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Ein Abend, der fast 30 Jahre auf sich warten ließ! Was einst ein Witz in der Fernsehserie Die Simpsons war,
wurde am 10. Juli 2024 Wirklichkeit, als Cypress Hill zusammen mit dem London Symphony Orchestra
in der historischen Royal Albert Hall auftrat. Cypress Hill & das LSO unter der Leitung von Troy Miller
präsentieren das Vierfach-Platin-Album „Black Sunday“ in seiner Gesamtheit mit einzigartigen Orchesterarrangements, die von den Originalaufnahmen von DJ Muggs inspiriert sind, sowie eine Reihe von Songs aus
dem umfangreichen Katalog der Band. „Black Sunday Live At The Royal Albert Hall“ ist auf 180g-Vinyl
gepresst und die Matrizen wurden mit halber Geschwindigkeit geschnitten, um eine hochwertige und präzise
Wiedergabe zu gewährleisten. Außerdem erhältlich als 2CD sowie als 2CD inklusive BluRay oder DVD, die
den Konzertfilm enthalten.

Berlin based DJ & producer Cromby returns to his own Potency imprint by way of the Mandela Hall EP; an ode to the Mandela Hall in Belfast where he attended his first raves at Shine and went onto become a resident at 18. Four club ready swedgers melding influences from house, techno, electro & strands of UK club to twist the melon.

"Nilam" folgt auf das letztjährige Album "Daughter Of A Temple", das von Gilles Peterson zum BBC 6 Music "Album of the Year" gekürt wurde. The Guardian erklärte es ebenfalls zu einem der 10 besten Alben des Jahres 2024 und lobte GANAVYAs Fähigkeit, "die Kraft der gemeinschaftlichen Harmonie zu nutzen, um etwas Tieferes als den Gesang zu berühren". Wenn man sich das bemerkenswerte "Nilam" anhört, scheint es unwahrscheinlich, dass jemals Zweifel an seiner Entstehung bestanden haben könnten. Die Stille ist so erstaunlich, die Vermittlung von Gefühlen so tiefgreifend, dass man das Gefühl hat, dass es schon immer so gedacht war. Es ist eine Feier der Bande, die uns verbinden, und möglicherweise die zärtlichste Musik, die wir dieses Jahr hören werden. Sie ist intim und ehrlich, ein ergreifender Ausdruck der Dankbarkeit für die Segnungen, die uns auf dem Boden halten, wenn wir sie nur erkennen und willkommen heißen. In der Tat könnte es direkt von der Seele auf die Stereoanlage übertragen worden sein, von der Art und Weise, wie "Not A Burden" eine Last von den Schultern der Welt nimmt, bis hin zum friedlichen "Sees Fire", mit dem sanften Groove von "Land" voller Raum, dem heiteren "Nine Jeweled Prayer" und durchweg GANAVYAs Gesang wie Wellen in einer Lagune. New York-born, Tamil Nadu-raised singer and transdisciplinarian GANAVYA - "among modern music"s most compelling vocalists," according to the Wall Street Journal - has announced details of a new album, Nilam, due May 23, 2025. It follows last year"s Daughter Of A Temple, Gilles Peterson"s BBC 6 Music Album of the Year, similarly declared one of 2024"s Top 10 Best Global Albums by The Guardian, who applauded GANAVYA"s ability to harness "the power of communal harmony to touch something deeper than song." Co-produced by Nils Frahm at LEITER Studio in Berlin"s Funkhaus complex, the new album by "the singer whose work," says the New York Times, "feels like prayer...with listeners hanging onto her every word" will be released by LEITER on vinyl and via all digital platforms. Listening to the remarkable Nilam, it seems implausible now that its inception might ever have been in doubt. So astonishing is its stillness, so profound its communication of sentiment, it feels as if it was always meant to be. A celebration of the ties that bind, and possibly the most tender-hearted music we"ll hear this year, it"s intimate and honest, a poignant expression of gratitude for the blessings which keep us grounded, if only we"ll recognise and welcome them. Indeed, it could have been transmitted directly from soul to stereo, from the way "Not A Burden" lifts a weight off the world"s shoulders to the peaceful "Sees Fire", with "Land""s gentle groove full of space, "Nine Jeweled Prayer" serenely precious, and, throughout, GANAVYA"s vocals like ripples on a lagoon.

The Understated Debut That Launched a Peerless Career: Bob Dylan Is the Clearest Connection to the Singer-Songwriter's Folk Roots
Pressed on MoFi SuperVinyl for Reference Playback: Mobile Fidelity 33RPM SuperVinyl Mono LP Features the Direct Sound Dylan Intended

1/4" / 15 IPS analogue mono master to DSD 256 to analogue console to lathe

Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the initial efforts of giants like Elvis Presley and the Rolling Stones.

Nodding to Woody Guthrie and re-imagining Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He authoritatively displays the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his then-20-year-old age.

Sourced from the original master tapes, housed in a Stoughton jacket, and pressed on MoFi SuperVinyl at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180g 33RPM mono SuperVinyl LP brings the contents of this seminal release as close as they've ever come to live-in-the-studio quality. Transparent to the source, Dylan's voice, acoustic guitar, and harmonica come across with exceptional realism — the "husk and bark" to which Robert Shelton referred in his legendary New York Times review of a Dylan appearance at Gerde's Folk City — courtesy of the format’s nearly non-existent noise floor, groove definition, and quiet surfaces.

Heard in the original mono configuration, Dylan’s vocals are in the heart of the musical action and as one with the accompaniment. This reissue paints an incredibly accurate portrait of the concrete mass of sound that features no artificial panning and offers a straight-ahead immersion into the music producer John Hammond recorded in just two days in November 1961.

Though much has been made of the commercial indifference that greeted the album upon its low-key release, focusing on sales figures and the reaction of a public not yet hip to Dylan's name miss the forest for the trees. Distinguished from the era's other folk efforts by way of the singer-songwriter’s determination, brazenness, and lived-through-this worldliness, Bob Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

As Dylan scholar and pop-culture critic Greil Marcus observed in 2010: "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin."

Mono is how almost everyone first heard Dylan’s opening salvo. A career like none other starts here.

MoFi SuperVinyl:

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

To kick off Ace Records 50th Anniversary we are delighted to offer up a 2-LP version of one of the most seminal and important heavy metal albums of all time.

Funded by and released on Chiswick Records in 1977, Motörhead’s debut album was a sonic blister of epic proportions capturing the musical lighting generated by Lemmy (bass/vocals), Phil Taylor (guitar) and Eddie Clarke (drums).

This 2-LP set not only offers up this classic first album featuring tracks like ‘White Line Fever’, ‘Violator’ and ‘Keep Us On The Road’ but also collates together, on sides three and four, ‘City Kids’ the “Beer Drinkers EP” as well as different mixed and alternative versions of ear-bleeding classics like ‘Motörhead’, ‘The Watcher’ and ‘Keep Us On The Road’.

The album cover features a silver hot foil replication Joe Petagno’s original Motorhead logo in all its glory. Sleeve notes are by Ted Carroll who takes the reader through the story of how Chiswick Records managed to scrape together the money to fund the recording and write themselves and Motörhead into rock and roll history.

It’s one hell of a way to kick off Ace’s 50th Anniversary re-issue schedule.

This is a single taken from UK jazz-funk outfit Funkshone's debut album which features a cover of the classic free-soul anthem 'I Believe In Miracles' by the Jackson Sisters. It's a raw and direct funk-soul sound that has been increasingly popular in recent years with champions like Floating Points often weaving it into his sets. On the B-side, they offer a freshly recorded take on 'Panama' by Roy Porter Sound Machine, which was previously only found on select CD editions. It is powered by an explosive drum break that hits with near-manic intensity from the very first beat and is a nice driving counter to the soulful A-side.

Strut proudly reintroduces a sought after independent disco gem from the Topomic catalogue: Beckie Bell"s "In Need Of...", reissued in full for the first time. Originally released in 1980, In Need Of... quickly became a cult classic of the French disco scene. After relocating from New York to Paris in the late 1970s, Bell carved out a unique space for her sound, blending the soulfulness of New York disco with the high energy sophistication of the European market. The full debut album features some of Bell"s earliest recordings, including the full length version of "Super Queen" (1979) and "In The Right Place" (1980), showcasing her commanding vocal delivery and distinct musical style. Standout track "Music Madness" has since become a much-loved disco anthem, revered by collectors and DJs alike.

2LP silk screened + insert

Before Guaracha UFO propelled Meridian Brothers onto the international stage, Eblis Álvarez was already shaping his singular sonic universe in the shadows. Released only on CD in between 2009 and 2012 via local label La Distritofónica, Meridian Brothers VI and VII never had wide distribution or media exposure. Yet, these albums represent a crucial phase in the band’s evolution, capturing the energy of Bogotá’s experimental cumbia scene at the time.

On VI, Álvarez crafts a hallucinatory patchwork of cumbia and vallenato, using his guitar as the guiding thread before layering other instruments on top. VII pushes experimentation even further with a custom-built sampling algorithm, generating unpredictable loops and grooves. These two albums laid the foundation for the radical fusion and irreverent spirit that would later define Meridian Brothers.

Now reissued on vinyl for the first time, these historic recordings offer a raw and fascinating glimpse into the origins of one of Latin America’s most forward-thinking musical projects.

Exclusive vinyl with the singles released by the Watford post-punk band between 1981 and 1983.

"Before I began to write this piece I listened to some of the tracks and I admit there was a small tear or two as I remembered… Pet Sounds Studios, an 8 track reel to reel studio in a basement under a pet shop in Kennington, South London, our first studio experience as fresh faced 20 year olds. Surrey Sounds, a studio above a milk depot where Siouxsie and The Banshees had recorded singles, we got some studio time through the night when The Professionals (ex Sex Pistols) weren’t recording. Silo Studio in Hammersmith, the engineer was stoned, I smoked at least three packets of cigarettes during the session and having arrived at the studio with a song we believed in, we came out disillusioned and slightly underwhelmed; maybe greatness wasn’t destined to descend upon us at that stage of our career. Spaceward in Cambridgeshire, an old school building turned into a professional recording studio, where we recorded our first album Epic Garden Music over a weekend working through the night with about an hour of sleep. We returned there to record our second album, Feeding The Flame which took two months rather than two days. But my moist eyes are not for the broken dreams, the incredible highs or even the camaraderie with fellow band members, all of whom I may add we are still in touch with. My slight sadness is for my lost youth and the courageous optimism of those early days so viscerally evoked by this collection of songs. The glory of the world fades but in reality Sad Lovers & Giants goes from strength to strength, albeit in a very understated English way mainly because that’s the way we like it. So enjoy these songs which were created with passion and energy over forty years ago but still remain vivid and exciting to a new generation of listeners today." From Garce/Simon Allard's exclusive liner notes (October 2024)

Welcome to the era of “Artificial Renaissance”. Humanity and technology stand at a crucial and fundamental intersection. Echoing past cultural revolutions in a modern, technologically advanced world, everything is set to be redefined—our lives, our thoughts, and the way we move forward.

Dutch EBM/synth duo Staatseinde returns with “Artificial Renaissance”, an electrifying new mini-album. Fusing the urgency of classic EBM with the boldness of futuristic synth-punk, the band crafts an interstellar sonic journey fueled by pulsating rhythms and dystopian narratives.

The album blends space punk, italo-disco and electro into a dark, cinematic exploration of rebellion, euphoria, and dystopia. “Space Scream” launches with a cosmic punk battle cry, while “Tanzverbot” pulses with defiant energy against restriction. “Suicide Tuesday” captures post-club emptiness with shimmering 80s nostalgia, and “The Trip” unravels themes of environmental doom. “Freight” propels an italo-disco-infused space odyssey tackling exploitation, while “Une Mémoire Sans Fin” dives into AI’s eerie hold on human emotions. The fast-paced “Mutant Whispers” transforms the dancefloor into a space of fluid identity and resistance, closing with “The Mansion”, a hypnotic synth-driven descent into surreal miscommunication.

With “Artificial Renaissance”, Staatseinde ventures into unexplored sonic territory, expanding the boundaries of their lyrics, balancing artificial futuristic aesthetics with raw human emotions. As the lines between past and future blur, their pulsating music reminds us: the new age is already here.

With over 2 decades of formal exploration and exhilarating abstraction Get On is, somewhat surprisingly, only the fourth solo Pita full length. Peter Rehberg has always been vouched for pushing the very limits of the technology du jour, be it software or in recent years a complex modular set. Rehberg’s motives are one of unbridled exploration often resulting in extreme and exhilarating audio works.

Having spearheaded the contemporary electronic sound with his uncompromising explorations of noise, rhythm and extreme computer music, he has also worked with numerous experimental musicians in collaboration. Rehberg stands in the wake of a sonic revolution, once fringe, which transformed over time into the sound of a generation of experimental geeks and club freaks worldwide.

Get On follows on from the 2016 release Get In. As with other titles in his ‘Get’ series we have an unwieldy blend of noise, abstraction, gnarled rhythm and blurred melody. Both analogue and digital tools are deployed as a means of expressing something outside of everyday electronics. ‘AMFM’ launches proceedings with some delightfully disorientating ricocheting electronics setting off a subversive sonic spectrum. ‘Frozen Jumper’ presents some ugly skittering electronics which rotate into exquisitely mangled forms before launching into an unsettling euphoria. The last piece ‘Motivation’ is a towering sensitive work, simultaneously haunted and emotionally moving. Get On marks another monumental work in the ongoing evolution from one of the ground zero pioneers of contemporary radical electronic music. As uncompromising as ever this is Pita in his prime. Emotion rung from the most twisted of frames.

The double LP release features reworks of many of the most well-known songs from the band led by Roger Waters and David Gilmour.

Not many labels prooved stustainability over decades and can underline that they have been doing the do since the early ‘90s, always keeping it fresh to this very day. Boogie Back Records is one such shining example, releasing tracks and records from the likes of Mica Paris, Omar, Vivienne McKone back in the nineties taking the Streetsoul movement to the top until today and beyond.

They are boogie back once again with this double header of finest Neo-Boogie sounds, a neo-soul flavoured pearl, doing business as unusual, most serious and extra ordinarry by the grey eminenz of London Streetsoul himself Ernie McKone aka „The Great Ernesto“ and his family affair: Ernie & the Family McKone Feat. Laura Jackson. Both sides an uptempo Soul explosion, funky outfits, superb production, great instrumentalists such like Toby Baker known for endless contributions to the global Soul and music scene. This is another special and exclusive 45/7“ release via Soulkitchen Distribution…

NAD aka Dan Tyler of the legendary Idjut Boys arrives at Duca with a bouncing 4 track of obscurities, all wrapped in a sheen of echo and reverb.

The Idjuts’ have released on a myriad of labels, including Noid, U Star and Smalltown Supersound, being one of the originators of the 90s edits revival, DJing the globe including to almost cult-status in Japan, as well as remixing the likes of DJ Harvey, Brian Ferry and Dimitri From Paris

A master of editing, Dan’s move to Oslo has seen him step out solo to remix the likes of Todd Terje (Olson), Mudd (Claremont 56) and King Sporty (Emotional Rescue) and not forgetting running the Record Mission edits label with old friend Nick The Record.

Das Wordy hits with a bump, the gastarbeiter NAD rockin’ like Tom Tom Club on Stasi steroids.

La nouvelle musique of Histoire De Cul sweeps the catwalk, sweeping past Le Palace queue, hitting Cuevas’ dancefloor to “effet sensuel”.

Rocking out is NAD’s nature, Kropps Smack a body with a mind of its own, come down, come all night…boody language.

Release The Pigeon is a smooth ride home, the music nomad, the gypsy man, one of these days he’ll settle down.

Yer yer yer ahhh yer.

Following the cinematic jazz-funk of Ufo Bar (2021), Banda Maje are back, ready to take you on another sonic journey across Salifornia—and beyond.

Their new 7" single, available starting May 30 via Four Flies, offers an exciting glimpse into the expanded horizons of Banda Maje, serving as a prelude to their sophomore album, Costa Sud.

These past four years, Peppe Maiellano—the band's composer and mastermind—has further refined his unique Mediterranean sound. A deep connection to Italian and Neapolitan roots remains, as evidenced in the heartfelt cover of Peppino di Capri's 1981 track, "Mo…" on Side A. Maiellano keeps things simple, staying faithful to the original, yet manages to freshen the track for today's listeners, making the lyrics resonate with his compelling vocal rendition.

But Maiellano has also embraced new influences, particularly Brazilian music, as showcased in the infectious "(Roda De) Samba Maje" on Side B. This roda-de-samba version of the upcoming album track "Samba Maje," a collaboration with the Amor Pela Roda group featuring Antonio Montuori on percussion and Pasquale Del Solio on cavaquinho, gives us a taste of Maiellano's vision for Costa Sud—a 'music of the South' that transcends geographical and time boundaries, bridging Italy, Brazil, Africa, and contemporary vibes.


Out on 30th May 2025 on 7" and digital.

Classic remasters and represses from a classic act.

Automation were one of the strongest old skool underground rave groups, producing numerous huge tunes such as Electricity, Espionage,
Pacemaker, Ruffcut, and Eat The Bee, and all of their amazing EPs are being remastered and reissued for the first time in over 30 years!

Coming fresh from the Caparica coast just south of Lisbon, Penelope’s label oDYSea debuts with this four-track VA of oceanic rollers. GNMR’s ‘Zen’ establishes the wavey mood with a splash of classic Soca vocals, while Pakzad takes things even deeper and drippier with ‘I Could Never Imagine’. Eversines brings us bleep n bass on ‘Randomized Controlled Trial’ before the mysterious Oscillator Man’s ‘Turning The Mix Up A Bit’ closes out the EP on a ravey acid high.