burnout and overwhelm had crept unconsciously. “Several of the songs for me express a kind of inner conflict, where you’re trying to keep hope and desire and beauty and art near to your heart, to live a meaningful life, but finding that increasingly hard to hold onto in a world that’s so fucked up.”

Whilst Jayne Dent’s music as Me Lost Me has previously presented time stretching back and forwards in opposition (noticeably on 2023’s album RPG), on This Material Moment she does away with linearity altogether, evoking rather than narrating, and presenting feelings, happenings and moods with no clear beginning or end point - “like experiencing a vista, trying to capture a moment that is unfolding all at once”. Instead, each track on This Material Moment exists entirely in media res, adjacent to past and future, and instead sprawling across the endless now.

This Material Moment was written and arranged solo, but played with a core band of John Pope on electric/double bass, Faye MacCalman on clarinet, and now with the addition of Ewan Mackenzie (Dextro/Pigs x7) on drums - bringing in live drums and electric bass for the first time. The album was recorded by Sam Grant at Blank Studios in Newcastle, who also worked on RPG.

The official soundtrack to Jean-Cosme Delaloye's documentary about the life and career of Detroit techno pioneer Carl Craig, Desire: The Carl Craig Story is set for release on digital platforms on 20th June 2025, with 2x12” Vinyl and CD editions to follow on 18th July 2025.

The collection, coming via his prolific and seminal Planet E Communications, features music from across Craig’s vast catalog, including several tracks that have never previously seen full digital release. Its selections span his many aliases and projects, offering a rare glimpse into the full scope of his groundbreaking career. rare glimpse into the full scope of his groundbreaking career.

Among the rare and remastered tracks featured is No More Words - originally released in 1991, newly reissued on vinyl and available digitally for the first time. A foundational track in the Detroit techno canon, No More Words captures the emotive synths and tight grooves of Craig’s sound that would soon resonate across dance floors worldwide. Its reissue marks a moment of reflection on the genre’s roots and evolution.

Another remastered track from Craig’s extensive archive is The Truth, a deep cut from Craig’s discography under his Designer Music alias, now widely available for the first time a quarter-century after its original release. The film’s end credits are scored by the contemplative Meditation 4, an ambient production previously only available on Craig's 2013 Masterpiece compilation CD for Ministry of Sound.

Iconic remixes such as his Grammy-nominated rework of Junior Boys’ Like A Child is included alongside lesser-known but equally epic remixes such as his sublime 2012 mix of Slam’s Azure, which is employed for the film’s title credits and had previously only seen a limited release. Also featured across the soundtrack’s multiple formats are iconic Carl Craig productions under his 69, Psyche/BFC and Innerzone Orchestra aliases, and collaborations with Moritz von Oswald and Francesco Tristano. Oswald and Francesco Tristano.

The soundtrack serves as a companion to the new documentary directed by Jean-Cosme Delaloye and produced by Sovereign Films, which follows Carl’s journey from Detroit’s middle-class roots to global stardom, set against the city’s decline and recovery. The film explores his work at the intersection of music, art, and culture, from his collaborations with Bottega Veneta to his Party/After-Party installation, acquired by the Detroit Institute of Arts and exhibited at MOCA Los Angeles. MOCA Los Angeles.

Featuring interviews with Gilles Peterson, Roni Size, Laurent Garnier, DJ Minx, Kenny Larkin, Moritz von Oswald, and James Lavelle, Desire highlights Carl’s championing of Detroit’s Black creative excellence and the often-overlooked African-American roots of electronic music.

Some Other Suckers Parade is a fascinating addition to Del Amitri’s catalogue - Originally released on A&M Records in June 1997, the album captures a group secure of their success and gently kicking back against formula. This re-issue faithfully replicates the original 1997 A&M UK release and is pressed onto high quality 180g vinyl. The group, led by bassist-vocalist-writer Justin Currie and writer-guitarist Iain Harvie, had become equally known for their gentle pop and acoustic ballads as their jangling melodic rock. Overseen by Breeders producer Mark Freegard, the album was broadly recorded live and has touches of Crazy Horse and The Faces about it. Acoustic guitars were banned. The harmonious onslaught paid off: Some Other Suckers Parade complete with its much-loved singles Not Where Its At and Some Other Suckers Parade entered the charts at No 6 in the UK. I really love the record, because its probably our least pretentious, Currie said in 1998.

Ketch Secor is a merry ringmaster, passionate professor, modern Beat, and unassuming virtuoso 'The Story the Crow Told Me' is his solo debut album, tracing the journey from street busker to founding Old Crow Medicine Show, now a Grammy-winning, Opry-member band behind the double-platinum hit "Wagon Wheel." Produced by Jody Stevens, the album features Marty Stuart, Molly Tuttle, Willie Watson, Jaren Johnston, and an ode to Nashville with help from Bob Dylan and Johnny Cash. First single, "Dickerson Road" drops May 15th "Catch Me If You Can" impacting Americana Radio June 5th Ketch solo dates July Old Crow Medicine Show touring August-Sept Album focus track "What Nashville Was" to premiere on SiriusXM Outlaw Country Ketch to host SiriusXM's Outlaw Country Show July 7th

Cinthie makes a welcome return to her own 803 Crystal Grooves imprint this June for its sixth release, the project comprises four original"s showcasing Cinthie"s many different sonic styles and influences.
The past decade has seen Berlin"s Cinthie moving from strength to strength, racking up milestone achievements like her DJ Kicks mix compilation and a steady stream of critically acclaimed material via the likes of Aus, Heist, Shall Not Fade and of course her own 803 Crystal Grooves label where she returns here with some fresh machine jams.
"Grooves" kicks off the package, a dynamic dance floor cut fuelled by processed vocals uttering the track title, murky bass stabs, heavily swung drums and gritty saturated stabs all dynamically evolving and unfolding throughout. "Boxer" follows next and showcases Cinthie"s love for dub-tinged sounds, laying down spiralling dub echoes, a snaking bass groove and hypnotic chord sequences atop a robust, swinging rhythm section.
"Hands Up" then kicks off the B-Side, shifting gears to a classic House aesthetic with dreamy keys, bright stab sequences, glistening synth textures and smooth strings, intertwined with soulful vocals and classic 909 workout. "She Wants It" then concludes the EP on a more cinematic tip with sweeping lead synths, fluttering arpeggios, elongated bass drones and vocal lines running with raw, crunchy drums.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

Washed Up Color Vinyl is Clear w/ White Splatter! A white ship sailing in a sea of blackness, Codeine's swan song arrived in 1994 amid grunge's ascension to alt radio's godhead status. John Engle's guitar alternates between crystalline and sludge, and Stephen Immerwhar's distorted bass floats on top of punishing drums from newcomer Doug Scharin (Rex, June of 44), resulting in nine perfect meditations on the loneliness and uncertainty of early adulthood. "Codeine's unyielding numbness creates its own kind of warmth _ the feeling of cold water running for so long that it suddenly feels hot." _ Spin

Originally issued on Hut Records in June 2000, Alone With Everybody was eagerly anticipated, as it was Ashcroft's first recordings since the demise of the group he founded and led, The Verve - This re-issue replicates the 2000 UK first pressing and is available on audiophile 180g double vinyl in gatefold sleeve.

Opening the album with its string overture, "Song For The Lovers" signalled Ashcroft's intent immediately. Intensely melodic, anthemic, it picked up exactly where The Verve's 1997 multi-platinum album Urban Hymns left off. Lifted as a single, it reached No 3 in the UK and spent most of the summer on the charts.

Recorded at Olympic Studios and Metropolis in London, big, bold and frequently beautiful, Alone With Everybody raced to No 1 in early July; it played to all of Ashcroft's strengths, memorable hooks, catchy choruses, beats subtly influenced by dance music; the brass-blazing bold hoedown of "Money To Burn" was the album's second single; other highlights include the ballad "Slow Was My Heart", the upbeat joy of "C'Mon People (We're Making It Now)" and the reflective, string-enrobed "You On My Mind In My Sleep".

The Morning Early release their debut LP via the LNFG Cartel in June 2025 - If you like your guitar power pop tinted with west coast American soul, this is one for you. Shades of Roger McGuinn and Gene Clark permeate throughout. Originally formed in the mid 1990's the band enjoyed some success in the central belt and released one single before going their separate ways. Back gigging now, they began work on this LP in 2023.

After making their mark with their debut album, The Risen Dread returns with their highly anticipated second studio album. Produced, recorded, mixed, and mastered by Marco Mastrobuono at Bloom Studios in Guidonia, Rome, Italy. This new record showcases the band's evolution, delivering an even heavier, darker, and more intense sonic experience.
While not a concept album, death looms large as the central theme, weaving through the lyrics with raw emotion and unsettling storytelling. From existential dread to violent ends, each track explores different facets of mortality, drawing the listener into a visceral journey through the inevitable.
The music delivers heavy riffs, dynamic drumming, and a mix of intensity and melody, further refining the band’s identity while pushing their sound forward.
Set for release on June 13, 2025, via Time to Kill Records, the album builds on the band's signature sound with a balance of aggression, atmosphere, and storytelling.

NJ/NY legend JUNIOR SANCHEZ opens his edits archive to bless the masses with four fresh reworks from the likes of SOLANGE, SAULT, and DEPECHE MODE. "ENJOY THE SILENCE" & "LOOSING YOU" are perfect peak hour hands in the air material, while "WHY WHY WHY" builds on a deeper sound. Paper sleeve.

Adore is the fourth studio album by the American alternative rock band the Smashing Pumpkins, released on June 2, 1998, here repressed and reissued on a 2LP Black set

25th anniversary edition of the widely acclaimed tribute album celebrating the music of Brian Wilson & The Beach Boys. 24 exclusive tracks. New remaster on 2 LPs in a gatefold sleeve with extensive liner notes and many rare photographs.

Following on from last year's acclaimed ‘R.O.I.’ album, Manchester’s favourite sons Aerial Salad are set to return to the fray with a brand new 5-track EP titled ‘Roi de l’herb’ to be released June 27th via Venn Records.
Having released their ‘Dirt Mall’ album during lockdown, which was a pretty grim time to put an album out, the release still eventually opened up some exciting doors for the band and captured Aerial Salad at their most Aerial Salad; loud, brash, silly and emotive.
This led swiftly to 2024’s ‘R.O.I.’ album that marked a real evolution in the band’s sound and songwriting.

“R.O.I. is a concept album but rather than being about a band, it’s from the perspective of an individual pushed to the brink of insanity by the ever-present quest from commercial success,” explains singer and guitarist Jamie Munro. “The idea came from my job; I’ve been working in the tech industry in ‘sales’. ‘Return on investment’ was probably my most uttered phrase for a few years, I was sick of it, sick of having no positive impact on the world and sick of the tech bro, double espresso, thirsty thursdays, work hard - play hard bollocks culture that comes with it. ‘R.O.I.’ is me saying ‘know what, you can actually earn a lot of money in life, even without the fallacy of educational infrastructure and financial privilege, however, it comes at the cost of your soul, time and energy. ‘R.O.I.’ is called such because it’s in the opposite pursuit, it’s not about a return on a financial investment, it’s about doing something with your life that’s enjoyable.”
This brings us crashing into 2025, no longer in the same line of spirit destroying work, with some seriously exciting gigs on the horizon, Aerial Salad wanted to kick off the next era of the band with a short, fast and hard EP and have served up 5 absolute bangers that sit somewhere between ‘Dirt Mall’ and ‘R.O.I.’ The EP is called ‘Roi de l’herb’ because of the track ‘King Of The Grass’: “We tour and play a lot in France, we’ve played most of our “best” gigs in France, so out of curiosity I wanted to see if the title would translate well, naturally, when the translation contained both “ROI” and l’herbe” - I though, fuck it, that’s about as spot on a title for this EP as we can possibly muster.”
‘King of The Grass’ is about the band’s bassist Mike Wimbo who works for Rochdale council on the greens team, which means he spends his life in the pouring rain chopping down overgrown hedges and mowing lawns. Elsewhere on the EP, ‘Inject Your Blood’ is another romantic love song inspired by the TV series ‘True Blood’ (“I’d inject your blood, into mine just to feel you close”), ‘Wires’ rages against the world of AI and GPT, whilst the EP’s opening track ‘My Girl’ is a chaotic, high energy catchy punk song, nothing profound, nothing complicated. It’s a punk song as god intended, a few chords and a load of shouting.
“The EP is like the teaser for what’s next,” summarises Jamie. “The overall hook for this EP is one of hope, that by sticking to what you believe in you can do anything.”

A Split System split 7" release in tandem with French garage-punks Les Lullies - one song apiece. The Australian side features a tough-as-guts Rock & Roll stomper, 'Chemicals'. On the other side Les Lullies deliver A L'Etroit. written and recorded in a burst of urgency - fast, loud and straight to the point. The two bands will hit the road together in June 2025 for a run of high energy gigs across Europe.

California and New York aren't the only US cities to have pioneered underground hip-hop over the years. Back in the nineties, southern states such as Memphis, Tennessee were also hotbeds for the fast evolving musical phenomenon. As we push on into the second millenium; from the swathes of short-run, tape-only releases that came out in the 1990's, some are at last being cut to vinyl. Shawty Pimp and the Big Pimpin' Productions crew were brought to international ears in 2014 when his album 'Comin' Real Wit It' was pressed to vinyl and sold out in the blink of an eye. Gyptology Records (a new Europe-based Hip-Hop and Egyptian Archaology styled re-issue label) now present a vinyl pressing of the 1995 sequel; 'Still Comin' Real'. Here are eleven original, raw rap cuts, remastered and restored with love. Available June 2018 for the first time in the format that never goes out of style. Vinyl only for now and in one short-run only, no represses. Produced with the full consent and participation of the artists.

New entry in the legendary fabric presents mix series, home to standout releases from SHERELLE, Overmono, Saoirse, Kode9, and more.
- Curated and mixed by Pretty Girl – rising star producer/DJ/vocalist known for emotionally rich dance music and a global touring presence including Coachella, DC10, Lost Village, Glastonbury, and more.
- Mix includes exclusive unreleased material, the brand-new single “Innadream”, and hand-selected tracks from Australian and UK scenes.
- A journey through melancholic club textures, groove-heavy house, UK garage, and lo-fi rhythms – all tied together with Pretty Girl’s signature melodic flair.
- Backed by recent remix work for Romy and George Fitzgerald, and the acclaimed EP Get Back To Me.
- Launch party at fabric London (June 6)

o Resident Advisor: “A star in the making”
o Dazed: “Crafting nocturnal soundscapes for the party, the after-party, and the morning train ride home”
o The Sunday Times: “Succession of brilliant tracks”

Pretty Girl is the alias of Melbourne-born, London-based producer, vocalist, and DJ who’s rapidly emerging as a defining voice in emotive club music. Fusing dreamy textures with deep house, UKG, and lo-fi rhythms, her sound bridges dancefloor euphoria with introspective detail. A regular at global festivals like Coachella, Glastonbury, and DC10, she’s earned acclaim for both her immersive live sets and expressive studio work. Recent highlights include her Get Back To Me EP, remixes for Romy and George Fitzgerald, and now her most expansive statement to date: a mix for the revered fabric presents series.

REPRESS

New Delhi-based Peter Cat Recording Co. will release their debut album, ‘Bismillah’ on June 14, 2019 via French independent label Panache Records. Debut UK live shows are soon also to be announced by the band.


Peter Cat Recording Co. could almost have a question mark on the end of its name. Not least as founder & frontman Suryakant Sawhney refuses to explain where that name really comes from or what it means (perhaps a reference to the Tokyo jazz club owned by Haruki Murakami), but also since the very existence of the band itself raises a raft of questions. When was the last time we fell for an indie rock band for the right reasons? Not because the band in question nostalgically imitate a perceived ‘golden age’ but because they innately embody the fundamentals of such music: fantasy, sincerity and the freedom to make music without rules or career aspi- rations. And when was the last time this kind of band sounded like Sinatra, Barry White, the sweetest doo-wop, humid fanfares and a psychedelic wedding band, all at once? And all of this coming from India?
In truth, the story of Peter Cat Recording Co. was written within the triangle of San Francisco, Delhi and Paris.
In the first of these cities, Sawhney (a native of Delhi) pitched up to study film-making. More distracted by the city’s peaking live scene of the early noughties, this is where he started to make music and to sketch out an idea for the band.“
The people I lived with supported my idea of writing music, they introduced me to great mu-
sic. There used to be a great garage scene in San Francisco, like The Oh Sees also Ty Seagall, Mikal Conin, all those bands. This is a world I had never seen in my entire life. A big inspiration from San Francisco was that you could record yourself. You don’t need to be in a studio and spend a lot of money to make an album. You can do it”.


At the end of the 2000s, Suryakant returned home to New Delhi, and started his band for real, more or less the same band that plays today. “I wasn’t so concerned about will we be performing, will we be the greatest band, will we be trendy. I just wanted to make something that was consequential and important for us, I think. Something which would last, something people could listen to and be like « this is life changing ». It was for the sake of beauty”.


For the first few years and in India alone, this is exactly what Peter Cat Recording Co. did, in total indifference to the rest of the world. This was until young Parisian label Panache stumbled across the band online via Vice’s THUMP subsidiary, stupefied by the band’s cosmic video for seven-minutes-and-counting track, ‘Love De- mons’. And so in spring of 2018, ‘Portrait Of A Time: 2010-2016’ was released on Panache - making the first international release from Peter Cat Recording Co., bizarrely enough, an anthology of re-mastered, hidden gems from the band’s ramshackle back catalogue, previously recorded in Suryakant’s own living room. With Peter Cat’s off-kilter charm hitherto unheard of beyond the fringes of India, the release provided a gateway op-
Whilst the title track found its way onto Tracks Of The Year lists at the Guardian & NME, it was tricky for new PCRC enthusiasts to get a firm grip on the startling push/pull between the immediate, uncanny music this release gathered, and the cultural backdrop of New Delhi at which it was so startlingly at odds.


Opportunity for a wider fanbase to fall in love with their cloud-like, drunken songs for the first time.
If discovering your favourite new band via a ‘Best Of’ feels a curious premise, then ‘Bismillah’ does more than hint towards the promise of Peter Cat Recording Co’s future. Blending gypsy jazz, psychedelic cabaret, space disco, bossa supernova, Bollywood and uneasy listening with kaleidoscopic ease, in many senses, the band’s knack hasn’t altered. Always different, paradoxical, unpredictable yet somehow familiar. The new album opens to the strains of bird chatter, the whisper of a city’s soundscape and the first few notes from an instrument which seem to be calling us to the departure lounge, a fore-shadow of the flight ‘Bismillah’ launches its listener
on. Suryakant sings with the detached, rueful elegance of Sinatra marooned on a desert island, whilst his band create small space-time capsules which navigate their way through genres and eras – including the future – and between nostalgia and eccentricity.


Peter Cat recently trailed ‘Bismillah’ with the release of ‘Floated By’, an appositely titled musing on failure & missed opportunities, punctuated by the fulsome brass section which weaves through so much of the album.


The languid, blue quality to the track is offset by the attendant music video, created with footage shot, implau- sibly enough, at Suryakant’s own marriage ceremony (needless to say, the wedding band hired for the day was of course, Peter Cat Recording Co.) Sawhney dryly notes; “Hopefully it’s not a many-a-times-in-a-lifetime event. You can’t fake that set, those people actually having a good time, being really emotional and intense.” ‘Bismillah’’s colour-drenched album cover also captures Suryakant’s father-in-law making his wedding toast on that same day - a nod back towards the cover of ‘Portrait Of A Time’, itself a black & white image taken at the wedding ceremony of Suryakant’s own father.


A stumbling but gracious collection of songs rooted in a kind of drunken soul music, the melancholy nature of some of the songs on ‘Bismillah’ renders them almost liquid, before they develop into more dance-like shapes. Suryakant’s rangy voice swoops from the falsetto glide of ‘I’m This’ to the beat-up baritone blown along by the warm breeze of ‘Soulless Friends’. The elliptical structure of album opener ‘Where The Money Flows’ also al-
lows for the use of brief bursts of autotune effect on his vocal without feeling incongruous, whilst the desultory lyrics of ‘Heera’ (a Hindi word for diamond) - sharing something with the Morricone school of grand storytelling - have an emotional weight that would impress even coming from a native English speaker. Perhaps the most gleefully unpredictable moment on ‘Bismillah’ comes with the illusory, vocal loops on the intro to ‘Memory Box’, errupting into 8 exhilarating minutes worth of unbridled, string-backed disco joy. A cat might have nine lives, but on ‘Bismillah’ and beyond, Peter Cat Recording Co. are hinting towards an un- knowable multitude of dimensions. Throw them all together, and it equates less to a listening experience and more to an out-of-body experience.


Peter Cat Recording Co. are: Suryakant Sawhney (vocals/guitar/organ), Dhruv Bhola (bass), Kartik S Pillai (organ/guitar/electronics), Rohit Gupta (horns), Karan Singh (drums)

"Polymath artist, musician and iconoclast Raed Yassin releases Eternal Ghost, two long-form pieces of modular minimalism via Fourth Sounds. Drawing on influences of Terry Riley, Suicide, no wave and synth pop, the double A-side 12” reverberates with urgent, high-octane loops, repeating patterns and distorted vocal frequencies, each track unfurling over 15 frantic Minutes of maximalist electronics.

Born in Lebanon and based in Berlin, with a musical practice that spans free improvisation, Arabic pop and sample-based cultural archaeology, Yassin is an artist who refuses to be contained, working across disciplines to interrogate ideas of personal identity, collective memory and consumer culture.

Eternal Ghost is the latest addition to a shape-shifting body of work, released to accompany Yassin’s debut London exhibition of the same name at Cedric Bardawil in June 2025."

Embark on a sonic journey through Rod Stewart's unparalleled career with this comprehensive compilation. Ultimate Hits gathers his most beloved songs, from the heartfelt storytelling early classics like "Handbags and Gladrags" and "Maggie May" to the irresistible hooks of chart-topping anthems such as "Da Ya Think I'm Sexy?" and "Forever Young". More than just a collection of hits, this meticulously curated set spans decades, revealing the evolution of a true musical icon's enduring talent and versatility. This is the ultimate Rod Stewart experience for both longtime fans and new listeners, a testament to his lasting impact on music.

Rod Stewart’s Ultimate Hits will be a new career-spanning greatest hits collection. The release will be the first to include songs ranging from his 1971 hit, “Maggie May” to selections from 2024’s UK #1,“Swing Fever,” with key touchstone hits along the way - celebrating 6 #1 UK singles and a top 5 hit worldwide in consecutive decades. Rod will participate in several major milestone events this year, including his performance in the Teatime Legend Slot at Glastonbury Festival on Sunday, June 29th.

Limited Super Sound 12" Single out in June 2025

The Chairman of Acid Norwich debuts on Offen with The Caustic Wymondham EP.
Four much beloved tunes to impress your friends.

AI for the Zoomers:

MOY, the groundbreaking artist/band/group, has set a new milestone in the music/entertainment industry with their latest record-breaking achievement. His/Her/Their newest [album/single/track], titled [Album/Single Name], has officially become the [fastest-selling/highest-streamed/most-awarded/etc.] [album/single] in [genre/category], cementing MOY’s status as a global phenomenon.

A1 Phaseacid
A2 Outburst
B1 Strange Geometry
B2 Platonic Solid

All tracks written and produced by Jonny Moy

Superspace by Superspace, released 27 June 2025, includes the following tracks: "Superspace Feeling (House Version)", "All Is One (In Superspace)", "Superend", "Superchilled" and more.

This version of Superspace comes as a 1xLP in a(n) Obi Strip, Lenticular Cover packaging.

Hot on the heels of a 7" released in Febuary, Split System follow up with a split 7" release in tandem with French garage-punks Les Lullies - one song apiece.
The Australian side features a tough-as-guts Rock & Roll stomper, 'Chemicals'.
On the other side Les Lullies deliver A L'Etroit. written and recorded in a burst of urgency - fast, loud and straight to the point.
The two bands will hit the road together in June for a run of high energy gigs across Europe.

Franky Wah makes Crosstown Rebels debut with ‘Disconnect’ EP, featuring Kuuda. Out on 20th June 2025, the four-tracker sees the acclaimed UK producer make his first appearance on the revered imprint.

A producer known for balancing dancefloor energy with introspective songwriting, Franky Wah’s rise has been fuelled by a string of chart-topping singles, non-stop global club and festival appearances, and the launch of his own imprint and event brand, SHÈN. With musical influences stretching from trance and breakbeat to afro-house and techno, he now brings that rich sound palette to the Crosstown fold for the first time with a release that’s equal parts euphoric and deep as it is driving. Delivering a powerful and emotionally charged four-track release, 'Disconnect' showcases the Yorkshire-born artist’s blend of underground grit and melodic sophistication, featuring two standout collaborations with rising vocal trio Kuuda.

Opening the EP, the title track pairs swirling textures, brooding basslines and crisp percussion with commanding vocals, setting the tone for the journey ahead. The synergy continues on ‘Off The Wall’, a hazy, late-night jam elevated by Kuuda’s signature warped vox interjections. On the flip, ‘Desert Dance’ continues further into hypnotic territory with wicked bass licks and layered synth work, before closing track ‘Freak In The Sheets’ delivers another impactful, heads-down groove laced with attitude. Featured on two of the EP’s four cuts, Brighton-based trio Kuuda continue to emerge as a rapidly ascending vocal project within electronic music. Known for their genre-fluid songwriting and dynamic live presence, their collaborations with Hot Since 82, Yousef and Artche have earned them widespread support from the likes of Pete Tong, Danny Howard and RÜFÜS DU SOL. Blending emotional depth with club-ready impact, ‘Disconnect’ marks an inspired meeting point between Franky Wah’s expansive production style and the Crosstown Rebels spirit—one that looks set to soundtrack dancefloors throughout the summer and beyond.

Wonderwheel is happy to present the very first pressing of Nickodemus' longtime classic "Sun People", pressed on translucent yellow vinyl. Originally released in 2009 by Thievery Corporation's Eighteenth Street Lounge label, "Sun People" was built with songs made for people who love the sun, sunshine and brighter days to come. Appropriate, of course, as Nickodemus has made his mark soundtracking NYC summers with his massively popular Turntables On The Hudson live events as well as with 20 consecutive years touring the World. The songs were inspired by various people Nickodemus met and places he's been, along with his collective feelings of optimism. It's these positive sonic vibes from all over the globe that Nickodemus matches with collaborators hailing from destinations including Guinea, Colombia, Puerto Rico, Brazil, Romania, India, Turkey, United Kingdom and New York City. These are the Sun People.As songs like "N'dini" "Sun Children" & "The Love Feeling" continue to kept parties dancing until today, "Calle Sol" & "Gira Do Sol" are being discovered by new fans & playlists today. As Jason Bentley, former Music Director at KCRW once said, "Sun People reflects a rich musicality, while infectious rhythms keep the party live. Nickodemus truly knows
no borders on this global dancefloor."Wonderwheel recordings is happy to keep the fire burning with this special limited color vinyl reissue out on June 21st, 2024.

a 01: Sun People (Intro) feat. Ismael Kouyaté
b 02: Sun Children (Original Mix) [feat. The Real Live Show]

Glasgow-based Effective Dreaming—the solo project of Scottish artist and musician Iain Ross—unveils Dream Catalogue Vol. 1, arriving June 21st, 2025 (Summer Solstice) via Swedish experimental label Fluere Tapes.

Issued as a limited run of 50 cassettes, each adorned with hand-worked, corroded copper sheet inserts and labels, Dream Catalogue Vol. 1 feels less like a release and more like an unearthed artefact: weathered, humming, quietly alive. The materials echo the music’s exploration of fragile impermanence and erosion: oxidised metal, magnetic tape, hiss, hum. A tactile world where sound wears its decay like a patina.

Across its length, the album unfolds in a series of flickering vignettes—drifting, dissolving, reappearing. Shaped by synths, environmental recordings, tape loops, and soft drones, the pieces move like glints of light on water—never fixed, always in motion. Achingly beautiful melodies rise and vanish, tracing fragile pathways through a landscape of shifting sensations. Some moments glow with a gentle warmth, like sunlit glass or breath on a fogged mirror. Others slip into shadow: slow, submerged passages feel closer to memory than music. The album feels loose and weightless, yet dense with feeling—a presence more sensed than held.

There is no fixed narrative here—only fragments and artefacts, half-remembered places, echoes of dreams. Each track hovers just at the edge of clarity, evoking not specific stories, but moods, textures, and the quiet drift of time. It’s music that feels both intimate and remote, like overhearing a distant signal only you can understand.

The name Effective Dreaming is drawn from Ursula K. Le Guin’s The Lathe of Heaven, where a dreamer's visions alter the very fabric of reality—past and present reshaped, histories rewritten, unnoticed by all but the dreamer himself. In a similar spirit, Ross’s music inhabits a space where memory, perception, and matter blur—where each sound carries the residue of something once real, now transformed and dissolving as one drifts through the seams of the world.

Dream Catalogue Vol. 1 is a meditation on texture, transience, and the quiet resonance of what slips away.

For listeners of: Wave Temples, Dolphins Into the Future, Guenther Schlienz"

Rémi Klein debut studio album, Friend In Need will be released on June 20, 2025 by Tricatel.

Behind his keyboards, between the walls of his bedroom or in studio, Rémi Klein fashions music that is both intimate and generous, instinctive and precise. He is a craftsman who composes, arranges and produces with obsessive meticulousness. Playing with LORD$, Please and now Clara Luciani, he built up a collective experience before recording his own album.

Signed to Tricatel, his first album, Friend In Need, due 20 June, is a plunge into his cinematic universe, where the lush orchestrations of Hollywood's golden age rub shoulders with the best of songwriting. His music and songs, rooted in the present and the future, are visceral and innovative. It's the music of today and tomorrow at its most promising and audacious. There are a million new tracks a week on streaming platforms, no two albums like Friend in Need and no two artists like Rémi Klein.

This is the very first reissue on 7” single of these super rare and gorgeous early Reggae tracks by one of the most underrated voice of Jamaica. Both these tracks were produced by Dandy Livingstone and released in 1969 on the Downtown label, a Trojan sublabel, on two separate singles:
- DT-436: Audrey "You'll Lose A Good Thing" with Desmond Riley "If I Had Wings" on the flip.
- DT-414: Audrey "Love Me Tonight" with Brother Dan All Stars "Shoot Them Amigo" on the B side.
NOTE: Desmond Riley "If I Had Wings" is featured on our companion single also to be released on June 21, 2025.
This reissue brings these two rare gems together for the first time on a 7” single allowing enthusiasts and collectors to experience their gorgeous sound.
The original pressings have become highly collectible, with copies fetching big sums in the collectors' market.
This exceptional release will be available on our website and in select record shops worldwide from June 21, 2025.

Audrey Hall, aka Audrey was born in Kingston in 1948, sister to Pam, Trevor & Raymond Hall, all Reggae artists. She began her career as a duo, Dandy & Audrey with Dandy Livingstone. She recorded two albums with Dandy as a duo in 1968 and 1969.
She also recorded a handful of solo singles on the Down Town label with Livingstone as a producer. Dandy was a key producer shaping Jamaican sounds in Britain at that time. Although these tracks are actually all quite nice, two tracks really standout: “You’ ll Lose A Good Thing” and “Love Me Tonight” both released together for the first time on this single.
After the Skinheads craze subsided in Britain, Audrey moved to New York. During much of the 1970s and early 1980s, she worked as a backing singer alongside her sister Pam Hall. She made a real come-back as a solo artist in 1985 with producer Donovan Germain and scored many hits in the U.K.including “One Dance Won’t Do”, "Smile" and "The Best Thing For Me".
While she gained wider success in the 1980s with lovers rock hits, she did not quite get the recognition her outstanding singing skills deserved and she remains one of the most underrated voice of Jamaica…

'Find El Dorado' is a deeply personal new album of reinterpretations, that sees Weller revisit songs that have long lived in the back of his mind - now reimagined with fresh meaning and a sense of reverence. Less a covers album and more a map of his emotional and musical DNA. Produced by Steve Cradock, the album includes further guest appearances from Declan O’Rourke, Noel Gallagher, Amelia Coburn, Seckou Keita, Robert Plant and more.

First single Lawdy Rolla on 7” due out on 20th June.

With this, their fourth album Black Helium find themselves widening the parameters of their take on heavy psychedelic rock, with probably their most baked and hook-laden material to date.

From the no-safety-net freak out of ‘Return the Curse’, to the sawtooth groove of ‘Up on a Hill’, ‘The Animals Are Coming’ LP is Black Helium at their most exploratory and focused.

Recorded one sun-drenched week in late June 2024, this time at Axe and Trap Studios with Ben Turner (Hey Colossus, Part Chimp). ‘The Animals Are Coming’ is the band sweating it out in a room, fueled by “party foods “and vintage amps. Digging deeper towards the source, no matter how transcendent, no matter how dark.

Black Helium are a psychedelic power trio, based in London. Never afraid to stray from the beaten path, they traverse aural hallucinatory soundscapes; from detuned Neanderthal rock to deep oceans of introspective blissed out psychedelia.

The band consistently gig across the UK (including a two week tour with Japanese label mates Hibushibire late 2024), and have recently started ventures into mainland Europe. And plan to continue throughout 2025.

The Dark Flowers beguile with their dark take on country music" ROLLING STONE. THE DARK FLOWERS release their second album `INDIAN SUMMER' with Paul Statham bringing together a unique collection of collaborators, JIM KERR, GABRIELLA CILMI, DAVID J, THE ANCHORESS and SHELLY POOLE in June 2025 on Loki Records via Cargo.With 2014 debut album. `Radioland', songwriter and producer Paul Statham brought together a group of guest vocalists for a collection inspired by Sam Shepard's `Motel Chronicles'. Featuring an all-star cast of Jim Kerr, Peter Murphy, The Anchoress, Shelly Poole, Dot Allison, Kate Havnevik and Helicopter Girl, the album was characterized by MOJO as "a perfect album for a lonely winter night" (4/5). The new album sees Statham, a member of Post Punk band B-Movie, and co-writer with a host of well-known artists including Dido, Kylie, Peter Murphy and Simple Minds retain his principal role in the project as both producer and songwriter. Once again, Shepard's prose plays a key role with `Hawk Moon', the companion volume to `Motel Chronicles', an additional source of inspiration. Jim Kerr from Simple Minds continues his involvement with 3 tracks as does Welsh songwriter and multi-instrumentalist The Anchoress. David J from Bauhaus/Love and Rockets is also a featured artist along with Gabriella Cilmi turning in 2 dark and beguiling tracks. The project is completed with Shelly Poole (from country/folk band Red Sky July and a long-time friend and co-writer on 3 songs.

The Dark Flowers beguile with their dark take on country music" ROLLING STONE. THE DARK FLOWERS release their second album `INDIAN SUMMER' with Paul Statham bringing together a unique collection of collaborators, JIM KERR, GABRIELLA CILMI, DAVID J, THE ANCHORESS and SHELLY POOLE in June 2025 on Loki Records via Cargo.With 2014 debut album. `Radioland', songwriter and producer Paul Statham brought together a group of guest vocalists for a collection inspired by Sam Shepard's `Motel Chronicles'. Featuring an all-star cast of Jim Kerr, Peter Murphy, The Anchoress, Shelly Poole, Dot Allison, Kate Havnevik and Helicopter Girl, the album was characterized by MOJO as "a perfect album for a lonely winter night" (4/5). The new album sees Statham, a member of Post Punk band B-Movie, and co-writer with a host of well-known artists including Dido, Kylie, Peter Murphy and Simple Minds retain his principal role in the project as both producer and songwriter. Once again, Shepard's prose plays a key role with `Hawk Moon', the companion volume to `Motel Chronicles', an additional source of inspiration. Jim Kerr from Simple Minds continues his involvement with 3 tracks as does Welsh songwriter and multi-instrumentalist The Anchoress. David J from Bauhaus/Love and Rockets is also a featured artist along with Gabriella Cilmi turning in 2 dark and beguiling tracks. The project is completed with Shelly Poole (from country/folk band Red Sky July and a long-time friend and co-writer on 3 songs.

The Secret Goldfish release their first album in 25 years in June 2025 - Empty Holster has been in process since 1996 when vocalist Katy Lironi started collating songs by her favourite songwriters Vic Godard, Davy Henderson and James Kirk (the idea for Empty Holster was a covers album of their songs).
The tracks have been recorded extremely sporadically over the past decades and were finally finished off at Green Door studio and mastered by Samuel Joseph Smith.

Empty Holster also features covers of songs by Dan Penn and Spooner Oldham, Port Sulphur, The Beach Boys, and a long-lost Goldfish collaboration with Adventures in Stereo's Jim Beattie, Elevator, which was missing for 15 years, presumed lost. Musical guests appearing on Empty Holster include Mick Slaven (The Bluebells), Campbell Owens (AztecCamera), James Kirk (Orange Juice), Vic Godard (Subway Sect), Francis Macdonald (Teenage Fanclub), and Katy and Douglas's daughter Amelia Lironi (QUAD90). The album is pressed on Goldfish Orange vinyl at Seabass Vinyl in Scotland.

[a] A1 | Your Ghost; Vocals [Additional Vocal] – Michael Stipe

DJ Quik & JasonMartin (formerly known as Problem), are back with their second collaborative project, Chupacabra. As can be the fear with fan-favorite follow-ups, Chupacabra refuses to copy the formula laid out on Rosecrans yet shares the same soul, steeped in the cores of West Coast G-Funk, but alive and grown up, in a more sophisticated tone. With an album that is LA to it’s core (sans a few tasteful features from artists that would get the nod despite not being from there), Chupacabra provides the sounds to a golden summer in the city of Angels. Like the chupacabra, JasonMartin & DJ Quik are both enigmatic and mystical figures in the hip-hop space. A star-studded list of features include The Game, Suga Free, Jay Worthy, Larry June, Channel Tres, Bun B, DOM KENNDEY, & more. 1xLP, pressed on Blue Vinyl.










j B1 | TWO HI (WAVES) feat Wiz Khalifa, Channel Tres, Free Nationals & George Clinton

Havukruunu's debut album HAVULINNAAN reissued in June Svart Records is proud to bring Havukruunu's 2015 debut album HAVULINNAAN back to the market on June 6th, 2025. HAVULINNAAN is filled to the brim with raw, bleak, unforgiven heavy metal mixed with spells from the very depths of the misty Finnish forests. Havukruunu's Stefa had this to say about the upcoming reissue: "INTO THE CONIFEROUS CASTLE….. Ten years ago, we didst unleash an abomination of immortal-worship, improvised guitar solos and a first glance of a certain type of spiritual freedom, the very first full-length Havukruunu album HAVULINNAAN and thus began our search. Experience our then meandering worry anew, through this humble, slightly remastered reissue through Svart records." HAVULINNAAN is available on Svart exclusive Black & White Marble vinyl, limited Clear & Blue Marble vinyl, classic Black vinyl, CD, and Cassette Tape editions.

Introspekt’s hotly anticipated debut album Moving The Center comes nearly a year after the release of her latest EP Tectónica. Set to be released on June 20th, Moving the Center sees Introspekt play homage to dubstep’s point of genesis in South London in order to then shift the center of focus from a singular point of origin, to a more global narrative of bass and vibration. The album blends UK bass with contrasting genres like garage and ballroom, creating the perfect feminine blend of these historically masculine genres. The album merges the Black diaspora from across the Atlantic, crafting a sonic world where past, present and future are parallel and immersed in an early millennium type dubstep soundscape.

Speaking about the album, Introspekt says, “‘Moving The Center’ embodies an alternate perspective to that which has been dominant in dance music, particularly so-called ‘bass music’. The narrative it presents is one which throws a wrench in the seemingly common perception of Dubstep as a masculinist sensibility. ‘Moving The Center’ pushes a feminine physicality to the front of the bassbins. Femmes to the front!”

Buckcherry will release their 11th studio album Roar Like Thunder on June 13th, 2025. The 10-track record was produced by Marti Frederiksen, who previously produced the band's 4th album, Black Butterfly, and co-wrote one of their biggest hits "Sorry." Frederiksen also co-wrote the songs on this album with vocalist Josh Todd and guitarist Stevie D. The album was recorded in Sienna Studios in Nashville in 2024. Says Josh about the new album, “Roar Like Thunder is going to lift your spirits, shake you up, and remind you why the hell you started listening to rock ‘n’ roll!”

Space-surf-psych-rock quartet Japanese Television’s album ‘Automata Exotica’ has been remixed by invited friends and peers; including Goat Fool from GOAT, Factory Floor’s Gabe Gurnsey, and Edgar Breau from cult band Simply Saucer. Informed by UFO encounters, ritualism, robots, Northern Soul, and nuclear weapons, ‘Automata Exotica’ was released in March 2024 and was described as “Heavy but also joyful” by The Quietus, “A fuzzy blast of space-surf energy”in Shindig and “A remarkable and unique proposition” by Louder Than War.

Rather than having been transformed out of all recognition, “reimagined” is a more apt term to describe this new version of ‘Automata Exotica’. With the album’s eight tracks presented via considered, alternative mixes with pertinent sonic application, it hangs together incredibly coherently - albeit as a wild and feverish psychedelic experience.

JTV toured with GOAT while writing ‘Automata Exotica’, with the fat fuzz tones and extended middle percussion section of ‘Typhoon Reggae Police’ heavily influenced by their time watching and learning from side stage. Starting life as an uneasy mixture of scratchy 60s garage rock and 70s Afghan psych folk, Goat Fool from GOAT ripped the song apart and stitched it back together. Recognisable but weird and uncanny, it’s a stripped down, oppressive, shimmering voodoo nightmare.

“We used to go and see Gabe’s weird, excellent band Factory Floor playing dark little club nights in Shoreditch years ago and marvel at the racket” says JTV. “Gabe’s been a long time collaborator of ours, in fact he’s the only person to not only do more than one remix for us, but has featured on every remix release we’ve done. Our most ecstatic, cathartic song, ‘Tabadaboum’ was the perfect match for Gabe - the motorik krautrock bassline fits right in with the pneumatic grind of his vintage drum machine loops and synth flurries”.

It's hard to measure the impact cult 1970s Canadian space rock proto punk psych band Simply Saucer had on the formation of Japanese Television. The band reached out to Edgar Breau - the band’s founding member and guitarist - who guitarist Tim says was “really generous with his time, and really kind to an overly keen and slightly awkward Simply Saucer mega fan. It's a real honor to have him playing guitar on one of our records”. His cosmic reimagining of ‘Golden Birds’ layers on the delay, reverb and screaming guitars, launching the track into outer space.

‘Automata Exotica (Remixed)' is set for release on 6th June 2025 on limited edition LP and digital formats. Japanese Television tour in Europe through March and April. The album is released by cult underground label Tip Top Recordings (Jim Wallis, Mandrake Handshake, Pearl & The Oysters), run by Ben Rimmer and David Warn.

Marconi Union, one of the most influential names in contemporary ambient and electronic music, announce their twelfth studio album, The Fear of Never Landing, set for release 6th June via Just Music. The news is paired with the release of first single Eight Miles High Alone, out 20th March on all major streaming platforms.

Known for their ability to craft cinematic, immersive soundscapes that blur the lines between ambient, electronic, and experimental music, the Manchester-based duo once again push the boundaries of sonic exploration. The Fear of Never Landing takes us on a dynamic journey that’s atmospheric, diaphanous and never short of mesmerising. While the new record is certainly infused with a sense of hope, there’s more than a soupçon of anxiety too, as the title suggests.

A 55-minute odyssey presented as one seamless piece divided into nine movements, they transcribe the nexus of modern living into a mostly wordless odyssey. The album encapsulates Marconi Union’s ability to translate the complexities of the human experience into sound, all while maintaining a stunning sense of cohesion.

While the music feels effortless, the creative process was anything but. During the two years it took to complete the album, members Jamie Crossley and Duncan Meadows faced creative struggles that even led them to briefly question the band’s future. A pivotal moment came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion, rekindling their connection to atmospheric composition. By testing new material live and returning to their roots, Marconi Union redefined their creative process, leading to some of their most emotionally impactful work to date.

“We’ve always made atmospheric music but we had started to lose that aspect. Other than some rough ideas, we had no sense of what we were doing anymore, a kind of musical wilderness. Eventually a couple of things fell into place, and it was like, ‘Ah, okay.”
With a foundation to build upon, they went back to basics and decided to take their time going forwards. “We tried out a few new tracks live which gave us the opportunity to see what worked and what didn’t. We've never given ourselves that luxury before.”

The first track to be shared, Eight Miles High Alone, is a mesmerizing sequencer-driven track that builds an immersive, atmospheric soundscape. Its hypnotic pulses and intricate layers evoke a sense of solitude and weightlessness, perfectly capturing the album’s blend of tension and introspection. “Eight Miles High Alone was the first piece that we managed to complete and helped to inform our approach to the rest of the album.”

Formed in Manchester in 2003, their debut album, Under Wires and Searchlights (2003), introduced their signature sound, but it was their 2011 release of Weightless that brought international acclaim. Developed in collaboration with a sound therapist, Weightless was scientifically recognised as “the world’s most relaxing song”, praised for its ability to reduce anxiety and heart rates. With over 900 million streams and widespread coverage across media, the track remains a cultural phenomenon.

Over the years, Marconi Union has continued to evolve, producing critically acclaimed albums such as Signals (2021), Ghost Stations (2016), and Tokyo+ (2017). Their work has been hailed for its emotional resonance and sonic depth, with The Quietus noting their ability to find “beauty in the bleakest places” and The Sunday Times describing them as “amongst today’s most talented musicians.”

Beyond their studio albums, Marconi Union has collaborated with visual artists, provided soundtracks for installations, and remixed notable acts like Max Richter and Vök. Their invitation by Brian Eno to perform at Norway’s Punkt Festival further cemented their reputation as innovators in the ambient music sphere.

With The Fear of Never Landing, Marconi Union once again showcases their unmatched ability to create immersive soundscapes that resonate deeply. The album reaffirms their position as masters of atmosphere and emotional storytelling, making it an essential addition to their storied catalog.

Lost Tapes Showcase; released on 6th October 2023, was short in the making, when Marcus I visited the Bakery Studio, Manchester for 1 week in June 2017 to voice the album. The album was then lost to the Bakery vaults for a long 6 years! It is a international collaboration with Marcus I hailing from Spain, bringing his lyrics and vocal styles to the UK with additional over-dubs (backing vocals and Kette drum) laid down at Golden Hen Studios in Madrid. Working together before the visit, Marcus I sent Al Breadwinner 4 acoustic guitar demos which he then built into rhythm tracks ready for voicing. The other 2 tracks were preexisting rhythm tracks from the Breadwinners archive that just seemed to fit the lyrics Marcus I had written.

Available 13 June 2025 on double translucent orange vinyl, Trios captures the magic of Buddy Rich's legendary three- man jam sessions-- performances that have never been officially released until now. Recorded live during international concerts in 1976 and 1977, Trios showcases Rich alongside extraordinary talents: bassists Jon Burr and Tom Warrington, and young piano prodigy Barry Kiener. These trio interludes--recorded by Rich's alto saxophonist Alan Gauvin--feature Rich playing with brushes in an intimate setting, spotlighting his dynamic range and nuance. "These trio sets were often played to give the brass section a break," says Gauvin. "But what Buddy did with those moments was extraordinary. It was a masterclass in restraint, creativity, and musical interplay." Among the album's ten tracks are beautifully reimagined standards such as "Just Friends," "Stella by Starlight," and "My Romance." Each performance highlights Rich's desire to step back and allow the piano and bass to shine--something unheard of for a drummer of his stature. The release also serves as a tribute to Barry Kiener, the immensely gifted pianist who tragically passed away at 30. "Barry had been like a son to him," remembers Buddy's daughter Cathy Rich, who serves as an Executive Producer. "This album is a rare glimpse into Barry's brilliance and the deep musical bond he shared with my father." Trios was recorded and produced by Alan Gauvin, mastered by Tom Swift, with cover art by Michael Patterson, the award-winning visual artist and USC professor known for his work on a-ha's iconic "Take on Me" video.

After securing the number 1 spot on Billboard’s Mainstream Rock Airplay chart with their song Suffocate City (feat. Spencer Charnas), The Funeral Portrait will release a deluxe edition of their critically acclaimed second album, Greetings From Suffocate City on June 13th! The deluxe collection includes “Holy Water” feat. Ivan Moody, “Hearse for Two” feat. Lilith Czar and three brand new songs, “Skinny Lies,” “Evergreen,” and “Lost Boy.” Enjoy a total of 24 songs on the digital deluxe album, or choose between the CD or double vinyl that includes the exclusive track “Friends Like These”!












[l] C1 Generation Psycho (3:51) [EXPLICIT]
[m] C2 Stay Weird (3:29) [EXPLICIT] /

[o] C4 Evergreen (3:23) [EXPLICIT]

[q] D1 Lost Boy [EXPLICIT]
[r] D2 Stay Weird (Beyond The Abyss) (3:42) [EXPLICIT]
[s] D3 Suffocate City (Live) (4:47) [EXPLICIT]

Warehouse Find!

Acclaimed director and musician Jim Jarmusch and experimental lute player and composer Jozef van Wissem met nearly 20 years ago, forming a close bond after they ran into each other on the streets of New York City. In 2011, they began performing and producing records together. The follow up to “American Landscapes “ entitled “ The Day The Angels Cried” releases June 6 and coincides with a world tour. The duo weaves an intricate Lute and guitar string tapestry of droning, minimal free-folk compositions destined to captivate listeners with their dark hypnosis. This time vocals and electronics are added as well. Van Wissem’s work comes from a tradition of avant-garde minimalism and lends itself well to the director’s stark cinematic works. Jarmusch has played guitar in bands on and off since the late ‘70s. Van Wissem’s compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. Their first live performance was in Issue Project Room in Brooklyn in October 2011, where they appeared together for a Van Wissem curated concert program called “New Music for Early Instruments.” The idea for their first album, Concerning the Entrance Into Eternity (Important Records) developed from their live performance. Jarmusch has said that he considers these songs as Van Wissem’s compositions, and sees himself as someone filling in the background to Jozef ’s foreground, like the “scenic” on a film shoot, the one who paints the backdrops. “The sound of the lute is as bright as the sun, a beautiful red color and my stuff sounds sort of like the moon, more like blue, like mercury.” .According to Van Wissem: We started with layers of instrumental parts.. Jim recorded a otherworldly Passerelle bridge guitar part to which we added vocals. This became the title track " The Day The Angels Cried" The lyrics for this song came to me during a vision I had in a dream. It was much like a vision Swedenborg writes about. In it he converses with angels. In my vision the angel looked down from the heavens upon the earth engulfed in flames. Recent events in Los Angeles and other parts of the world, have led me to believe that this dream was a premonition. “The Day The Angels Cried” ( Inc 040/41) releases June 6th on Incunabulum Records, right before the duo start their World tour. releases June 6, 2025 Jozef Van Wissem Voice, Baroque And Renaissance Lutes, 12 String Electric Guitar, Slide Guitar, Electronics, Found Recordings Jim Jarmusch Voice, Electric Guitars, Acoustic Guitars, Passerelle Bridge Guitar, Electronics, Found Recordings

Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.

There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.

500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.

Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.

No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.

Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.

There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.

500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.

Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.

No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.

Where the Butterflies Go in the Rain is the third studio album from the enchanting songstress, Raveena. Blending powerful storytelling with early 2000s pop, Where the Butterflies Go in the Rain sees music continuing to play the central role as both a catalyst and medium in her personal and creative growth. With newfound clarity, Raveena delves into themes of new love, maturity, comfort, and domesticity that reflect the peace of mind she currently inhabits. Speaking on this evolution and how it informed the album’s creative, she shares, “Butterflies are so delicate that they have to hide in leaves and flowers until the rain passes so that their wings don’t get crushed in the rain. I felt like that was kind of a metaphor for where I was in my life. I needed to go back to comfort—to deep rest—and stop weathering storms.” On the most instinctual level it’s an album that should conjure simple pleasures like the joy of a summer road trip with loved ones.

Embracing the sounds of classic artists like Fleetwood Mac, Brandy, Bob Marley, Joni Mitchell, and Marvin Gaye, to name a few, Where the Butterflies Go in the Rain draws inspiration from people who, “are really good at capturing the beauty and loss of life in the same breath,” she describes. In her signature style, Raveena seamlessly unites that expansive songwriting with traditional Indian instruments and feel-good early 2000s pop hits —putting forth a work that’s more unabashedly herself than any that’s come before.

Raveena reflects on her forthcoming album, “I don't think I've ever understood a record so well before—It wasn’t like the process I used to have with past albums where I was more anxious about being at my best. This time, it was all intuition, and I knew the album was right when I finally had the feeling of rest.”

The deluxe release sees the addition of 3 tracks. Sun Don't Leave Me - contemplating the feeling of wanting to hold onto one more beautiful sunset, one more passionate embrace, before things change again and hard times strike again - and a reimagined version of Lose My Focus with UMI, bringing fresh energy to an album that’s more unapologetically Raveena than ever.

o encapsulate the themes. “Aseurai means around you in the atmosphere, hard to reach, fading away,” Choi says. “It’s a poetic expression. You wouldn’t say it in normal conversation, but I like that.”

Following the four-piece band’s 2024 self-titled EP, Aseurai adds disco and city-pop influences while staying true to dream-pop roots. While Phoebe Rings was originally a solo project of Choi’s, Aseurai marks a shift with contributing songwriting credits from the whole band. The four musicians cut their teeth working on other notable NZ projects such as Princess Chelsea, Fazerdaze, Tiny Ruins, AC Freazy,, Sea Views and Lucky Boy.

With a more ambitious collection of instruments, Choi says this album heralds the start of true collaboration: “I feel more precious about this LP because it includes everyone’s gems.” Guitar/synthesist Simeon Kavanagh-Vincent spearheads unexpected arrangements, with bold fuzzy guitar textures, to spice up the mix. Benjamin Locke adds maturity to the lyrics, paired with perfectionist bass lines. And drummer Alex Freer’s slick production soars Aseurai to diverse and synergetic heights. The broth is richer with more cooks in the kitchen, and the brewing of textures creates a distinct ‘Phoebe Rings’ sound.

If the EP was spacey, then Aseurai settles on earth, rooted in tangible moments. “Without getting too gloomy, it’s a weird world out there. A lot has changed in the world since the EP came out,” says Kavanagh-Vincent on this transformation. The album delves into hope and longing across all possibilities, and this exploration of holding on and letting go is organically threaded throughout. Across ten songs, Phoebe Ring’s storytelling ranges from tongue-in-cheek musings on gentrification to tender autobiographical memories.

아스라이 흩어지는 하늘의 별이 (May the falling light of faraway stars) / 그대의 손 끝에 닿아 숨이 돼주길 (Reach your fingertips and let you breathe),” Choi sings in the title track “Aseurai.” Imagined as a breezy track inspired by a 90’s Korean pop band, Choi discovered, when fleshing out the lyrics, that it was about yearning for people she couldn’t see anymore. In the old-school disco track, “Get Up,” Locke addresses struggles with mental health in a Matrix-inspired driven mantra:  ‘Just get up / Just get up.’ The groove persists with ‘Fading Star,” a quirky ballad filled with steely jazz/rock guitar solos dedicated to a suburban aging musician. Kavanagh-Vincent’s lead single ‘Drifting’ is an unrequited celestial love song with bouncing bass and playful synths.

The band wrote, produced, and engineered the album across studios and band members’ homes in 2023/2024 in Tāmaki Makaurau (Auckland). It features mixing/mix production by local legend Jeremy Toy (Bic Runga, Aaradnha, Princess Chelsea) and mastering by Kelly Hibbert. With Aseurai, Phoebe Rings mark out a brilliant new constellation in their sky, bringing their individual compositions to the fore whilst seamlessly threading them into one celestial body - launching skyward on Carpark Records in June 2025.

The Carter series didn’t just raise the bar—it became the bar. Multi-platinum trailblazer, 5x Grammy winner and the undisputed GOAT Lil Wayne returns June 6 with Tha Carter VI—the highly anticipated next chapter in one of the most influential series in hip-hop history. From reshaping mixtape culture to birthing a generation of rap superstars, Tha Carter legacy is untouchable. Now, Wayne is back to remind the world why he’s the greatest rapper alive.

K U T E get rambling on through the perpetual fog and herald a spectacular mould-melting sound on their forthcoming album 'Intrigue/Fatigue'

After breaking out of Glasgow's live circuit and releasing a critically acclaimed demo tape, the band of dissenters is ready to break the unsuspecting public. Never Sleep are proud to present a landmark moment in the Glasgow hardcore scene. The modus operandi of 'Intrigue/Fatigue' is as political as it is social, a fusion of post rock, art, hardcore, punk, and performance. It’s their first for the Berlin label (founded by Gabber Eleganza) following the elusive demos that circulated Glasgow's underbelly.

Ahead of the release K U T E brought their fervorous live show around the UK and beyond leading to award nominations in Scotland for 'Best Live Act' supporting bands like Militarie Gun, Angel Du$t, The Serfs to name a few. The band also played at Outbreak and .core festivals

The band member's Amy, Kenni, Fletch and Matty have been performing as K U T E for just over a year. Amy's frontwoman reputation has already garnered huge attention and her lyrics honesty, social awareness and humility has also made waves as a true new voice in music.

The result is a mesmerizing powerhouse of a debut, where they have found a singularity where hardcore meets Battles, or Godspeed goes full windmilling in the basement.

Playing singles 'For You', 'One More For The Walk' and 'Intrigue/Fatigue' have been released in the lead up to the record and have been making big waves at BBC6 with support from members of Mogwai. The band's technical yet gargantuan sound has crossed over into the public spectrum and led to a whole wave of new fandom.

They have shared their self produced videos for Singles ‘For You’ & ‘One More For The Walk’ as well as a 2 song live session ‘LIVE AT THE LAWBURN’

The band are embarking on their first UK Tour in 2025 supporting ‘Fentanyl’ in June and a slew of UK & EU dates

Charlotte de Witte’s unrelenting single ‘No Division’ featuring XSALT drops digitally on May 29th while she plays six NYC shows in four days (vinyl on 6th June) – with different DJ sets across venues from small and intimate to big and uncompromising. The vinyl version (including the Original Mix and Instrumental Mix as a B-side) gets an early release and will be on sale at the shows.

Why the NYC connection? Says de Witte: ‘Launching this single while I’m in New York feels symbolic. There’s something about the city, its chaos, its diversity, its constant movement, that perfectly mirrors the spirit of ‘No Division’. It’s a place where differences collide and coexist.’

‘No Division’ is the second single from Charlotte’s eponymous long-awaited debut album (out November 7th). ‘This track is another chapter of my upcoming album, and like the others, it reflects a part of who I am. ‘No Division’ is both a call and a celebration. It’s a reminder of what’s possible when we lose ourselves in the music and come together on the same frequency. It reminds us that we are one.’

‘No Division’: Brimming with an overwhelming, penetrating techno power, this track demands our full attention, with spacey hoover sounds, piercingly hooky main theme, a classic organ sound and hissy robotic spoken vocal lyrics like ‘…cut the wire/break the system/fight the fire/no division…’ It’s a manifesto you can dance to. Charlotte de Witte has an agenda as well as making a killer track; ‘‘No Division’ comes from a place of unity and the understanding that when we come together through music, the barriers between us start to dissolve. It’s about erasing the invisible lines that separate us, whether cultural, emotional, or personal.’

XSALT was previously sampled by de Witte on her tracks ‘Overdrive’, ‘High Street’, ‘Roar’ and ‘How You Move’. Here he provides exclusive vocals for her for the first time.

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Nick Mulvey’s fourth studio album, Dark Harvest (Pt. 1), out 6th June via Nick’s own independent label titled ‘Supernatural Records’. It also marks the release of its first single, ‘Radical Tenderness’, and the announcement of the Dark Harvest - World Tour, with dates across UK, Ireland, Europe, North America and Australia. Arriving three years after his previous album, New Mythology, Nick Mulvey is back with Dark Harvest (Pt. 1). The intervening time has been one defined by loss, challenge, independence and empowerment for Nick, who has undergone a transformative period to arrive here, embarking on the release of some of his most profound songs to date. Speaking on the album, Nick explains: “For me, Dark Harvest Pt. 1 tracks the descent and grief that hit me in the last three years, during the losses and challenges I faced. Often brutal, these years have tenderised me, as I know they have others. Making this music carried me through.”He continues, “Back when I was at the hardest point, when I was on my knees, a friend said to me, ‘there will be a ‘dark harvest’ to all of this Nick, there will be treasure from these struggles.’ And she was right.”

DJ Sodeyama returns to Sound Of Vast under his The People In Fog guise this June with the nine track 'Too Much Knobs And Cables' LP.

Over the past three decades DJ Sodeyama has been a staple in Japan's underground and beyond across the globe as a DJ and releasing material under his own name via the likes of Radio Slaves' Rekids, Dynamic Reflection, Nina Kraviz' трип and more. Here though, he makes a welcome return under his The People In Fog alias to Tokyo's Sound Of Vast, the platform that's played host to all of his material under this alias as well as others like The Mole, Shinichiro Yokota, San Proper and more.

Across the nine-track 'Too Much Knobs And Cables' LP, The People In Fog once again radiantly showcases his depth and understanding of true underground sounds. From the classic Deep House aesthetic of opener 'Red Morning', 'CC Love' and 'New Life' to more classic Chicago House inspired cuts like 'Animal Kingdom', 'Jack Out' and filtered Disco house jams like 'Dance To The Air', 'New Life' and 'Miraval'.

Sodeyama also dives deeper beyond House once again in true long player fashion to deliver the unique 80's tinged, funk-infused and vintage synth/drum machine laced 'Night Driver' and the cinematic closing piece 'Sun Moon Lake', which leans into a Balearic leaning sonic world via drifting guitar melodies, arpeggios, acid licks and a crunchy rhythm section.

Marking his first EP on Damian Lazarus’s revered Crosstown Rebels, OMRI. (pronounced “OMRI dot”) steps into the spotlight with ‘Nothing Wrong’—an infectious, immersive dive that traverses well beyond the dancefloor, laced with rhythm, tension, and soul. Dropping in June, the EP brings together a shimmering original, a hypnotic club-focused cut, and a peak-time remix from fast-rising US talent AYYBO.

Having already left his mark on the label with his remix of Jessica Brankka’s ‘Musk’, OMRI. now arrives with a statement of his own. The ‘Love Mix’ of ‘Nothing Wrong’ leads the release as a full-blown vocal anthem, layering captivating vocals over sweeping melodies and crisp percussion to create a powerful record destined for both club rooms and open-air settings. The ‘Club Mix’ takes a more experimental route—glitchy, stripped-back, and built for locked-in dancefloors and after-hours sessions.

AYYBO adds his own bold interpretation to the mix, injecting a darker, punchier energy that’s become synonymous with his releases on the likes of Experts Only, Insomniac, and HARD Recs. It’s a remix that captures the raw electricity of his sets while reimagining OMRI.’s original through a distinctly West Coast lens. An in-demand name, OMRI. has quickly carved a reputation for transcendental performances at some of the world’s most revered institutions. His sound, shaped across labels such as Hot Creations, Disco Halal, Haccabi House, and more recently through his own imprint Collecting Dots Records, blends deep psychedelia and hypnotic grooves with a forward-thinking approach, with past collaborations alongside Adam Ten, Moscoman, Yamagucci, and more. Set to feature regularly at Lazarus’ Hï Ibiza residency throughout the summer, expect standout sets that reflect his genre-blurring style and connection to the Crosstown Rebels sound as he serves up one of the label's most essential cuts of the year to open the summer in style.

Presented here on solid white vinyl, Small Faces is the second studio album by Small Faces, released through Immediate Records on 23 June 1967. The Immediate album shares its name with their 1966 Decca debut album, which has led to some confusion regarding the titles and as a result, this album has been unofficially dubbed The First Immediate Album by fans.

Considered to be the artistic breakthrough for the group in terms of songwriting and composition, and marks their transition from a mod-influenced blue-eyed soul/R&B band to a psychedelic studio group. It was the band’s first LP to contain solely original compositions and includes ‘Green Circles’, ‘Talk To You’ and ‘(Tell Me) Have You Ever Seen Me’.

The album reached number 12 on the UK charts, becoming their only original studio album to chart outside the top-10, but is considered by many fans to be the groups best album.

After a year of scheming and crafting, building and destroying, Maisie Peters is ready to share what she’s been conjuring up – her brand new album ‘The Good Witch’, arriving via Gingerbread Man Records/Asylum on June 16th.

Recently heralded by vulnerable lead single, ‘Body Better’, Maisie’s second studio album ‘The Good Witch’, is the official follow-up to her No. 2 BRIT Breakthrough certified debut, ‘You Signed Up For This’, and in many ways the older, wise and scorned counterpart.

Exhibiting a newfound confidence, sharper storytelling and greater artistic ambition, Maisie created ‘The Good Witch’ across London, Suffolk, Stockholm, Bergen and LA, alongside the likes of, Oscar Görres (Taylor Swift, Troye Sivan), Two Inch Punch (Sam Smith, Jessie Ware), Matias Tellez (girl in red), Brad Ellis (Jorja Smith, Little Mix), Joe Rubel (Ed Sheeran, Tom Grennan) and Elvira Anderfjärd (Tove Lo, Katy Perry).

COMPUMA's new new album “horizons”now available on vinyl via his own label Something About!

The album “horizons” is a further development of COMPUMA's “horizons EP”, which was released in July 2023 as a digital-only EP on his Bandcamp. The songs are inspired by the scenery and environment of Lake Ezu, Kumamoto, where the artist's roots lie, and by his walks in various places around Japan.

Horizons 1”, in which the undulations of electronic sounds seem to represent a leisurely walk across a clear expanse of sky and lake scenery, and the vocoder voice somewhat reminds us of people's activities, and the piece changes to a more minimalistic play of rhythms and electronic sounds, as if focusing on introspection in the midst of walking. The album also includes “horizons 2,” which changes with exquisite salinity, “horizons 3,” which pays homage to early electronic music, and “horizons 4,” a more stoic minimal electro-dubwise piece that seems to be immersed in the act of walking, The last track on the album, “horizons 5,” is a non-beat ambient track with a hint of the waterfront, as if the artist is gazing at the vast sky, as if the steps of the first half of the album are expanding into a faint memory, and is accompanied by a field recording. The album includes “horizons 5”, a non-beating ambient taste that is covered by field recordings and depicts the atmosphere of a wandering waterfront, and five versions of “horizons” that remind us of the days of “walking”, sometimes immersed in the scenery and walking, sometimes lost in thought, with “horizons interlude” in between, which reminds us of the surface of a bobbing lake, and is a self-titled version of “View 2” from the previous album, “A View”. The album contains seven songs in total, including a self-remix of “View 2” and an electro version of “view 2 electro”, reminiscent of the shimmering surface of a lake.

Personally speaking, this work reminds me somewhat of Kraftwerk's “Autobahn,” which depicted the countryside of West Germany with minimal electronic sounds, and this work also seems to depict a scene of a “walk” with electronic sounds. However, what is different from “Autobahn” is that there is an element in the middle part of the album that seems to go into introspection in the midst of walking, and it is a work that shows various views (including feelings) throughout the album. From a macro perspective, this album is a new response to the recent environmental music revival and generalization of ambient music, which he has introduced as a DJ and record buyer for a long time.
The album was co-produced by hacchi, who also works with Deavid Soul, Urban Volcano Sound, and as a recording/mastering engineer, and mastered by Nakamura Soichiro of Peace Music, a studio that has produced many masterpieces, including Shintaro Sakamoto's solo work. The package artwork is by designer Seiichiro Suzuki. The package artwork is by designer Sei Suzuki. （The package artwork was designed by designer Sei Suzuki.)

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Compuma is a Tokyo-based log-serving DJ whose extensive knowledge of obscure and left-field music across so many genres and different regions of the world established himself as one of the most respected record buyers in Japan,
a country well known as record collectors’ paradise. While he built his career in record business over decades, he has also been sharing his expertise in music as a DJ just as long. Not only the breath and the depth of where his selection derives are hard to compete, the way he blends them all together is also a state of art. Often intricately layered and collaged, Compuma is capable of sculpting something entirely new with bits and pieces of existing tracks in various forms such as ambient soundscapes to dubbed out club sets. In 2017, his unique ability caught the attention of Berlin Atonal directors and he was invited to play at the festival in Berlin.

He extends his skills into remixing which can be heard on the released from EM Records - “Compuma meets Haku” (2015) and “Bangkok Nights” (2017.) In June 2022, he released his first solo album, A View.
He is also an active member of a DJ trio called Akuma No Numa (which translates to “devil’s swamp”) in which he explores darker and more psychedelic periphery of dance music.

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.