Search:la boa

'3 x hullo, hullo' is the latest work from Jeugdbrand, the duo of Dennis Tyfus and Jeroen Stevens. A collection of fragmented snapshots, with odd phrases and playful remarks colliding, while musical ideas are tossed about with ease. Instead of a clear narrative, it's a series of disconnected sketches--emotions shift quickly, laughter turns to tears, and the ride is anything but smooth.

Over two decades later, the underground classic that lit the fuse on indie hip-hop’s next era finally gets its vinyl debut. Originally dropped in 2001, Table Scraps is a gritty, no-frills compilation of unreleased tracks and lost sessions from the formative years of MHz, the Columbus, Ohio hip hop crew that helped define an era before the mainstream caught wind of the underground. Recorded between 1997–2001, the album is raw, urgent, and packed with early glimpses of the greatness that would follow.
The core lineup is fully intact and fully in form: Copywrite flexes his unmatched wordplay and delivers two self-produced heaters, “The Funnel” (co-produced) and “Combustion Spontaneous,” proving he’s just as deadly behind the boards. Tage Future brings futuristic cadence and sharp delivery, Jakki Da Motamouth stays unapologetically rugged, and the late Camu Tao is in rare, untamed form, a creative force whose brilliance only grew from here. Holding it all together are beats from RJD2, Mighty Mi, Camu, and Copywrite himself.
Pressed on vinyl for the first time ever, Table Scraps is more than a collection, it’s a time capsule from a crew that helped shape the underground before it had a name.

blickwinkel welcomes composer and multi-instrumentalist Francis Plagne to the label with a reissue of Asleep in a beached boat, an album that was initially released on his own Mould/Mouse Museum label in 2021 on cassette. The album was mostly given away to friends but now gets a wider release through a limited vinyl and digital edition.

Gentle melodies set an airy atmosphere and are intertwined with tensive dialogs between rhythms and textures coming from a wide array of acoustic and electronic instruments. Stylistically somewhere in between his Rural Objects (Black Truffle) and Udge (Horn of Plenty), on the eleven tracks on this album we hear Plagne in his most playful way to date.

Francis Plagne is a musician from Melbourne, Australia whose work swings between songwriting and a variety of other approaches, including group improvisation, instrumental abstraction, and domestic musique concrète. He performed live regularly since 2005 and has released recordings on labels such as Black Truffle, Horn of Plenty, Kye Records, Penultimate Press and his own Mould/Mouse Museum micro-label. In addition to performing his own work either solo or with a band, he has performed and recorded in improvised and other arrangements with Tetuzi Akiyama, Oren Ambarchi, Andrew Chalk, Crys Cole, James Rushford, and Joe Talia, among others.

Brussels-based accordionist Suzan Peeters releases her debut album Cassotto on the Belgian label blickwinkel. With Cassotto, she opens a door into a hidden chamber of sound. The title refers to the “cassotto” — a small resonating chamber inside the accordion that warms, softens, and deepens its tone. Listening to this record feels as if you’ve stepped into that room yourself, enveloped in a world where intimacy and grandeur collide.

Although this is her first release, Peeters is already recognised as one of the most promising names in Belgium’s experimental music scene. Her distinctive live shows — from leading venues across Belgium to a packed Café Oto in London — have earned her a reputation for combining accordion, electronics and unconventional objects such as a massage board into a compelling whole where contrasts come together in an unexpected way. Cassotto captures this approach in recorded form, giving listeners the same sense of immediacy as her concerts, but framed within the intimate space suggested by the album’s title.

While the cassotto chamber naturally gives the accordion a soft and velvety voice, Peeters harnesses that warmth to explore extremes — from hushed detail to bold, expansive gestures that fill the room. As such, the album moves between the acoustic and the electronic, the tender and the abrasive, the static and the dynamic, the traditional and the experimental.

With Cassotto, Suzan Peeters presents a debut that places the accordion at the centre of an adventurous and contemporary sound world — one that invites to discover how far an accordion can reach when tradition and imagination intertwine.

Suzan Peeters (*1999) is a Belgian accordionist, composer, and experimentalist. She is constantly looking for new timbres and sound textures within the accordion, pushing its acoustic spectrum to its limits by manipulating the interplay between her body and the body of her instrument.
Suzan studied classical accordion at KASK & Conservatorium in Ghent and at the Royal Danish Academy of Music in Copenhagen. She is currently studying Live Electronics at the Royal Conservatory of Brussels.

KEG announce new EP Girders set for release September 2nd on Alcopop! Records/BMG. The band also share the frenzied and whip-smart new single Kids. The band, who have been hotly tipped across the board for 2022, will also play their debut UK headline tour plus festivals which include Green Man, End Of The Road, Latitude and more. Kids strides into the deep lineage of British art-punk songwriting that is both self-referencing and outward-facing - while being consistently innovative. Few singles manage to take aim at both the restaurant chain Itsu and the comedian Michael McIntyre, but KEG somehow pull it off.

Following a widely successful debut single release Heyshaw in the summer of 2021, KEG saw major support from publications such as NME, DIY, Dork, So Young, Clash etc. Leading into their debut EP Assembly, released October 2021, KEG toured with contemporaries such as Squid and Talk Show.

KEG are a seven piece. Albert (vocals), Joel (bass) & Will (synth) grew up together around the seaside Yorkshire town of Bridlington; and like many artists growing up in removed quarters of the country, they shared a yearning to leave. Spreading to different parts of the country after leaving school, they found their bandmates in their respective cities and found one another once again on the southern shores of Brighton.
Frank (guitar), whose background resides mostly in hip-hop, afforded a unique pulse with a guitar sound which is manic, discordant but firm. Jules (guitar) whose songwriting sensibilities come from a love of cadence and craft of beautiful soul ballads, imbued the band with his structured sense of composition. Both Charlie (trombone & shell) and Johnny (drums) come from classically trained Jazz backgrounds.
The announcement will receive digital marketing support and will launch with new tour dates announced (below) with pre-order for presale access available.

The Swedish band Bullet got together in autumn 2001, with the aim of playing traditional heavy metal inspired by the late 1970s and early 1980s: solid, authentic and classic, with a contemporary and timeless touch. Seven years after their latest studio album, ‘Dust To Gold’ (2018), the musicians Dag “Hell” Hofer (vocals), Hampus Klang (guitar), Gustav Hector (bass), Gustav Hjortsjö (drums) and latest addition Freddie Johansson (guitar) are now back with a new album: ‘Kickstarter’ is scheduled for release on Steamhammer/SPV on 09 January 2026 and is set to prove that Bullet are determined to continue their almost 25-year career with the very kickstart referenced to by the album title. This of course also includes Bullet’s iconic tour bus, whose engine exploded after one of their most recent shows, forcing the musicians to embark on their return journey without their rolling accommodation. Naturally, this was the end neither of Bullet nor their battered vehicle – to the contrary: The group’s classic heavy metal spirit and their unwavering DIY mindset have proved stronger than ever. Having repaired the ageing bus with unwavering determination, oil-smeared hands and sweaty brows. Bullet are now ready to hit the road again, with ‘Kickstarter’ and the three lead singles/videos ‘Kickstarter’ (17 October 2025), ‘Keep Rolling’ (21 November 2025) and ‘Chained By Metal’ (19 December 2025) on board.

Bruit's sound is a tectonic collision of raw noise and patient, cinematic structure: layers of metallic percussion, low-end rumbles and fractured melodic fragments that creep, accumulate and then converge. Balancing soaring melancholy and industrial grit with meticulous dynamics, they turn long-form pieces into physical architectures where silence, resonance and sudden force are equally important. In this reissue of their staggering debut EP `Monolith', Bruit give us the opportunity to rediscover their first ever release, the completely self-produced and recorded record that defined their direction and introduced their world-shattering sound. `Monolith' is an epic portrayal at the centre of the human experience, the band's use of melancholia, industrial textures reimagined through patient dynamics, sculpted resonances, and a singular attention to momentum gives listeners access deep and power terrains. `Monolith' is the first expression of Bruit's exploration of material sound and human scale. Building on the dense palette of integrity and compositional mastery, Bruit interrogates what long-form composition can hold: memory, pressure, and a cinematic coalescence. Bruit's sound captures the exorbitant nature of the times, the outrageousness of humanity at a moment in time that is grotesque in scale and overwhelming in scope. Two long tracks for FOR FANS OF Hans Zimmer * Nils Frahm * Godspeed You! Black Emperor * Balmorhea * Max Richter * Olafur Arnalds * A Silver Mount Zion * Boards Of Canada

Trouble’s absolute classic: the legendary album from 1990 and the pinnacle of Trouble’s impressive career. Heavy Metal was never better than this! Includes a live bonus CD recorded in Dallas, Taxas (USA)! Trouble’s debut album did great things for Metal and remains one of the darkest, thrashiest Doom albums to date. A lot of things can change in six years, especially when you’re talking Metal and the dates are 1984 and 1990. The decade may have changed them, but not in a way that suggests decay or a decline in the quality of their resolve or their skill as musicians and performers. On the contrary, Trouble’s 1990 self-titled release is arguably their most mature, boasting a fleshed out sound with unparalleled songwriting, a great production, and the time-crafted vocals of Eric Wagner which had improved major in the years since their previous efforts. All of this culminates in what is my mind the most “complete” thing Trouble ever created. From the mid-paced chug of a killer opener in “At the End of My Daze” to the last notes of “All Is Forgiven”, I can’t see filler or anything resembling a weak link. The riffs here are some of the best ever written, by Trouble or anyone else; every song has a manically awesome main riff that demands a display of headbanging. Riffs are undoubtedly the point of focus here; they make the songs, and they’re a timeless variety of great. Also, the interplay between guitarists Bruce Franklin and Rick Wartell is some of the best lead work you will ever hear in Metal. Trouble basically reinvented themselves with this release, and while I think it was a fantastic rebirth, those who aren’t so keen on the laid back stoner vibe they chose to adopt may not see it as a rejuvenation, but a step back (they did go from doom and gloom to collectively embracing their inner acid dropping free love hippie, after all). But the Metal remained fully intact! And as I’ve said, I think this is Trouble at their best. This is originality and innovation at its best, it is supreme quality. A leader of bands paves the way and then steps aside to create something that will serve as an example of how to improve upon an established formula: that is, by doing it really damn well.

Bruit's sound is a tectonic collision of raw noise and patient, cinematic structure: layers of metallic percussion, low-end rumbles and fractured melodic fragments that creep, accumulate and then converge. Balancing soaring melancholy and industrial grit with meticulous dynamics, they turn long-form pieces into physical architectures where silence, resonance and sudden force are equally important. In this reissue of their staggering debut EP `Monolith', Bruit give us the opportunity to rediscover their first ever release, the completely self-produced and recorded record that defined their direction and introduced their world-shattering sound. `Monolith' is an epic portrayal at the centre of the human experience, the band's use of melancholia, industrial textures reimagined through patient dynamics, sculpted resonances, and a singular attention to momentum gives listeners access deep and power terrains. `Monolith' is the first expression of Bruit's exploration of material sound and human scale. Building on the dense palette of integrity and compositional mastery, Bruit interrogates what long-form composition can hold: memory, pressure, and a cinematic coalescence. Bruit's sound captures the exorbitant nature of the times, the outrageousness of humanity at a moment in time that is grotesque in scale and overwhelming in scope. Two long tracks for FOR FANS OF Hans Zimmer * Nils Frahm * Godspeed You! Black Emperor * Balmorhea * Max Richter * Olafur Arnalds * A Silver Mount Zion * Boards Of Canada

Neu auf Impulse! Records: Die Musik des experimentellen Jazz-Punk-Trios The Messthetics aus Washington DC, bestehend aus ehemaligen Mitgliedern der Punk-Band Fugazi (Bassist Joe Lally, Schlagzeuger Brendan Canty) und dem Gitarristen Anthony Pirog, wurde bereits mit dem ungewöhnlichen Genre-Label „Jazz-Punk-Jam“ versehen. Auf ihrem ersten Album für das ikonische Impulse!-Label haben die drei sich jetzt mit Jazz-Saxofonist, Komponist und Bandleader James Brandon Lewis zusammengetan. Gemeinsam erweitern The Messthetics und James Brandon Lewis jetzt die Grenzen instrumentaler Musik durch ungewöhnliche Überschneidungen von Jazz, Punk und Funk, Aggression und Innovation.

The song titles on Van Halen's aptly titled Fair Warning don't lie. The likes of "Unchained," "Mean Street," "Push Comes to Shove," "One Foot Out the Door," and more indicate the mood the band channels on its double-platinum 1981 record — the nastiest, darkest, and fiercest album of the group's storied career. For the fourth time in four years, Van Halen throws down the gauntlet to all challengers and emerges victorious.


Sourced from the original analog tapes, pressed on MoFi SuperVinyl at Fidelity Record Pressing, and strictly limited to 5,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set plays with unfettered clarity, dynamics, and immediacy. Benefitting from superb groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and involving presence.

Taking a more controlled approach in the studio and still completing everything in less than two weeks, Van Halen and producer Ted Templeman relied on studio amplifiers to direct the sound. Further diverging from the live-on-the-floor approach of its earlier albums, the ensemble also employed overdubs to great effect. The result: Dense, stacked architecture that underlines the hard-hitting tenor of the songs — and which comes alive like never before on this reference edition that looks as good as it sounds.

The premium packaging and gorgeous presentation befit the reissue's select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, it is made for listeners who want to immerse themselves in everything involved with the album, including the iconic cover art adopted from William Kurelek's haunting painting, "The Maze."

Isolated frames from Kurelek's childhood-inspired work — including a man bashing his head into a brick wall, a guy pinning down an adversary as he delivers bare-fist blows to his face and others watch with apparent glee, a boy tied down on a conveyer belt and being sent through the equivalent of a meat saw — adorn the front and back covers. The sunnier visual disposition of Van Halen's prior efforts gives way to something sinister and tortured, traits reflective of the music within. The band members, too, are visually depicted not in glamorous shots but in a serious black-and-white portrait in which the quartet is clad in black leather jackets.

Tough, aggressive, stark: Fair Warning comes on like a series of bare-knuckled punches to the solar plexus and boasts lyrical narratives to match. Though not a concept record, the concise album revolves around themes of roughing it on the streets and struggling to survive amid dim prospects. Singer David Lee Roth reportedly penned many of the initial lyrics after traveling to Haiti and observing extreme poverty. The characters and situations populating Fair Warning reflect hardscrabble existence, last-chance desperation, and underlying danger.

Witness the crazies, poor folks, and hunters of “Mean Street”; the former prom queen turned pornographic actress on “Dirty Movies”; the menace and vice of “Sinners Swing!”; the streetwise hustle of “Unchained”; the isolation and alienation of “Push Comes to Shove”; the desire for escape on “One Foot Out the Door”: A carefree California beach party Fair Warning is not.

Having said he felt angry and frustrated during the sessions, guitarist Eddie Van Halen uses the forceful arrangements as a playground for his seemingly unlimited arsenal. Supported by a crack rhythm section and a hyped-up Roth, he performs with an almost impossible combination of punk-like intensity, technical finesse, lyrical fluidity, and unbridled emotion. The virtuoso was increasingly butting heads with Templeton and seeking a freedom in the studio he believed denied him.

No wonder he plays like a bat out of hell. Listen to the rapid-fire manner in which he slaps the high and low E strings on the 12th fret of his instrument on “Mean Street,” instilling the tune with funk flair and metal-spiked sharpness. For the pouty strut of “Dirty Movies,” Eddie Van Halen contributes slide guitar magic made possible after he sawed off the lower portion of a Gibson SG so he could reach further down the fretboard.

Related intensity, urgency, and daredevil momentum punctuate the surging “Sinner’s Swing!” A heavily flanged, delicately melodic introduction frames the attitudinal “Hear About It Later,” among the most creative arrangements of Van Halen’s career. And do riffs come any bigger or magnetic than those on the high-wire kick of “Unchained”? As for the out-of-left-field “Sunday in the Park,” an instrumental composed on an Electro-Harmonix micro-synthesizer: Who but Eddie Van Halen to supply creep factor in such an ingenious way?

Despite selling fewer quantities than Van Halen’s prior efforts, Fair Warning remains for many diehards the record that epitomizes all of the band’s immense strengths —Roth’s manic energy and tongue-wagging humor, Alex Van Halen’s rhythmic heartbeat-in-your-chest bombast, and Michael Anthony’s lucid bass lines included. Arriving when the New Wave of British Heavy Metal and new-wave movements were taking flight, it signaled a shot across the bow from a band determined to stay a step ahead and provide proof nobody could touch what it delivered.

More than four decades later, Fair Warning still sounds that alarm.

This is the first new Andy Boay album since 2013’s In The Light. I recorded it in January 2024 to a Yamaha MT8X 8-track cassette recorder in my room at the New York Center for Creativity & Dance in the East Village of Manhattan.

I mixed it in June 2024 with Joe Santarpia and Roberto Pagano at the Idiot Room in San Francisco. The three songs on Side A (“HBM,” “If I Ever Come Off,” and “You’re In The Air Now”) were initially arranged over several live performances using a multi-track looper. When I then sat down to track them to my tape machine, I meticulously sang and played out all repeating parts, layering and ping-pong-bouncing each doubled take to another tape-track. In this way I hoped to maintain the hypnotic quality of the looped parts while keeping them organic, singular, and fleeting. Side B is a triptych of more carefully arranged pop songs: a tremolo & mod-delay elegy to youth called “Careless,” bookended by two variations on the same theme — the stark, mellotron prayer of “One & One” and the lonesome after-hours funk of “I Want More”. The line “You took that walk for the two of us” has a dual meaning. In 2011, my friend Spencer Gilley took a long walk through Montreal while listening to demos I’d recorded.

He described the experience to me as magical, ecstatic, inspiring. His encouragement from that moment still echoes every time I sit down to write or record. Less than a year later, I met Florida musician Thomas Fekete. We formed a deep, brief friendship that lasted until his death in 2016. Thom entered my life during a chaotic time and helped me find direction and courage. He took me on a tour that shifted the course of my life. We bonded over surviving cancer as young men, Florida’s noise scene, and the strange lives we led as touring guitarists (he in Surfer Blood, me in Mac DeMarco’s band). Thom could always warmly anticipate all of my joy, humor, and curiosity—and all of my pain, anxiety, and fear. In this way, it felt like he was also taking that walk for the two of us—gently guiding me down a path he had already traveled. Andy Boay (Andy White) began playing and recording music as a teen in Orlando during the early 2000s, exploring noise, psych, and pop in bands and solo projects.

He has played in the duo Tonstartssbandht with his brother Edwin since 2007. He spent six years playing guitar in the touring band for Mac DeMarco. Andy Boay’s music taps the euphoric and the sorrowful, both onstage amongst friends and strangers, and tracking alone at his 8-track in the studio. These days he lives and works in the East Village neighborhood of New York City.

Mit Hits wie „Hurra, hurra, die Schule brennt“, „Flieger, grüß mir die Sonne“, „Polizisten“ oder „Duo Infernal (feat. Marianne Rosenberg)“ haben Extrabreit ab Ende der 1970er Jahre die deutschsprachige Musikwelt
aufgemischt. Eine Formation, die mit ihrem anarchistischen Mix aus Deutschpunk, Rock und NDW sowie
oftmals provokanten Texten bis heute auf einem extrabreiten Grat zwischen poppiger Eingängigkeit und
bissiger Gesellschaftskritik reitet. Viereinhalb Dekaden nach der Veröffentlichung ihres bahnbrechenden
Debütalbums erscheint nun mit der umfangreichen 3LP/ 5CD-Box „Pralinen & Granaten (1979-1982 Remastered)“ ein Rückblick auf die frühen Anfänge der Kultband!
„Pralinen & Granaten (1979-1982 Remastered)“ enthält Extrabreits ersten drei Studioalben „Ihre größten
Erfolge“ (1980), „Welch ein Land! Was für Männer:“ (1981) und „Die Rückkehr der phantastischen
5!“ (1982) als remasterte Vinylausgaben sowie als großzügig erweiterte Bonustrack-CDs mit bisher unveröffentlichten Songs und gesuchten Raritäten. Komplettiert wird die insgesamt 131 Tracks umfassende
3LP/ 5CD-Box von zwei CDs mit ebenfalls unveröffentlichten Demo-Versionen aus 1979 sowie ungehörten
Livemitschnitten aus den Jahren 1981 und 1982. Sämtliche Bonustracks wurden von einem langjährigen
Extrabreit-Fan der ersten Stunde archiviert und kuratiert; für das Remastering der Original-Tapes zeichnet niemand Geringeres als Eroc (Grobschnitt, Amon Düül II, Doro, Phillip Boa And The Voodoo Club)
verantwortlich.

Stephen McCraven's WOOLEY THE NEWT was originaly released on Marion Browns own Sweet Earth record label in 1979, this is the first reissue on vinyl and cd.

The LP is limited to 450 copies on black vinyl and is housed in a reverse board printed sleeve , with postcard insert and CD is limited to 1000 in gatefold card sleave ..

Its a post bop-spititual jazz beauty,, a record you think you should have known about already,, with OG copys going for $500 this edition should sell fast..

remastered by the carvery in london from master tape and pin drop,,, as half the tapes servived

GO:OD AM (10th Anniversary) 3LP vinyl by Mac Miller. Includes 3 bonus songs from the GO:OD AM sessions.

Originally released in 2015, the album, hailed by the likes of Billboard and Rolling Stone as the best of his career upon its release, marked Mac Miller's first for a major label and was regaled as "one of the most musically appealing hip-hop LPs of the year" by The New York Times. After surprising fans and critics alike with his second full length Watching Movies with the Sound Off, Mac returned with another adventurous album in GO:OD AM that marked the beginning of a rapid artistic evolution that unfolded across 2016's The Divine Feminine and 2018's Swimming.

Each 3LP package includes a special triple gatefold jacket printed on silver mirror board with die cut, two inner sleeves with photos printed on silver mirror board and a yellow bonus vinyl with a custom etching on the back.

The Brokedowns are the coolest punk band in Chicagoland and they're back with 13 new songs of fury and satire. The quartet has steadily grown in popularity and so has their appetite for mockery. We asked them about the record, and they explained the fi­rst track is a musical tribute to QAnon moms taking over the school board. Quite the tone-setter. While not a concept album, there is a thematic protagonist: Alpha Dog Serum X. No, Serum X is not a panacea to a world gone mad, it's a fi­ctional miracle drug endorsed by all the coolest billionaires and influencers. Safe to say, if dorks like Elon and Logan Paul heard this music, they would not get the joke. The Brokedowns fuse heavy rhythms with singalong melodies, and they use those tools like hammer and tongs to blast away at our societal ills. It may sound grim, but no one has more fun with our stupid culture than The Brokedowns, so you may as well get in on the roast.

Dino Lenny debuts on Rekids with the ‘Not About The Volume’ single. The bona fide legend arrives backed with a remix from Rekids regular Tiger Stripes.

Dino Lenny debuts on Radio Slave’s Rekids with ‘Not About The Volume’ on 5th December 2025 alongside a remix from label regular Tiger Stripes. Active for over three decades, Italian/UK DJ, producer, singer, and Fine Human Records label owner Dino Lenny has released on R&S, Diynamic, Innervisions, and Bedrock, while working with artists such as Underworld, Missy Elliott, Wu-Tang Clan, and Madonna on remixes and collaborations. Since 2021, he’s hosted Tomorrowland’s Core, the festival’s alternative electronic stage's radio show, which has featured Nina Kraviz, Ellen Allien, DJ Tennis, and more.

Lenny’s ‘Not About The Volume’ boasts a loopy groove that forms the base for impactful, jazz-infl ected hits, and at the centre, a quirky, party-starting vocal that’s sure to cement itself in the minds of the dancefl oor. Tiger Stripes reworks ‘Not About The Volume’ with a fresh new bassline, quicker drums, and amplifi ed synth elements for a more hypnotic take on yet another Rekids anthem.

When Niko Moon broke out with his triple-platinum hit “GOOD TIME,” the Texas-born, Georgia-raised singer/songwriter lit up the country scene with his larger-than-life energy and message of radical positivity. Since then, he’s earned a passionate following, major TV performances, and praise from outlets like Holler and American Songwriter. With AMERICAN PALM Deluxe, arriving right before his headline AMERICAN PALM Tour, Niko expands his latest LP with
two new tracks, “BREATHE” and “BARE FEET IN THE SAND,” furthering his mission of creating music that feels like a“mental vacation” filled with sun-soaked serenity and coastal escape.

“Breathe is all about finding that place where you can take a deep breath and let your worries drift away,” says Niko. “I find peace by the water, and I wanted the song to be a mantra of positive self talk and a celebration of the coast.”

Niko partly grew up in Georgia, spending summers on Florida beaches, an influence that shapes the concept-driven AMERICAN PALM. Written during his THESE ARE THE NIGHTS tour with producer Danny Majic and songwriter David J, the record blends coastal sounds—ukuleles, nylon-string guitars, ocean waves—with organic beats and a touch of ‘90s hip-hop, nodding to his Atlanta roots. The result is a seaside getaway in album form, equal parts carefree, romantic,and life-affirming.

Tracks like “I LOVE THIS BEACH” and “YOU, ME & A BEACH” capture that spirit. The latter, a love song linking his wife and the beach as his grounding forces, helped cement the record as his first concept album. “SANDBAR” delivers a euphoric summer vibe, while “SANDCASTLES” reflects on life’s impermanence. “KING OF THE ISLAND” is a family
milestone—co-written and sung with his father, Cris Cowan.

Niko’s journey began early, inspired by his dad, a truck driver and drummer who introduced him to John Prine and Emmylou Harris. Niko picked up drums at eight, guitar at fifteen, and started playing in bars while working construction. A chance encounter with Zac Brown led to songwriting cuts like “Homegrown,” before Niko launched his solo career with “GOOD TIME,” a No. 1 hit on both Billboard Country Airplay and Hot Country Songs charts. From the start, he committed to making only positive music: “In a way a song is like a mantra, and I want mine to carry optimism and encouragement.”

Since his debut, Niko has sold out the Ryman, played major festivals like Stagecoach, and performed on The Tonight Show Starring Jimmy Fallon and Jimmy Kimmel Live!. Beyond music, he and his wife Anna founded the Happy Cowboy Foundation to support mental health and addiction recovery, and launched Happy Himalayan water and the American Palm clothing line, both of which benefit the foundation.

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before. Gangster Doodles himself puts it best: "It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

“Twenty-five years into their existence, The Album Leaf are an old comfy sweater. It might not be the most fashionable thing in your collection but it always feels good when you put it on. Jimmy LaValle’s synth textures are warm, nostalgic and steeped in Boards of Canada / Ulrich Schnauss-style soundscapes that are relaxing, otherworldly and melodic” – Brooklyn Vegan

The Album Leaf shares his new ambient LP, Rotations. The record is a mediative experiment into atmospheric sound. Creator Jimmy LaValle explains, “This collection of music is a true reflection of my creative process—rooted in sound exploration, experimentation, and spontaneous response. Each track captures a moment of creative discovery, free from the pressure of achieving a polished result. Throughout my career, I’ve often placed significant weight on what an album should be. With this release, I’ve let go of those expectations to share a body of work that feels genuine and authentic.

The Album Leaf began as the solo project of Jimmy LaValle, who came up in the San Diego music scene playing in hardcore bands and the instrumental rock band Tristeza. He had inked a deal to release his next solo album through the indie label Tigerstyle Records, so he put the modest advance towards a self-recording starter setup, building out the sound with occasional studio access. The music that emerged — vivid, rhythmic, soaring instrumentals guided by lines of Guitar and Rhodes — not only set the path for The Album Leaf over the next two decades of acclaimed releases (for Sub Pop, City Slang, and others), it became a touchstone for the next generation's wave of melodic and meditative electro-organic music.

Step into the world of Parisian flair and lyrical finesse with Clovis Ochin's latest masterpiece: "Sans Souffrance (R)ajoutée", once again entirely produced by Camoflauge Monk.

Picture this: a seamless fusion of hip-hop vibes and the exquisite taste of fine natural wines, served with a side of haute couture swagger. Clovis Ochin, the enigmatic rapper and vintner extraordinaire, invites you on a sensory journey unlike any other.

Following the success of their 2022 debut album "Sans Souffrance Ajoutée," Clovis Ochin returns with a sophomore sensation that transcends boundaries. Produced by the renowned Camoflauge Monk, the sonic architect behind Griselda Records' iconic sound, this album is a testament to musical innovation and artistic evolution.

Known for his captivating presence on "F*ck That's Delicious" alongside Action Bronson, Clovis embodies the essence of a modern-day bon vivant. His passion for hip-hop, natural wines, food, and fashion pulsates through every track, creating a symphony of flavors and rhythms that captivate the senses.

But that's not all. "Sans Souffrance (R)ajoutée" boasts electrifying guest appearances from the likes of Billie Essco and SonnyJim, adding layers of depth and dimension to an already stellar lineup.

So, whether you're a connoisseur of hip-hop or a devotee of fine wine, prepare to be swept away by the intoxicating blend of sound and style that is Clovis Ochin's latest offering. "Sans Souffrance (R)ajoutée" is more than just an album—it's a cultural phenomenon, a celebration of life's pleasures, and a testament to the enduring power of artistic expression. Don't miss your chance to experience the magic firsthand. Cheers to Clovis Ochin, where hip-hop meets the love of natural wine in perfect harmony.

Step into the world of Parisian flair and lyrical finesse with Clovis Ochin's latest masterpiece: "Sans Souffrance (R)ajoutée", once again entirely produced by Camoflauge Monk.

Picture this: a seamless fusion of hip-hop vibes and the exquisite taste of fine natural wines, served with a side of haute couture swagger. Clovis Ochin, the enigmatic rapper and vintner extraordinaire, invites you on a sensory journey unlike any other.

Following the success of their 2022 debut album "Sans Souffrance Ajoutée," Clovis Ochin returns with a sophomore sensation that transcends boundaries. Produced by the renowned Camoflauge Monk, the sonic architect behind Griselda Records' iconic sound, this album is a testament to musical innovation and artistic evolution.

Known for his captivating presence on "F*ck That's Delicious" alongside Action Bronson, Clovis embodies the essence of a modern-day bon vivant. His passion for hip-hop, natural wines, food, and fashion pulsates through every track, creating a symphony of flavors and rhythms that captivate the senses.

But that's not all. "Sans Souffrance (R)ajoutée" boasts electrifying guest appearances from the likes of Billie Essco and SonnyJim, adding layers of depth and dimension to an already stellar lineup.

So, whether you're a connoisseur of hip-hop or a devotee of fine wine, prepare to be swept away by the intoxicating blend of sound and style that is Clovis Ochin's latest offering. "Sans Souffrance (R)ajoutée" is more than just an album—it's a cultural phenomenon, a celebration of life's pleasures, and a testament to the enduring power of artistic expression. Don't miss your chance to experience the magic firsthand. Cheers to Clovis Ochin, where hip-hop meets the love of natural wine in perfect harmony.

Step into the world of Parisian flair and lyrical finesse with Clovis Ochin's latest masterpiece: "Sans Souffrance (R)ajoutée", once again entirely produced by Camoflauge Monk.

Picture this: a seamless fusion of hip-hop vibes and the exquisite taste of fine natural wines, served with a side of haute couture swagger. Clovis Ochin, the enigmatic rapper and vintner extraordinaire, invites you on a sensory journey unlike any other.

Following the success of their 2022 debut album "Sans Souffrance Ajoutée," Clovis Ochin returns with a sophomore sensation that transcends boundaries. Produced by the renowned Camoflauge Monk, the sonic architect behind Griselda Records' iconic sound, this album is a testament to musical innovation and artistic evolution.

Known for his captivating presence on "F*ck That's Delicious" alongside Action Bronson, Clovis embodies the essence of a modern-day bon vivant. His passion for hip-hop, natural wines, food, and fashion pulsates through every track, creating a symphony of flavors and rhythms that captivate the senses.

But that's not all. "Sans Souffrance (R)ajoutée" boasts electrifying guest appearances from the likes of Billie Essco and SonnyJim, adding layers of depth and dimension to an already stellar lineup.

So, whether you're a connoisseur of hip-hop or a devotee of fine wine, prepare to be swept away by the intoxicating blend of sound and style that is Clovis Ochin's latest offering. "Sans Souffrance (R)ajoutée" is more than just an album—it's a cultural phenomenon, a celebration of life's pleasures, and a testament to the enduring power of artistic expression. Don't miss your chance to experience the magic firsthand. Cheers to Clovis Ochin, where hip-hop meets the love of natural wine in perfect harmony.

Since first arriving on the scene in 2009 with blistering inversions of shoegaze, Montreal's No Joy has always found formidable ways to reinvent itself. Now solely composed of musician Jasamine White-Gluz, No Joy has evolved over four studio albums and five EPs, defying expectation and genre, and cementing itself as something rare: a band without a category. Clearly sympatico at the time of collaborating, Fire-Toolz and No Joy (Jasamine White-Gluz) had both resituated to secluded woodsy milieus prior to the "Bugland seshies", as I now name the historic pairing. Together, they created an aural equivalent of a late 1980 I-d magazine front and back cover, with a non-problematic National Geographic hiding within. Fire-Toolz sums it up: "The collaboration really felt limitless. I didn't have to adhere to a certain vision in a way that made me feel like I couldn't be Fire-Toolz. I could easily relate to this album because Jasamine and I liked a lot of the same music, and I was able to be creative in ways that were freeing as if I was making my own album. " Both spent days driving through on empty rural highways listening to the mixes, and it reflects in the final product. With an open ear, many "influence eggs" can be detected by the listener. Garbage Dream House is Zooropian without any of U2's ego baggage. Seven-minute closing track Jelly Meadow Bright even manages to meld Stooges' Fun House out of control saxophone with the chill buoyancy of a high-end spa. Touching on respected, familiar genres and sounds while attempting to advance one's own isn't easy but Bugland manages to. What genre is it anyway? Is it even shoegaze when it could live happily on a shelf next to Boards of Canada and Autechre? The right answer is `yes'. What a lovely shelf `twould be as well. A marble shelf, with cyberpunk elements. Bugland`s a testament to White-Gluz's evolution and her ability to channel a wide variety of tastes into something cohesive that can descend into fine-tuned chaos, then out of that chaos with ease.

Mj Lenderman is the project of Asheville native, Jake Lenderman, whose 'Boat Songs' was released to wide acclaim on Dear Life Records in 2022. Now Dear Life is proud to offer a vinyl reissue of MJ's 2021 label debut, 'Ghost of Your Guitar Solo,' a collection of nine songs recorded and performed entirely by
Lenderman, and one live band track. The record was written and recorded quickly, songs often being fully constructed and recorded within frenzied single day sessions. Songs were born out of freewheeling jam sessions with his roommates, with Lenderman often freestyling lyrics that would later become the
foundations of the finished songs. Lenderman would write 20 disconnected lines a day, scrapping most of them but preserving a few to be used later. This process aided in what became an extremely prolific writing period for the artist in the spring of 2020. The record sounds like country music being played by a noisy punk band, unkempt and imperfect like the characters in his songs. Here, Lenderman broadened his lyrical scope beyond solemn introspection, adding humor to scenes larger than his own life. He points to authors Harry Crews and Larry Brown as inspirations, both of whom were southern, self-taught writers who balanced empathy, humor, and darkness. This leads to the erosion of the line that separates humor and sadness. The resulting songs are about over-
indulgence and drug/alcohol abuse, full of self-loathing and pity while celebrating the absurdity of it all.

2025 Repress
One for the heads as they say ... this deep Detroit Techno inspired 12" by UK Techno veteran Paul Mac was supposed to be released on Ben Sims' infamous Theory sub label Navite in 2003, but apart from 5 test pressings with the catalogue number NTV 04 it never made it to a proper release. When asking Paul about this 12" we were very happy that he agreed to release it on Mojuba sub label a.r.t.less. Some of his most soulful and deeper organic Techno EPs finally available and remastered by Redshape to current standards.
For illustration duties we are super grateful to have the one and only Kilian Eng on board for the next releases, showcasing some of his sketch work in a new context, some of you might remember his stunning artwork from the Sam McQueen album "Dreams In Sepia" for a.r.t.less. Enjoy! Limited edition in hand-pulled screen-printed cover.

Relive the early years of Madness with 'Hit Parade Vol. 1 1979-1986'. This 23-track 2LP set remembers the early years of Madness; containing a selection of their biggest hits and best loved tunes. It includes 23 UK Top 40 hits such as 'One Step Beyond', 'Embarrassment', 'My Girl', and 'Night Boat To Cairo'.

Beautifully packaged in a deluxe, gatefold sleeve, this 2LP collection is pressed on translucent red vinyl. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.

Firmly established as national treasures and as one of the UK’s most cherished and beloved bands, Madness are adored by their loyal and huge following. Their consistently sold-out shows illustrate their enduring qualities resulting in their popularity continuing to grow and grow.

Beautifully packaged in a deluxe slipcase, this 4LP box set combines the red vinyl.

Volume 1 and blue vinyl Volume 2 2LP collections. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley,

in conversation with renowned author and journalist Paul Sexton.

“In a concert, I show something with a beginning, a middle and an end. But, there is no end. Of course, there is no end. Because I am the music, and I am still here.” - Sophie Agnel

‘Learning’ - Sophie Agnel’s first solo LP, feels like the dark, physical inversion of her excellent ‘Song’ which came out on Relative Pitch earlier this year. Sinking her unique sound into vinyl for the first time, the LP arrives as Agnel recovers from a brain tumour - a shocking discovery that will require Agnel to start again with the piano. It’s a terrifying prospect, but Agnel has been here before, having reorientated herself almost entirely away from her early classical training over the last 4 decades of her work.

‘When I was young I had very good ears, oriole absolute. Then later I began to make strange sounds with my piano, to do different kinds of music. I was more interested in the sounds than the melody, for example. I remember once I sat down in a shop to try to read the scores of Schubert and there was a light emitting a very strong bzzzzzzz. And I couldn't listen to my oriole internal - I couldn't read the score. I was entirely subjugated by the sound of the light. And I understood that something had changed. Ten years before I could read and not hear the light. Now I understood that my ears were completely different. I was more open to the sounds of life.”

Born in Paris in the 60’s and playing her parents piano as soon as she could stand up, Agnel quickly grew tired of the classical world. What frustrated her was the strange disconnect between the frame of the piano and its keyboard - a weird boundary that seemed to form some hushed code of etiquette. “The first thing I put inside the piano was a plastic goblet. I’d seen a few pianists do it: Fred Van Hove, for example, put rubber balls inside his. But what didn’t appeal to me was that there seemed to be no link between the pianos outside and inside.”If you see Agnel play now, the body of her piano is littered with fish tins, ping pong balls, wooden blocks - not that you’d recognize their sounds. Having absorbed the language of the European avant-garde, Agnel is known for pulling the piano’s interior outside of itself by tipping her handbag into it. But these ‘strange sounds’ don’t just come from Cage - they also share the poetic force of Cecil Taylor and ‘Learning’ demonstrates that Agnel’s work on the piano's keyboard is just as important as what she’s littered on its strings. The record lets loose her ability to unleash a formidable sound mass and then rope it back to one single, clarifying note. With one hand, Agnel plays 88 tuned drums and on the other an enormous guitar - with the LP rotating through oncoming trains, and blues harmonica and feedback. It’s single minded stuff, borne out of a dedication to a wholly personal language of gesture, accumulation and deft reduction. “Maybe when I’m 80 I will not need anything,” Agnel says in a recent film made at her home. “I will do the same but with one note, and one finger. Maybe it's enough.”

‘Learning’ arrives in a reverse board sleeve designed by Jereon Wille. Recorded live at Cafe OTO by Billy Steiger on 6th June 2023 and 4th June 2024. Mixed by James Dunn and Benjamin Pagier. Side B edited by Benjamin Pagier. Mastered and cut by Loop-O. Front photograph by Aimé Agnel. Typography and layout by Jeroen Wille.

Househead London launch their 2nd 12" release - a limited-edition Chicago Vs London sampler featuring Glenn Underground and Emmaculate Remixes.

Following a string of critically acclaimed events featuring Chi-Town royalty, Househead London further cement their relationship with Chicago on this vinyl release which features two of the city’s esteemed producers - Glenn Underground & Emmaculate - remixing two sterling new tracks from two of the UK’s most exciting producers - Prefix One and Wez Whynt.

Opening the EP is an artist who needs very little introduction, Glenn Underground. A leading international producer & DJ who seems to effortlessly slide between Deep, Soulful, Disco, Jazz and beyond, Glenn boasts an exceptional discography that very few could compete with. His Cosmic Disco Journey Mix here weaves its lo slung groove in a funky off-kilter disco style with piano ripples as Nambi’s voice shimmers on top. Nambi’s heartfelt soars across Glenn’s Cosmic Journey remix unfurling beautiful piano and taut Chi-town beats. Deep and vocal, it’s got that raw soul power that both Glenn and Chicago are known for.

Known for his exquisitely high attention to detail and quality, Emmaculate is one of the go-to producers and sound engineers in Chicago. Working closely with Terry Hunter on a multitude of projects and a shining light across the global soulful house scene, he’s regularly featured across impressive labels such as Dopewax, Yorubasoul, United Music, Soulstice Music and S&S Records. His lush, tough-edged Remix of ‘Feelin’, rolls on with melodic piano hooks to unlock the groove and boosted with extra keys and vocal refrains before the full vocal unfolds. Solid and deep, “Feelin’ is pure joy for the dance floor.

Die frühesten Aufnahmen des legendären Singer-Songwriters Blaze Foley. Einfach, geradlinig und kraftvoll - ,Sittin' By The Road" enthält 12 Titel, die während Blazes ,Baumhaus"-Zeit in Georgia aufgenommen wurden. Die hier vorgestellten Titel wurden Mitte der 1970er Jahre auf Blazes heimischem Tonbandgerät aufgenommen, das er auf seinen Reisen zwischen Texas und dem ländlichen Georgia mit sich führte. Diese Songs zeigen Blazes Talent in seiner frühen Form. Das Album enthält mehrere Songs von Blaze, die heute als Klassiker gelten, darunter ,Cold, Cold World", ,Election Day", ,Clay Pigeons" und ,If I Could Only Fly". Das Album enthält außerdem drei Songs von Foley, die auf keiner anderen Aufnahme zu finden sind: ,The Way You Smile", ,Fat Boy" und der Titelsong. Als Blaze 1989 auf tragische Weise ermordet wurde, war er außerhalb der Kreise der rebellischen Songwriter von Austin kaum bekannt. Heute wird er als einer der großen Songwriter von Texas verehrt. Townes Van Zant und Lucinda Williams haben beide bewegende Hommagen an Blaze geschrieben. Seine Songs wurden von John Prine, Merle Haggard, Lyle Lovett, Billy Strings und Willie Nelson gecovert.

Moving Pressure marks its fifth release, and the first one to stretch across a double vinyl with full sleeve artwork. It isn't framed as an album, yet its sequencing carries a narrative weight that lingers between immediacy and introspection.
MP05 welcomes on board Australian producer Connor Wall, whose work fuses tightly wound rhythm and immersive atmosphere, balancing precision with a sense of openness. His sound is rooted in the physical pull of the dancefloor, yet drawn toward zones of suspension and elusion. And Moving Pressure 05 captures that duality very clearly. Momentum sets the tone from the outset - taut drum programming, metallic accents, and structures that build energy in decisive bursts. There's a sense of propulsion that feels engineered for peak hours, exuding a tightening grip on the floor. Gradually, tension loosens up, stretching patterns into spirals, layering vaporous pads and resonant low-end that opens a more interior space.
Together, the two arcs trace Wall's range with clarity: body and mind, force and dissolve. Rather than presenting opposites, they reveal different angles of the same language. An exploration of density, atmosphere, and the subtle thresholds between the two.

Enjoy a Madness career-spanning overview with Hit Parade; a 15-track highlights LP, featuring 13 UK Top 40 hits including Our House, It Must Be Love, Baggy Trousers, Lovestruck, and the No.1 single House of Fun.

Pressed on classic black vinyl, the fully illustrated inner sleeve contains new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.

In 2023, k.d.b lived in a crumbling farmhouse on the edge of the River Maas. Each morning, he’d wake at 6:00 and walk along the river’s bank with his dogfriend Miemel, pausing at sunrise for a cup of coffee.

It’s 6:34, and a thick rug of mist rolls out across the river. It’s so dense that k.d.b can’t see the water beneath it. Then comes the sun: a single ray cutting through the mist like a tube of light, landing on Miemel’s face. In her mouth is a CD she’s picked up, and on the CD is the title Instrumental Romance.

'What is Instrumental Romance?' thinks k.d.b. 'Romantic instrumentals? Or a romance used instrumentally? As in, a romance used to get something—like love?'

Miemel drops the CD and turns her attention to a stray purple grape on the path. Grapes are poisonous to dogs, and as she bends toward it, k.d.b. shouts, “NO!” At that precise moment, a large fish rises from the mist. It launches into the air, mouth wide open, and hangs there above the clouds. His shout, having traveled across the river, bounces back towards k.d.b with a “NO,” and in perfect synchrony, it appears the fish is also shouting at Miemel. The timing is so perfect, they can’t be sure it isn’t.

The fish falls back down, entering its watery world with an eerie, splashless silence, leaving k.d.b and Miemel standing open-mouthed on the bank. Before they can register the perfection of this duet, another fish (or maybe the same one again) rises from the mist in the exact same spot and launches into the air. Without thinking, k.d.b shouts again. The word “ROMANCE” comes out. This time, however, he is slightly too late, and the word is too long, so “ROMANCE” lingers on after the fish has already fallen back down.

'What even is romance?' thinks k.d.b. 'The construction of mystery or excitement with dead red flowers and timing?'

A foghorn sounds behind him, and k.d.b turns 180 degrees to see a boat moving freight, right to left, along the River Maas. 'That’s strange', he thinks. 'If the river is there, then what’s that behind me, below the mist?'

Staring at the boat and its shipping containers as they float out of sight, k.d.b imagines a man. The man is standing at the bottom of a small valley, holding a fish. 'Who is this man, and what does he want?'

- Jacob Dwyer

Old-time and traditional music stay exciting for their contrasts. Exacting instrumentation honed through mentorships and late-night jams at fiddler's conventions tangles with a community-sourced inventiveness that influences variants and new sounds. Joseph Decosimo is a master of this genre for this very reason, blending deep technique with an openness and curiosity that keep his music crackling with life. A "marvelous fiddler" (No Depression) and banjo player who braids "exultation and veneration" (INDY Week) into his music, on his third solo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musical career to infuse his interpretations of fiddle and banjo pieces with a contagious communal joy. As an artist working with traditional music from the South and Appalachia, Decosimo chooses songs based not only on historical significance and lineage but also his own sensory approach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcing from field recordings such as Virginia fiddler Luther Davis' hypnotic version of "Shady Grove" while amping up the music's psychedelic potential. On the middle Tennessee banjo composition "Flowery Girls," a VHS of bluesman Abner Jay inspired Decosimo to rig up a pickup inside a fretless banjo and play it thr ough a tube amp to capture some of Jay's edge and funkiness. But to round out the sound and keep it kinetic meant galvanizing a genre-eschewing crew to jam out - and not in a "spaced-out drooly" kind of way, he laughs, but as a sort of "responsive conversation." Decosimo has always been a community-minded artist. He began playing as a seventh graderin Tennessee, fostering relationships with older players at jams and in homes, a learning mode natural to his inquisitive nature and desire for musical connection. A folklorist by intuition, he later became one by profession, studying with old-time legend Clyde Davenport, teaching in East Tennessee State University's renowned bluegrass program, and receiving his PhD at the University of North Carolina with a dissertation titled "Catching the `Wild Note': Listening, Learning, and Connoisseurship in Old-Time Music." In North Carolina, Decosimo kicked about in the verdant environment of Durham and Chapel Hill's folk and indie scenes, collaborating with artists including Alice Gerrard, Hiss Golden Messenger, and Jake Xerxes Fussell. This community has influenced his own music, including his "sublime and strangely heartening" (Bandcamp Daily) 2022 release While You Were Slumbering and Beehive Cathedral, Decosimo's 2024 "Appalachian mountain music treasury" (New Commute) trio album with Luke Richardson and Cleek Schrey for Dear Life Records. Continuing on this path, Fiery Gizzard is home base for a loose outfit of mostly Tarheel-based musicians from within and beyond traditional music. Inspired by a tour with fiddler Stephanie Coleman (Nora Brown), guitarist Jay Hammond, and synth builder and multi-instrumentalist Matthew O'Connell, Decosimo assembled studiomates based on close friendships and comfort. Coleman, O'Connell, and Hammond contribute to Fiery Gizzard, along with bassist and producer Andy Stack (Helado Negro, Wye Oak), horn player Kelly Pratt (Beirut, David Byrne), Mipso and Fust's Libby Rodenbough, Joseph O'Connell (Elephant Micah), and trad/experimental artist Cleek Schrey. Decosimo's fiddle and banjo work is virtuosic, intricate and simple simultaneously, a testament to his many years of study. On some tracks, his playing or lovely, plain-hearted singing is the centerpiece, such as on his interpretations of Texan street preacher Washington Phillips' 1929 recording "I Had a Good Father and Mother" or the Eastern Kentucky fiddle barn-burner "Glory in the Meetinghouse," famously played by Luther Strong for Alan Lomax. But there's also a trusting open-door policy, like where Southern Appalachian tune "Ida Red" relaxes into Coleman's sweet, confident fiddling and Hammond's loping guitar. As a bandleader, Decosimo's confidence and enthusiasm for the music reveal the heart of traditional music and how it can come to life through community. Fiery Gizzard is Joseph Decosimo as a powerful champion of traditional music - a sponge who soaks up as much as he squeezes out, a responsive artist who makes his genre accessible, and a magnet who can bring musicians of all sorts into his orbit with his same passion.

Seit etwas mehr als zwanzig Jahren gehören die Schwestern Bianca und Sierra Casady zur musikalischen Avantgarde der experimentellen Popmusik und haben die Liebe, die Härte und die Ekstase ihrer Schwesternschaft in eine der gewagtesten, gefährlichsten und originellsten Musiken verwandelt, die unsere zunehmend hygienisierte Kultur kennt. CocoRosie war ein Projekt, das stets an der musikalischen Spitze stand, zahllose Musiker beeinflusste und zugleich Inspiration und wichtiger Teil der "Queer Culture"-Bewegung und vor allem aber ein Kanal für eine unbändige künstlerische Selbstverwirklichung gewesen ist. "Little Death Wishes" ist so offen und zärtlich wie alles, was sie je geschaffen haben. Die Songs erzählen eine kaleidoskopische Geschichte über die generationsbedingte Härte von Frauen und die zerrütteten Realitäten ihres Lebens, über die prekäre und kostbare Natur des Menschseins, darüber, dass die Liebe Unrecht tut, und über einen letzten Wunsch, ungebrochen zu sein. CocoRosie bringt alles auf den Punkt: Schmerz wird zu Wissen, Schwesternschaft zu Polemik und Kitsch und Klischees werden zu neuen Wahrheiten. Der 8. Longplayer des Duos existiert in seinem eigenen musikalischen Lexikon und ist ein reichhaltiges Sammelsurium an verstaubten Signifikanten der Popkultur, die die Schwestern zu ihrem eigenen Sinn für Zeitlichkeit verdrehen. CocoRosie tragen zur Avantgarde bei, halten sich aber nicht an zeitgenössische Trends und sammeln musikalische Überbleibsel aus anderen Zeiten, die sie zu ihren eigenen barocken, theatralischen Kreationen verarbeiten. Jeder Song auf "Little Death Wishes" fühlt sich transportativ und transformativ an. "CocoRosie ist nun schon so lange der Mittelpunkt unseres Lebens", sagt Bianca. In diesen Jahren wurden die Schwestern infantilisiert und verehrt, fetischisiert und gespiegelt, misogynisiert und verehrt; manchmal absichtlich missverstanden von der Presse, die es nicht geschafft hat, die Gruppe auf eine perverse Laune zu reduzieren. Trotz alledem haben CocoRosie immer wieder die mutigsten und kühnsten Wege beschritten, indem sie die rohesten, unverhülltesten und zärtlichsten Stränge der Menschheit zum Vorschein brachten.

- Limited edition solid 2x12” vinyl LP.
- Housed in PMS printed inner sleeve, featuring custom fonts by No Format and spot gloss abstraction of the original album artwork.
- Accompanied with a double sided 2-panel insert and double sided 4 panel poster.
- All sleeved in a custom PMS reverse board outer sleeve with die cut square centre panel and belly band.


Grinning Cat confounded devotees of Sakura with a far more complex set of tracks. A landscape of ambiguous emotional resonance within an album of measured extremes. Sentimental without being schmaltzy, joyful without being saccharine, Grinning Cat sees Yokota at his most playful and experimental, channelling moments of transitory wonder and jubilation, and opening up a sonic environment in which we can romp and play.

Chicago's premier boogie purveyors STAR CREATURE dig deep with 4 extremely rare cuts, 3 of them being white whale level impossible to find & the 4th commanding big bucks online! Includes songs by TIGER JACK, SOUL INVADERS, MOTHERFOX, and PYRAMID PLUS. Heavyweight vinyl and heavyweight reverse board jacket. Due out Nov. 10.

“Let’s Bounce” was originally issued on Ajana as one of their only 2 releases, the first being earlier from Central Power System on Numero Group’s The Chicago Party compilation. Tiger Jack remained elusive, both Jack and a copy of his record until we stumbled upon a contact and were able to get in touch and stitch together the fully extended mix of this Punk Funk Boogie Bopper. Speaking of Numero Group, The 2nd track of Side 1 comes from an assist from the reissue Gods themselves as they blessed us with this never-sold-on-discogs soulful side of Boogie Slap issued on one-and-done label Magikal. When asked about the track, songwriter CA Williams said they recorded it for a restaurant jingle. Probably the best one we’ve ever heard.

Side 2 starts off with an absolute Modern Soul Monster with Motherfox’s Hot Shot. John Harris came by Star Creature’s South Side of Chicago HQ to chop it up and share some stories on Motherfox and his other passion project most deep funkers would known as Carver High. This record has reached insane demand the past few years as it’s a certified floor filler for all scenes - peak big budget sound packed into a small DIY package, total package. Track 2 delivers the full version of the ever mysterious Pyramid Plus providing the Titular Tune “Comin’ At Ya’” as vocoded talkboxed low slung, spaced out Boogie Banger.

Martin Denny returns with his loyal crew of multi-instrumentalists that had previously performed on
Forbidden Island, Primitiva, Hypnotique & Quiet Village: stand up bass player Harvey Ragsdale, vibe player Julius Wechter (also a member of the legendary recording unit The Wrecking Crew) and percussionist Augie Colon who was called the “Grandfather of Hawaii Percussion”. And of course, the famous cover girl on Martin Denny’s albums, Sandy Warner, otherwise known as “The Exotica Girl”, returns as well. Although Denny was recording his output at an astonishingly brisk rate, there’s something about Exotica Vol. III, which makes it one of his best and most sought-after with collectors and listeners. Of course, the brilliance of the lead-off track of Les Baxter’s “Jungle River Boat”, with its tight vibe-and-percussion workout intertwined with Colon’s iconic bird calls and other worldly sounds, only makes the sweet, lazy water sounds of the following track “Harbor Lights” all the more delightfully mysterious. So pour your drink of choice, dim the lights, open the windows, and let Exotica Vol. III roll across you.
“His last volume is a no-brainer. The material is simply too good to avoid.” – AMBIENT EXOTICA

The perfect accompaniment to that deep fall feeling, Frank Maston's beloved 2025 single finally gets its long overdue vinyl release! As our friends New Commute articulated beautifully, "Foreign Affairs" drifts through London fog and Paris shimmer, its avant-lounge glow wrapping each melody in a wistful ache. On B-side "Liaison," ghostly strings and a solitary piano paint a deserted twilight shoreline, Pacôme Henry's distinct 16mm cinematography hovering nearby." We've pressed just 500 of these gorgeous records so, be quick, Maston always flies.

Originally written for a film Maston was scoring in 2024, he decided to keep it aside for himself. And, well, us all. The song has a vibe Maston has previously flirted with; he wanted to dive in...all the way: "The arrangement is huge, definitely the biggest I've written, and it merited live musicians playing together. Also another experiment, to do it with all live musicians playing my arrangements. I wanted to make something that you'd want to put on when you bring a date back to your place. It's on the edge of sappy but that's sort of the point. I decided to give myself an unlimited budget - just spend whatever was necessary to get the right musicians and record it the best way possible."

It's this dedication to sonic perfection which Maston is rightly lauded for. We couldn't not put this on a cute wee 7" when we heard it.

The A side, "Foreign Affairs", is a brilliant, Bacharach-esque romp with a bit of that unapologetically romantic Morricone angle. Says Frank: "I was trying to synthesize that sort of jazzy/sexy/classy/romantic mature sound, where the edginess is in these surprising chord changes and subtle arrangement cues."

A wonderful complement, the flipside "Liaison", evokes Martin Denny, but Eden's Island was in Frank's head, too. He wanted to take a deep dive into that exotica sound - a genre he'd referenced a bit but never fully committed to - so the piece is lavished with those big sighing strings and a pretty lush arrangement. Happily, it all sounds super rich. Also, "Umiliani is always a reference for this sort of thing (Il Corpo etc.), That almost mechanical arrangement of things moving together and a simple melody over it (something I nicked from Ennio)".

The two songs were recorded in Paris and London in the summer of 2024. Aside from the rhythm section and piano, there's vibraphone, a full string section, trombones and alto and concert flutes. "Liaison" boasts strings, vibraphone, a female choir and tenor sax. Maston played piano and acoustic guitar but that's it (as opposed to playing basically everything on Tulips). His friend Oscar Sholto Robertson played drums and percussion whilst Maston mainstay Elie Ghersinu (formerly of L'Eclair) played bass.

The theme for a lot of Maston's titles is that they have two meanings. So "Foreign Affairs" is both a reference to him living abroad and the idea of constant cultural diplomacy and then there's this sexy/cheeky interpretation of foreign affairs in a literal way - "an affair abroad, ooh la la!". The artwork for this 7" single has Roman campaign flags, referencing the foreign affairs in sort of a sassy way. There's a violence implied. But then if you look from a bit of a distance it looks like a bouquet of flowers. So Frank thought it went with the spirit of the title. Also, he's used a lot of roman motifs now so he kept that theme going, even with the terracotta cover.

This is a vitally important project for our Frank. He explains why, here: "For whatever reason, these songs really resonated with me. I feel like they are either the end of a stylistic era for me or the beginning of a new one. They're sonically the culmination of what I'd been working towards and trying to get better at since I started. If I heard this when I was making Tulips I would have said "YES! *This* is what I want to be doing!". So that's the essence of it. It's a statement and the intended reaction is "This is really good, but why now?". Like the edge to it is the context of someone making this sort of thing in 2025, which I think is a huge strength. The real heads will get it. My music always has like a 2-3 year latency until people really catch onto it, and these ones will have a nice payoff I think."

We couldn't put it better ourselves. So we haven't.

Die frühesten Aufnahmen des legendären Singer-Songwriters Blaze Foley. Einfach, geradlinig und kraftvoll - ,Sittin' By The Road" enthält 12 Titel, die während Blazes ,Baumhaus"-Zeit in Georgia aufgenommen wurden. Die hier vorgestellten Titel wurden Mitte der 1970er Jahre auf Blazes heimischem Tonbandgerät aufgenommen, das er auf seinen Reisen zwischen Texas und dem ländlichen Georgia mit sich führte. Diese Songs zeigen Blazes Talent in seiner frühen Form. Das Album enthält mehrere Songs von Blaze, die heute als Klassiker gelten, darunter ,Cold, Cold World", ,Election Day", ,Clay Pigeons" und ,If I Could Only Fly". Das Album enthält außerdem drei Songs von Foley, die auf keiner anderen Aufnahme zu finden sind: ,The Way You Smile", ,Fat Boy" und der Titelsong. Als Blaze 1989 auf tragische Weise ermordet wurde, war er außerhalb der Kreise der rebellischen Songwriter von Austin kaum bekannt. Heute wird er als einer der großen Songwriter von Texas verehrt. Townes Van Zant und Lucinda Williams haben beide bewegende Hommagen an Blaze geschrieben. Seine Songs wurden von John Prine, Merle Haggard, Lyle Lovett, Billy Strings und Willie Nelson gecovert.

Merge Records wiederveröffentlicht das Debütalbum von The Clientele ,The Violet Hour" auf Vinyl. Seit seiner Erstveröffentlichung 2003 in Großbritannien bei Pointy ist es längst vergriffen und sehr begehrt. Nach dem Durchbruchserfolg von ,Suburban Light", der 2001 erschienenen Sammlung der ersten Singles und EPs von The Clientele, waren Trendsetter und Liebhaber gespannt darauf zu hören, was das Trio aus Alasdair MacLean (Gitarre, Gesang), Mark Keen (Schlagzeug, Klavier) und James Hornsey (Bass) leisten würde, wenn man es in einem Studio loslegen ließe, um ein Album in voller Länge aufzunehmen. Was sie im Herbst 2002 aus den Londoner Medina Road Studios mitbrachten, war verlockend: Ihr bereits scharf ausgearbeitetes Motiv aus 60er-Jahre-Psychedelia und modernem Fuzz-Pop nahm Jazz-Einflüsse auf, insbesondere dadurch, dass das LP-Format mehr Raum bot, um die Atmosphäre besser zur Geltung zu bringen. The Clientele dehnen den frühen Abend von ,The Violet Hour" unendlich aus und manipulieren die strukturierte Zeit des Popsongs so, wie Dichter die Struktur der Sprache manipulieren - um Orte, Stimmungen, verstreute Gedanken, Enttäuschungen, Potenziale und vor allem Sehnsüchte einzufangen. Es ist ein schimmerndes Juwel von einem Album, dessen träge Melodien und hallgetränkte Refrains zugleich erhaben und tragisch sind, dessen verschwommene, traumhafte Abschweifungen zugleich an die Wärme einer Lieblingsplatte erinnern, die während eines Sommergewitter gespielt wird, während man sich nach der nebelverhangenen Zukunft einer noch ungeschriebenen Nacht sehnt. ,The Violet Hour" hat sich Jahrzehnte später als charakteristisches Album im Katalog von The Clientele behauptet, das nicht nur den Sound perfektioniert hat, der die Band zu einem Phänomen in den Message Boards gemacht hat, sondern ihm auch eine völlig neue Tiefe verliehen hat. In der Folge war es nicht mehr möglich, sie als eines der bestgehüteten Geheimnisse des Indie-Pop zu bezeichnen. The Clientele waren und sind nach wie vor eine der wichtigsten Figuren des Genres, und ,The Violet Hour" war und ist nach wie vor eines ihrer wichtigsten Statements: eine üppige Einladung in ihren Underground.

SML is the quintet of bassist Anna Butterss, synthesist Jeremiah Chiu, saxophonist Josh Johnson, percussionist Booker Stardrum, and guitarist Gregory Uhlmann. Their second album, How You Been, finds the supergroup of prolific composer/producers pushing ever further into the hyperrealist, collectivist approach to music creation nascently explored on their debut Small Medium Large, which was lauded as "awe-inspiring" by Glide, "exuberant" by the Los Angeles Times, and "an exciting milestone" by Pitchfork. As SML has evolved and spread out in space-time, their fluencies, both as an improvising unit in performance and as a production team in the studio, have sharpened. At inception the band inspired disparate but distinctive artist comparisons like Essential Logic, Oval, Herbie Hancock"s Sextant, and electric Miles Davis, as well as assorted genre touchpoints like Afrobeat, kosmiche, proto-techno and new-jazz. With How You Been their work manages to both collapse and explode such derivatives, displaying a new, high resolution version of SML, fully-flowered into a new strain of sound, bound to incite its own copycats in due time.

The original album + 6 bonus tracks - limited edition pressing on 180g vinyl
The most talented bossa nova group of the '60s, Tamba Trio perfected a breezy,
swinging version of bossa nova vocal jazz that proved incredibly influential in Brazil
and throughout the world.
Comprising pianist Luiz Eca, bassist Bebeto, and drummer Helcio Milito, the trio not
only played a wide range of instruments but also contributed incredibly close vocal
harmonies. Presented here is their debut album, 'O Barquinho' (Little Boat), which was
a huge hit in Brazil and throughout South and Central America.
One of their later recordings, a rendition Jorge Ben's ' Mas, que nada!' ( But That Is
Nothing!) and included here as a bonus, became their best-known hit, and used most
famously by Nike in a 1998 World Cup television commercial.

At last, after fifty years, the first ever vinyl album by British 60s band The
Montanas!Despite having "turntable hits" such as 'Ciao Baby', 'You've Got To
Be Loved' and 'Let's Get A Little Sentimental', they never had a UK hit
'You've Got To Be Loved', a Tony Hatch & Jackie Trent song, made the US Top 100, but
no album followed.
Includes the US-only 45s 'Heaven Help You' and 'I'm Gonna Change'.
Digitally remastered and released on 180 gram vinyl / 300 gsm board.
Also available on BGO Records: BGOCD1438 The Complete Studio Sessions.
Other vinyl releases available on BGO Records: BGOLP2005 Bang (The James Gang);
(The Searchers) BGOLP2007 A and B Sides 1963-67, BGOLP2009 Meet The Searchers,
BGOLP2010 Sugar & Spice, BGOLP2011 It's The Searchers, BGOLP2012 Sounds Like
Searchers, BGOLP2013 Take Me For What I'm Worth; and BGOLP2015 In Town (Rockin
Berries).

Munich-based duo Glaskin, brothers Jonathan and Ferdinand Bockelmann, have become pivotal voices in modern techno, known for their residency at the legendary Blitz Club and standout releases on labels like Mutual Rytm and Figure. Their live sets channel dynamic, forward-thinking energy, and now they bring that momentum to FJAAK's ever-expanding CROWD family. With the Blue Light EP, Glaskin deliver four impeccably groovy tracks that balance stripped-down flair and shimmering texture. "Blue Light" opens the EP with mellow synth tones, a lean, hypnotic beat and a vocal loop murmuring 'here we go' that signals the underground journey ahead. Next up is "Captcha", releasing as the single, where a spoken female voice is layered atop rhythmic percussion, marrying atmosphere with groove-driven momentum. On the B-side, "Tape", digs deep into rolling uncompromising techno territory, strict in structure yet irresistibly danceable. The EP rounds out with "Prophat Tool Board", stepping slightly into house-leaning warmth, its broader rhythm and melodic warmth offering a fitting counterpoint to the brooding energy before it. The Blue Light EP is Glaskin's debut on CROWD and a shrewd expansion of the label's sound palette: richly textured techno made for both peak-time impact and immersive listening. To celebrate the release on the label, Glaskin will join label-founders FJAAK for a CROWD night at Nitsa Club in Barcelona on October 10, an event primed to showcase the raw energy and precision behind their studio work. Don't miss this one!

Terry Francis makes his debut on Pariter with a rare and essential reissue from one of the UK Tech House's original pioneers. A cornerstone of the London scene, long time Fabric resident and a driving force behind the early Housey Doingz and Wiggle movements, Terry's influence runs deep in the foundations of underground house music as we know it today.

This release marks the first installment in a short-series with a carefully selected tracks from Terry's archive. Engineered by Wubble-U at the legendary Strange Weather studios and originally released on Eukahouse 25 years ago, these tracks capture the raw energy and spirit of the late 90's London Tech House at its finest. A timeless, sought-after release specially reissued and remastered with an unreleased retake, a vital document from a pivotal era.

Two titanic forces in reggae history — Roots Radics and The Mighty Revolutionaires — unite for a powerful dubwise journey on Outernational Riddim. This long-anticipated collaboration blends heavyweight rhythms, militant drum patterns, and deep, atmospheric dubs that channel the essence of Jamaican roots music with a forward-thinking production style.
The Roots Radics, known for backing icons like Gregory Isaacs, Barrington Levy, and Israel Vibration, bring their unmistakable heavyweight style to this session. Meanwhile, The Revolutionaires, studio legends behind countless Channel One classics, lace the tracks with their tight arrangements and classic rockers grooves.
Produced and mixed in true dubwise tradition, Outernational Riddim delivers:
Authentic Studio Vibes – Mixed on analog boards with vintage effects and tape echo for that raw, immersive sound.

Shell Company featuring Richie Culver, LINTD, Older Brother. Full artwork sleeves & label design by Ciaran Birch ///

Hazy & dark contemporary pop from Shell Company, drenched in spoken word dreamscapes...

Manchester / Glasgow trio Shell Company debut on Accidental Meetings with a record of dark hued, noise pop adjacent pieces. The trio is spearheaded by poet Rosabella Allen, whose misted balladry pierces through the textured backdrops of Chris and Rob Banks, all three complimenting and melding perfectly.

Following stand out releases for Glasgow imprint Numbers, and Rainy Miller's Fixed Abode, Locket sees the band push the boat out for AM which sees them unite with fellow collaborators Richie Culver & LINTD on the project. A deeply personal record that fuses fractured electronics, post-rock and spoken word, with the end product being a damp, noir masterpiece.

Irish techno producer, Kerrie, returns to Tresor Records on the 24th of October 2025 with her second EP for the label. Entitled Echoes Of The Live Wire, this collection captures the beauty and essence of live performance; a moment in time never to be repeated.
This fixing of time is also given a different meaning as the EP explores the ways in which intense moments in our lives, both joyful and painful, are crystallised into memory, both beautiful and haunting, lingering long after they've passed.
Layered meanings are employed throughout as Kerrie explores this idea: Live Wire draws connections between circuit boards and the human nervous system, whilst also toying with multiple meanings of the word “live”.
Echoes Of channels classic Detroit techno influences, resonating with the distant hum of memories that refuse to fade, while Moment To Memory is a beatless, floating piece which slowly builds to an ecstatic crescendo.
Digital bonus tracks Recircuit and Reclaim add further depth to the core metaphor: the former a driving, minimal yet building techno work-out, and the latter a cathartic and emotionally open track that delivers intensity with vulnerability.
Echoes Of The Live Wire reflects on memory as a complex, dual-sided force where joy and pain coexist with equal weight. Her creative process becomes a form of meditation and emotional processing, using machines to process, reflect, and let go. The result is a body of work that loops back on itself, telling a story of fleeting moments and their lasting emotional imprints.

On H008 Len Faki goes back to his crate for a unique journey through synth-led landscapes, carefully selected and bolstered up for the dancefloor.
Starting with 2000 And One - Edge Of No Return from the mid 2000s, when it was just a standout synth-line - no beats. The Hardspace Mix takes this masterclass in building tension, adds a driving beat and searing percussion while keeping the iconic synth-play intact -layered with big, booming bass for that full-bodied, dancefloor-ready energy.
The flip boasts two of longtime Figure-collaborator Viers' productions. Re-L, released almost 10 years ago, it delivered that unmistakable pulse of deep, dubby, shimmering synths. Hardspace picks up these potent elements and injects them with a new low-end, dramatic rises and tight rhythms, creating a high-energy yet hypnotic flow.
Equally energetic but much more brooding in atmosphere is the Hardspace version of Free Your Mind. An elusive original, this mix builds on dense percussion, subdued vocals and droning horns while carrying some seriously spaced-out acid synth textures. One for the wee hours and those special memorable moments in a set.

Innitial pressing soul out at once, now repress in neon green vinyl colour available! Ride bassist Steve Queralt's debut solo album Swallow is a beautifully brooding nine-track collection that combines the darkly textured soundscapes of early M83 and Sigur Rós with an electronic sheen reminiscent of Boards Of Canada. It also features guest vocals from Sonic Cathedral labelmate Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrelane, MEMORIALS).Swallow has been slowly but surely pieced together between Ride albums and tours over the past five years and, perhaps as a result, has a slightly dystopian, Blade Runner feel that reflects the liminal spaces in which it was created. Despite the fact that the majority of the album is instrumental, there is plenty of power and emotion poured into these moody, moonlit soundtracks. When words do appear, an underlying anger and political slant emerges and amplifies the album's dark intensity. This is most notable on the closing track, `Motor Boats', where he overlays words from Julie Sheldon's polemic poem The Same Boat ("We're all in the same boat they say, but I would disagree"). According to Steve, these simple words of rejection "capture the reality of our times perfectly". However, it was the collaborations with the two guest vocalists that tied the whole thing together and paved the way to the finished album. "After a few false starts, I had started to doubt the project altogether. It was going nowhere," says Steve. "Then, out of the darkness, Emma got in touch to tell me that she'd found her voice and could I send her some tracks. A few files back and forth and an afternoon in the studio later and we had `Lonely Town' and `Swiss Air'."In the meantime, Verity from Electrelane had added vocals to the song `Messengers' and transformed the track. Matthew Simms, now her bandmate in MEMORIALS, would go on to mix the finished album."Swallow has turned out so much better than I had hoped," enthuses Steve. "I'd fallen out of love with it so many times I was thinking of calling it Loveless. But then, that wouldn't be the whole story...

English composer Andy Cartwright aka Seabuckthorn uses picking & bowing techniques combined with various open tunings on string instruments to form a mixture of approaches, often with layered accompaniments. Generally the songs lean towards to the experimental genre, whilst on the edge of the ambient and folk.

Having grown up in Oxfordshire, Cartwright studied sound engineering in Cornwall and then lived in the cities of London, Paris & Bristol working as a broadcast wireman. He now resides in the French Southern Alps making music.

Cartwright has been actively touring internationally for several years performing in festivals and events throughout Europe. Since 2009, he has released several releases on some labels such as Lost Tribe Sound, IIKKI, Fluid Audio and recently Quiet Details. Various songs have featured in documentaries, film, websites and contemporary dance, as well as making original scores for film.

Born Osborne Ruddock in Kingston in 1941, he grew up around High Holborn Street in Kingston, before moving to the new Waterhouse district in 1955. His electronic genius grew from working and fixing radios and TV sets. A natural progression led to working with amplifiers, and starting his own sound system, 'Tubby's Home Town Hi-Fi'. A very competitive games i the late 60's. You were as good as the EXCLUSIVE records you played.
Tubby discovered during his time cutting discs for Duke Reid's Treasure Isle set up, that by dropping vocals/instruments in and out of the backing tracks, you could invent new versions of existing old tunes. These early versions tried and tested on his sound system went down so well that he invested in a four track mixing console with delay echo effects, sliders and phasing units and so began King Tubby's 'Studio Of Dub' at 18 Drummlie Avenue, Kinston 11 , Jamaica...His Home.....
This is where all the producers would bring their tracks for Tubby to put his magic over. Most tracks that came out in Jamaica from here on in would carry a 'Version' on it's B- Side more than likely a Tubby Dub.
One of the producers who used him the most was Bunny Striker Lee, who's labels Jackpot, Justice and Attack all carried Tubby's mixes/versions on their flip sides.
Our collection here, all taken from original master tapes you might have heard the tracks before but not these versions....Lost in the vaults till now. So sit back and enjoy the dub master at work.

RESPECT.... JAH FLOYD

Track 1 CHERRY'S DUB
We start off with a very early version of Eric Donaldson's 'Cherry O Baby'.
This version was recorded at Dynamic Sounds, in 1971 and has remained lost on master tape until now.

Track 2 FRENEMY DUB
This classic rhythm known as 'Mad Mad World' and 'Crying in the Ghetto' both voiced by Winston Jarret
got worked on by Tubby as an exclusive mix for his sound system. Released here for the first time featuring
the late, great Jacob Miller on dubbed vocal.

Track 3 FALLING FOR DUB
A version here of Cornell Campbell's 'My Whole World is Falling Down' Tubby in fine form.

Track 4 DUB ON THE STREET AGAIN
Yes my friend The Street Again finds Cornell Campbell's vocal dubbed King Tubby Style Nice Rockers drums from Sly Dunbar.


Track 5 DECEIVING THE DUB
Sly and Robbie dubbing up Delroy Wilson's ' So Long Jenny' with King Tubby at the boards

Die schottische Folk-Punk-Indie-Band Brògeal veröffentlicht am 17. Oktober das Debütalbum „Tuesday Paper Club“ über Play It Again Sam. „Tuesday Paper Club“ vermischt Romantik, Verlust, Nostalgie und Unfug und kreiert einen Genre-Mix der kurz vor dem Siedepunkt steht. Das Album ist vollgepackt mit Instrumenten wie Akkordeon, Banjo, Bouzouki, Mandoline und einer flotten Penny Whistle. Es verbindet alte Folk-Traditionen mit dem Indie-Gefühl der Gen Z und kreiert einen Sound, der angesichts der Dunkelheit des 21. Jahrhunderts lacht, singt und tanzt.

Das Album wurde im Black Bay Studio, in einer ehemaligen Fischverarbeitungsfabrik auf der Isle of Lewis aufgenommen, mit einem atemberaubenden Blick auf die Bucht. Aufgenommen haben die fünf Bandmitglieder das Album zusammen mit dem irischen Produzenten Richie Kennedy, der schon mit Künstler*innen wie The Libertines, The Last Dinner Party, Interpol, Dua Lipa und U2 gearbeitet hat.

Die schottische Folk-Punk-Indie-Band Brògeal veröffentlicht am 17. Oktober das Debütalbum „Tuesday Paper Club“ über Play It Again Sam. „Tuesday Paper Club“ vermischt Romantik, Verlust, Nostalgie und Unfug und kreiert einen Genre-Mix der kurz vor dem Siedepunkt steht. Das Album ist vollgepackt mit Instrumenten wie Akkordeon, Banjo, Bouzouki, Mandoline und einer flotten Penny Whistle. Es verbindet alte Folk-Traditionen mit dem Indie-Gefühl der Gen Z und kreiert einen Sound, der angesichts der Dunkelheit des 21. Jahrhunderts lacht, singt und tanzt.

Das Album wurde im Black Bay Studio, in einer ehemaligen Fischverarbeitungsfabrik auf der Isle of Lewis aufgenommen, mit einem atemberaubenden Blick auf die Bucht. Aufgenommen haben die fünf Bandmitglieder das Album zusammen mit dem irischen Produzenten Richie Kennedy, der schon mit Künstler*innen wie The Libertines, The Last Dinner Party, Interpol, Dua Lipa und U2 gearbeitet hat.

RYC presents a four-track journey at the junction of their respective universes, teleporting us straight to a propulsive, mind-expanding headspace as we're invited to explore sonic territories still uncharted and harmonics yet unravelled. The collaborative A-side begins with the dynamic title-track, 'Cross Passage', a proactively future-facing number packing the kind of utopian drive that used to define the original techno sound. A highly cinematic narrative boasting Detroit-style vision and epic breath, 'Cross Passage' builds bridges between hi-tech elation and organic integration, transcending mere functionality to push back and expand the limits of techno as a deep communication vessel between the individual and the mass. Firing off like a binary script gone astray, 'Fibre Axis' takes us on a further bumpy ride across shape-shifting interfaces and blurred-out digital scapes, via abrupt pixel landslides and fractured 3D renderings. Side-B finds each producer dishing out a slice of his/her own musical idiom. Polygonia strikes first with the pulsating 'Voltage Blues' - a mesmeric roller cut from pure eerie synth algebra, boundary-pushing abstraction and surgical but experimental-leaning rhythmic assault. The result is a piece of cutting-edge techno hoodoo, ready to take on clubs with utmost abrasive swagger. Sniping a hail of rainbow-like analogue synth outpour, Wata Igarashi's solo contribution 'The Tunnel Dreams' rounds off the journey on a fiercely nonconformist note. Merging a hard-hitting main swing with 8-bit-esque audio pointillism and brooding bass undertones, the Japanese producer cuts a path of antigravitational abandon and relentless rush towards absolving euphoria, which shall leave all in the room levitating somewhere between sheer daze and love-thirsty XTC. *Clad in the sleekest cover art courtesy of designer Atact, RYCL024 is pressed to red & white marbled vinyl for you, fancy platter collectors and picky audio-visual aesthetes alike.

'Don't Turn Your Back On Me feat. Pauline Taylor' originally featured on US house innovator and Basement Boys co-founder Teddy Douglas's ‘I’m Here’ album in late 2024. It's a true soulful house anthem with funky bass and a glorious vocal that was primed for a A-list remix package. Douglas himself opens up this package with joyous organ chords and soft melodies lighting up the smooth, seductive drums. Swiss DJ and producer Shaka goes next as an artist who has spent decades blending acid, Chicago, and Detroit influences into his own tunes on top labels like Nervous, GooD MooD, and Mister Bear Records. His 12-inch Club version strips things back to go deep and dubby before rebuilding with sunny melodies, expressive organs, and proggy guitar licks that bring joyous energy and real dance floor unity.

Next is NYC DJ Tedd Patterson, a true originator, resident at Ladyfags’ Battle Hymn party and a regular at Horse Meat Disco, Berghain’s Panorama Bar, and Glitterbox, as well as releasing on Strictly Rhythm, Nervous, Defected, and more. His sophisticated remix boasts a warm and bouncy sound, complemented by soulful vocals that lend richness. Then it's seminal NYC favourite Danny Krivit, who is part of the cult Body and Soul crew, is a renowned remixer and editor with hundreds of credits to his name on the most important labels in the scene, and is resident DJ at New York’s legendary 718 Sessions. He draws on his vast experience to edit the original into a playful disco stomper, complete with neat guitar riffs and zippy synths, all bursting with joy as the funky beats roll on and the lush vocals soar to new heights.

Mutant, in partnership with Back Lot Music, are proud to present the physical media debut of Universal Pictures’ Jurassic World Rebirth Original Motion Picture Soundtrack with music by two-time Grammy® and Academy Award®-winning composer Alexandre Desplat.



To create the score for Jurassic World Rebirth, director Gareth Edwards turned to a distinguished friend, two-time Oscar® winner Alexandre Desplat (The Grand Budapest Hotel, The Shape of Water), who worked with Edwards on Godzilla. “I feel very fortunate to be doing the music for a movie franchise like this, which entertained me so greatly, as a filmgoer, for decades,” Desplat says. “I dreamed of writing music for movies like this since I was a teenager, and now, here I am,” he adds with a laugh, “part of Jurassic World, almost a teenager.”



Rebirth represents the second time that Desplat has stepped into a franchise and inherited and adapted iconic musical motifs written by an artist he considers his “forever idol,” the legendary John Williams: Desplat previously took on that challenge with Harry Potter and the Deathly Hallows Parts 1 and 2. “John Williams wrote a fantastic melody for Jurassic Park that I now get to reinvent, rejigger and resculpt in ways benefit our movie,” Desplat says. “My desire was not to quote John’s score bluntly but subtly echo it or make use of it in the original score I have written for the film in playful and meaningful ways.”



"Continuing in the legacy of composers like John Williams, Don Davis, and Michael Giacchino - Alexandre Desplat brings the action packed Jurassic World: Rebirth to life with equal parts bombast, and tenderness." says Mo Shafeek, co-founder of Mutant. "Beautiful piano melodies give reprieve from thundering percussion, in this beautiful and essential addition to the Jurassic franchise.”

"I stood on top of the mountain and looked out over the landscape. It was so beautiful that my chest hurt. The light vibrated, time stood still, and the contours dissolved for a moment. Everything had changed; I felt it then. I took their little hands so as not to lose contact with the ground. Then we ran down the mountain, scraping our knees. Still, we didn't make it. You had already put away all the nautical charts, loosened the moorings and steered out among the skerries. Mum stood waving from the jetty. You were alone, you wanted it that way. It was to be just you in the boat this time. I called out to you. I think you heard me and felt less lonely. We couldn't carry each other anymore, no matter how hard we tried. We washed our wounds on the shore and scattered tears and rose petals in the bay. The children laughed and searched for treasures under water. We called to them that it was time to come up. They were cold, and we hugged them to warmth. One ran ahead, the other up on our shoulders. Up the mountain, our mountain."

In 2020 Anna Högberg put her widely celebrated band Anna Högberg Attack on hold, retraining as a nurse whilst continuing a solo practice and playing in other groups. With Ensamseglaren she makes a spectacular return with her own ensemble — this time a double sextet — performing an album length suite of new music written in dedication to her late father — the titular ‘ensamseglaren’ pictured on the LP cover as a young boy.

 (ensam in Swedish can mean both alone and lonely, seglaren = the sailor).

Shot through with renewed energy and a brutally affective emotional punch, Högberg’s formal experimentation opens up vibrant possibilities for the assembled musicians to let loose with some of their wildest and most ecstatic playing on record.

Högberg’s contention with grief leans into collective joy as method of mourning — the big band as extended family; where bonds are made through a shared experience of being together. Where everyone gets to be themselves without expectations of who they should be or what they can do. It’s a radical commitment to care — of her self and others — that animates and unifies this suite of music’s radical dynamics and variations in colour: from whisper-quiet textural intensity to harrowing distortion and double drum chaos; raucous and solemn song.

"Throughout history, humans have had different images of the transition between life and death. Imagine standing on the seashore on a summer evening and seeing a beautiful vessel being prepared for departure. The sails are hoisted. The evening breeze comes, the sails fill and the boat glides out onto the open sea. You follow it with your eyes as it heads towards the sunset. It gets smaller and smaller, until it finally disappears as a tiny dot on the horizon. Then you hear someone next to you say, ‘Now they have left us.’ Left us for what? The fact that they got smaller and smaller and finally disappeared is only how we see it. In reality, they are just as big and beautiful as when they were here, lying on the beach by our side. Just as you hear that voice say ‘Now they have left us’, there may be someone on another beach who sees them appear on the horizon, someone waiting to welcome them when they reaches their new port."

Return Of The Funky Man is the second album by New York legend Lord Finesse. Originally released in 1992, this album was highly anticipated after his debut on the scene just a few years prior. Having already established himself as a punch-line king capable of humorous storytelling, Return of the Funky Man cemented Finesse as a top-notch producer. Tracks such as “Fat for the 90s” and “I Like My Girls With A Boom” showed the Funky Man truly living up to his name, both on the mic and behind the boards. After the gruff-voiced “Lord Finesse Intro”, the album goes on a nonstop journey of witty wordplay over genre-defining boom bap beats. Along for this ride, Finesse brings D.I.T.C. brethren Showbiz and Diamond D on the production side (plus Aladdin & SLJ) while AG and (at the time) newcomer Percee P share mic duties. Topically, Finesse doesn’t stray too far from reminding us why he’s earned the title The Funky Man. Whether it's bragging and boasting, or breaking down females, he has a way of doing it with a tongue-in-cheek type way that is sure to have you letting out a laugh or two every couple of lines. He possesses that rare quality of being a solo MC that is capable of entertaining throughout the entire hour plus listening experience. Standout tracks such as “Yes You May”, “Stop Sweating the Next Man”, and “Party Over Here” all show why this album was instantly praised by fans and critics alike.

Survival Of The Sickest offers no respite from the horrors of reality. Instead, BLOODBATH’s latest and greatest album gleefully confronts the slavering ghoul lurking in the shadows, and treats him to ten songs of ripping death metal frenzy. In contrast with their last album, Survival of the Sickest goes straight for the jugular in true old school fashion. With strong echoes of everything from Morbid Angel & Death through to Deicide & Obituary. Survival Of The Sickest boasts a smattering of irresistible cameos from the great, and ghoulish of the metal underground, including Barney Greenway (Napalm Death), Luc Lemay (Gorguts) & Marc Grewe (Morgoth). On Survival Of The Sickest, BLOODBATH evoke their most horrifying sonic scenarios to date.

Na Nich returns to his roots after a series of successful releases on respected labels such as Delsin, Semantica, On Board, and Fur:ther Sessions. The Ukrainian producer's latest EP pays tribute to his foundation in broken beats and bass music - the core of his craft before adopting the Na Nich moniker.

Co-founder of Rhythm Buro and formerly known as Sunchase, Oleksandr Pavlenko shifted from his decades-long bass music career towards house and techno about ten years ago. Yet those early influences never truly disappeared. On Your Curves, Oleksandr skillfully blends his bass-heavy legacy with the sonic palettes characteristic of his later work, merging two worlds into a cohesive sound.


The A-side opens with 'Unfulfilled Expectations', a deep roller rich with bass textures and mellow synths. It's followed by 'Everything', a slow burner infused with '90s vibes, featuring oldschool vocal samples and a drum pattern reminiscent of UK garage. On the flip side, 'Rain Inside' delivers the EP's grooviest moment, with broken beats crafted for the dancefloor and an intimate, close-your-eyes 4 a.m. mood. The title track, 'Your Curves', closes the EP with a deep and melancholic atmosphere.


This release stands out amid contemporary offerings, reminding listeners that essence always triumphs over form.

Waxwork Records, in association with WaterTower Music, is proud to present BEETLEJUICE BEETLEJUICE Original Motion Picture Score by Danny Elfman!

Director Tim Burton once again teams up with composer Danny Elfman to create chaotic and fantastical music for the Ghost with the Most!
Though very few of his collaborations with Burton are sequels, Elfman jumped at the chance to revisit his work from the original Beetlejuice.

After 36 years, it was easy for him to get into the mindset he found in 1988. Speaking to Forbes, Elfman said that getting “the chance to jump

back into the same playground” with Beetlejuice Beetlejuice after all these years was “a real treat.”
Beetlejuice is back! Oscar-nominated, singular creative visionary Tim Burton and Oscar nominee and star Michael Keaton reunite for

Beetlejuice Beetlejuice, the long-awaited sequel to Burton’s award-winning Beetlejuice.
Waxwork Records is excited to present the debut vinyl release of BEETLEJUICE BEETLEJUICE Original Motion Picture Score by Danny Elfman as a

deluxe double LP featuring Pink and Violet Hand Poured colored vinyl, artwork by Ruiz Burgos courtesy of Bottleneck Gallery, heavyweight

reverse board packaging, and an 11"x11" art print insert.

Australia's powerhouse Hammond Organ trio Cookin' On 3 Burners serve up a heavy double-sider, offering DJs and collectors a taste of what's to come from their first studio LP in six years, due October 2025. With a 27-year legacy in the global funk and soul scene, CO3B have earned praise from the likes of Dusty Groove, Wax Poetics, and Rolling Stone Australia, and boast over 2 billion streams worldwide — thanks in part to their breakout hit "This Girl" (Kungs remix).

Side A – Cookin' The Books
A gritty, upbeat Hammond-led instrumental cooked low and slow in the heart of Melbourne's funk scene. It's all business up front — deep pocket drums, greasy organ licks, and guitar work that snaps and struts. No vocals, no fat — just a raw funk workout that's ready for the crates.

Side B – Give a Little Bit More (feat. Stella Angelico)

A classic-feeling, mid-tempo soul joint with a message that cuts deep. Longtime collaborator Stella Angelico delivers a powerful vocal performance about generosity, empathy, and turning things around when it matters. With uplifting lyrics, smooth horns, and a groove that nods to vintage 45s, this one lands straight in the heart — timeless, spiritual, and soul-drenched.

Captured live to tape at Soul Messin' Studios using vintage gear, the record oozes warmth and authenticity. Supported with airplay from Craig Charles (BBC6) and limited to just 500 copies on black vinyl in a Soul Messin' Records disco sleeve, this 45 is a must-stock item for funk, soul, and groove-focused retailers.

FFO: The Meters, El Michels Affair, Menahan Street Band, Quantic, Daptone Records

In Guadeloupe, many people think that jazz and ka music are like a ring and a finger. To some extent, the same could be said about so called Latin music and the music played in the French West Indies.

Both aesthetics were born in the Caribbean and bear so many connections that they can easily be considered cousins. In constant dialogue, there are lots of examples of their fruitful alliance and have been for a while. The English country dance that used to be practiced in European lounges came to be called kadrille in Martinique and contradanza in Cuba. They both featured additional percussion instruments inherited from the transatlantic deportation. Drawing from shared feelings about the same traumatized identity – later to be creolized – it would be hard not to assume that they were meant to inspire each other. The golden age of the orchestras that graced the Pigalle nights during the interwar period further proves the point. As soon as the 1930s, Havana-born Don Barreto naturally mixed danzón and biguine music in a combo based at Melody's Bar. In the following decade, Félix Valvert, a conductor who was born and raised in Basse-Terre in Guadelupe, also worked wonders in Montparnasse with La Coupole, which was an orchestra made up of eclectic musicians. Afro- Caribbean performers of various origins were often hired on rhythm and brass sections in jazz bands, which used to enliven the typical French balls of the capital. In the 1930s and onwards, Rico’s Creole Band was one of them.



Martinican violinist-clarinettist Ernest Léardée, who would become the king of biguine music as well as the main figure of French Uncle Ben's TV commercials (a dark stigma of post-colonial stereotypes), had musicians from the whole Caribbean sphere play at his Bal Blomet – and they all enchanted "ces Zazous-là" (according the words of Léardée's biguine-calypso piece). In les Antilles (French for French West Indies), music history started to speed up in the 1950s, when trade expanded and radio stations grew bigger. The Guadelupean and Martiniquais youth tuned in their old galena radio sets to South American and Caribbean music. As for the women traders, les pacotilleuses, they bought and sold goods across different islands (the "passing of items through various hands" was thought to be most pleasurable) and brought back countless sounds in their luggage. Such was the case of Madame Balthazar, who once returned from Puerto Rico with the first 45rpm and 33rpm to ever enter Martinique.

Out of this adventure was created the famous Martinican label La Maison des Merengues, a music business she opened and undertook with her husband and which proved to be a major landmark. At the end of the 1950s, in Puerto Rico, Marius Cultier competed in the Piano International Contest playing a version of Monk's Round 'Midnight. He won the first prize and this distinction foreshadowed everything that was to come. Cultier, the heretic Monk of jazz, was quickly praised for writing superb melodies, always tinged with a twist that conferred a unique sound to his music. It didn't take long for the gifted self-taught musician to get to play with Los Cubanos, making a name for himself thanks to his impressive maestria on merengues.

The rest is history. Besides, in the late 1950s, Frantz Charles-Denis, born into the upper middle class in Saint-Pierre and better known by his first name Francisco, went back home after working at La Cabane Cubaine – a club located rue Fontaine where he had caught the Latin fever. Francisco's music was therefore heavily marked by his Cuban cousins' influence, which gave the combos he led a specific style and also led to renewal. Things were swinging hard in La Savane, located in the main square in Fort-de-France. He set up the Shango club close by and tested out the biguine lélé there, a new music formula spiced up with Latin rhythms. Soon afterwards, fate had him fly to Puerto Rico and Venezuela.

As for percussionist Henri Guédon (percussions were only a part of his many talents), he was born in Fort-de-France in May 22nd 1944, the day marking the celebration of the abolition of slavery. As an old man, he could remember that in " his father's Teppaz, a lot of hectic 6/8 music was constantly playing...". In the opening lines of his Lettre à Dizzy, a small illustrated collection of writings published by Del Arco, he highlighted the huge impact that cubop had on him as a teenage boy, around 1960. He eventually turned out to be the lider maximo in La Contesta, a big band steeped in Latin jazz. He was also the one who originated the word zouk to describe music which brought the sound of the New York barrio to Paris. It was the culmination of a journey that started in Sainte-Marie: "a mythical place for bélé, the equivalent of Cuban guaguancó". In the early 1960s, the tertiary economy developed to the detriment of agriculture. Yet rural life was where roots music emerged in Martinique and in Guadeloupe.

Record companies played a major part in the process of Latin versions sweeping across the islands – before reaching everywhere else. Producer Célini, boss of the great Aux Ondes label, and Marcel Mavounzy, both the head of Émeraude records - a firm which was founded in 1953 - as well as the brother of famous saxophonist Robert Mavounzy, were big names to bear in mind. Although there were many of them - all of whom are featured on this record - Henri Debs was definitely the major figure in the recording adventure. He proved to be so influential that he even got compared to Berry Gordy. In the mid 1950s, when he acquired his first Teppaz, he worked on his first compositions: a bolero and a chachacha. Then, he became the one man who made people discover Caribbean music, from calypso to merengue. He was among the first ones to rush out to San Juan, Puerto Rico, to buy records and distribute them through a store run by one of his brothers in Fort-de-France. He had members of the Fania All Star come and perform there, which he was madly proud about. He was also the first one to pay attention to Haitian music, such as compas direct and various other rhythms which would soon flood the market. As a result, many of the combos hitting his legendary studio would end up boosted by widespread "Afro-Latin" rhythms. However, he never denied his identity: gwo ka drums were given a major role, although they were instruments which had long been banned from the "official" music spheres. The present selection bears witness to such a creative swarming. Here are fourteen tracks of untimely yet unprecedented cross-fertilization: all types of music rooted in the Creole archipelago have found their way, whatsoever, to the tracklisting. Whether originating from the city or being more rural, they all go back to what Edouard Glissant, in an interview about the place of West Indian music in the Afro-American scope, called "the trace of singing, the one which got erased by slavery." "It is so in jazz, but also in reggae, calypso, biguine, salsa... This trace also manifests through the drums, whether Guadelupean, Dominican, Jamaican or Cuban... None of them being quite the same. They all point to the idea of a trace, seeking it out and connecting to each other through it. This is the hallmark of the African diaspora: its ability to create something new, in relation to itself, out of a trace. It may be the memory of a rhythm, the crafting of a drum, a means of expression which doesn't resort to an old language but to the modalities of it." The opening track features one of the emblematic orchestras of this aesthetic identity, criscrossing many music types from the archipelago. The 1974 Ray Barretto guajira – Ray Barretto was a major New York drummer influenced by Charlie Parker and Chano Pozzo – is magnificently performed by Malavoi, a legendary Fayolais group (i.e from Fort-de-France). Additionally, the compilation ends on a piece by Los Martiniqueños de Francisco. It symbolically closes the circle as it is a genuine potomitan of Martinique culture which also functions as a tireless campaigner for Afro-Caribbean music. Practicing the danmyé rounds (a kind of capoeiria) to the rhythm of the bèlè drum, it delivers a terrific Caterete, a kind of champeta of Afro- Colombian obedience which was originally composed by Colombian Fabián Ramón Veloz Fernández for the group Wgenda Kenya. The icing on the cake is Brazilian Marku Ribas, who found refuge in Martinique in the early 1970s, bringing his singing to the last trance-inducing track. These two "versions" convey the whole tone of a selection composed of rarities and classics of the tropicalized genre, swarming with tonic accents and convoluted rhythms. It is the sort of cocktail that the West Indians never failed to spice up with their own ingredients. For instance, the Los Caraïbes cover of Dónde, a famous Cuban theme composed by producer Ernesto Duarte Brito, has a typical violin and features renowned Martinique singer Joby Valente and his piquant voice.



The track used to be – or so we think – their only existing 45rpm. The meaningful Amor en chachachá by L'Ensemble Tropicana, a band which included Haitian musicians among whom was composer and leader Michel Desgrotte, also recalls how Latin music was pervasive in the tropics in the mid-1960s. They were the ones keeping people dancing at Le Cocoteraie in Guadelupe and La Bananeraie in Martinique. Around the same time, another "foreign" band, Congolese Freddy Mars N'Kounkou's Ryco Jazz, achieved some success on both islands by covering Latin jazz classics – such as their adaptation of Wachi Wara, a "soul sauce" by Dizzy Gillespie and Chano Pozo whose interweaving of strings and percussions can have anyone hit the dancefloor. How can you resist Dap Pinian indeed, a powerful guaguancó by Eugene Balthazar, performed by the Tropicana Orchestra and published by the Martinique-founded La Maison des Merengues? It also acts as a symbol of the maelstrom at work. Going by the name Paco et L'orchestre Cachunga, Roger Jaffory used to play guaguancó too: his Fania-inspired Oye mi consejo is one example of his style. Baila!!!!! Dancing was also one of the Kings' focus points. Oriza is a Puerto Rican bomba and a "classic" originally composed by Nuevayorquino trumpeter Ernie Agosto, which reserves major space for brasses, giving it a special sheen.

Emerging from the New York barrios crucible was also La Perfecta, a Martinique group originating from Trinidad, whose name directly references the totemic Eddie Palmieri figure as well as his own band, also called La Perfecta. Here they borrow Toumbadora from Colombian producer and composer Efraín Lancheros and interpret it by emphasizing percussions, which set fire to the track even more than the wind instruments. The same goes for Martinique's Super Jaguars, who use Tatalibaba – a composition by Cuban guitarist Florencio "Picolo" Santana which was made famous by Celia Cruz & La Sonora Matencera – as a pretext for sending their cadences into a frenzy. In a more typically salsa vein, the Super Combo, a famous Guadelupean orchestra from Pointe-Noire that was formed around the Desplan family and had Roger Plonquitte and Elie Bianay on board, adapt Serana, a theme by Roberto Angleró Pepín, a Puerto Rican composer, singer and musician also known for his song Soy Boricua. Here again, their vision comes close to surpassing the original. In the 1970s, L'Ensemble Abricot provided a handful of tracks of different syles, hence reaching the pinnacle of the art of achieving variety and giving pleasure. They played boleros, biguines, compas direct, guaguancó and even a good old boogaloo - the type they wanted to keep close to their hearts for ever, "pour toujours", as they sang along together in one of their songs. Léon Bertide's Martinican ensemble excelled at the boogaloo which had been composed by Puerto Rican saxophonist Hector Santos for the legendary El Gran Combo.



Three years later, in 1972, Henri Guédon, with the help of Paul Rosine on the vibraphone, tackled the Bilongo made famous by Eddie Palmieri. Such a classic!!!!! And so were the Aiglons, the band from Guadelupe: choosing to execute Pensando en tí, a composition by Dominican Aniceto Batista, on a cooler tempo than the original, they noticeably used a wonderfully (un)tuned keyboard in place of the accordion. On the high-value collectible single – the first one released by Les Aiglons under the Duli Disc label – there is a sticker classifying the track under the generic name "Afro". Now that is what we call a symbol. Jacques Denis

Neo funk rising star Buscrates aims high with Blasting Off, his first full-length album. The Pittsburgh-based keyboard cosmonaut has been grabbing ears since his days hooking up beats with the hip hop crew East Liberty Quarters, but after slinging spicy one-offs to a slew of hot labels like Omega Supreme, Voyage Funktastique and Razor N Tape (as well as contributing production to Wiz Khalifa and Curren$y's 2009 project), the time has come for a full-length featuring his growing modern funk repertoire.

"I'm a '90s hip hop dude, but I grew up on that '80s funk stuff," Buscrates acknowledges. DJ gigs provided a working knowledge of the jams that moved a contemporary crowd, and as his collection of keyboards and drum machines grew he began blending the best of both decades with his personal futuristic edge. "I was nice on the MPC but I wanted to have a little more dynamic range with what I was doing," he notes. The self-described "certified synth geek" was soon branching into sounds that recalled '80s legend Kashif crossed with the hip hop bounce of DJ Spinna, and the modern funk community took notice.

For his first full-length, Buscrates has crewed up with an ace team of collaborators, featuring vocalist Sally Green on the bouncy lead single "Lost And Found" and "Eight Nine." Kate Moe Dee takes over mic duties for the second single, "How Ya Gonna Do It," a slinky groove that slides in place alongside groups like the Sunburst Band and Rene & Angela as an exemplar of sophisticated R&B. Adding to those credentials are the sultry vocals of Anda on "Believe," but of course, it wouldn't be a Buscrates set without some stank, neck-snapping instrumentals. "Five Days" and "Sure Shot," both collabos with the drum technician DJ Epik, will rattle speakers and have already been lighting up message boards on recent Buscrates DJ sets. Round things out with some easy gliding, jazzy funk ("Turn It Out" with Brothermartino on flute and "Evergreen" featuring Tony Ozier) and you've got all the ingredients for a high-flying cosmic ride with Buscrates at the controls.

Pink vinyl reissue of singer-songwriter Lizzy McAlpine's debut album, Give Me A Minute, which was originally self-released in August 2020. The album features hit tracks "Pancakes for Dinner" and "To The Mountains". Lizzy has since released two more full length album, and has grown to over 11M monthly listeners on Spotify, and just under 1M followers on Instagram.

Why the Eye is an experimental masked quartet from Brussels that propels bodies into trance during its live performances. All instruments are DIY and played in real time, without loops or sequencers. Fans of The Residents, Société Étrange, Autechre, Boards Of Canada, The Meridian Brothers and Fulu Miziki could easily relate to their sound. On the recording of 'Inspirex', Damien Magnette who produced the album says, "The album is live music based on energy. It has a chaotic side. How do you convey the chaotic, wild, animal energy of live music on record? My point of view is that to achieve this energy, you have to do exactly the opposite in the studio. A lot of layering. Lots of overdubs that we can't do live. It's all these elements that give the album its wildness."

Taiwanese pop stars Teresa Teng was enormously popular in Japan in the 70s and 80s!

It's been 20 years since it was released on CD in 2005. This definitive best album, which still boasts overwhelming popularity and contains 10 of
Teresa Teng's ultimate songs, has been released on analog for the first time with a transparent pink color record and a laminated flip-back cover on
the front cover! The sound quality is also the best, using a 96kHz/24bit master converted from DSD directly from the original master tape!

Lathe of Heaven kehren mit ihrem zweiten Album Aurora zurück, einer kühnen Erweiterung ihrer klanglichen und thematischen Palette, die sich wie eine Reihe lebendiger, emotionaler Vignetten entfaltet. "Aurora" ist eine bisher unerforschte Variante des Lathe of Heaven-Sounds, die eine delikate Balance zwischen ihren Punk-Wurzeln und einer fesselnden New-Wave- und 80er-Jahre-Post-Punk-Ästhetik bietet, die Einflüsse aus dem britischen und finnischen Post-Punk der mittleren 80er-Jahre mit subtilen Nuancen aus dem Underground-Pop der 90er-Jahre und der Gegenwart kombiniert. Aufgenommen mit Ben Greenberg bei Circular Ruin und gemastert von Brad Boatright, ist das Album klanglich beeinflusst vom melodischen Rock von The Cure, Musta Paraatis Gothic-Post-Punk-Synthie und intensivem Schlagzeugspiel und A Flock of Seagulls' Art-Pop-Gesang und Gitarrenriffs. Textlich schreckt Aurora nicht vor schweren Themen zurück. Aurora ist als eine Sammlung von Science-Fiction-Kurzgeschichten gedacht, die von Themen wie Antikolonialismus, Vielfalt und Gleichberechtigung beeinflusst sind und sich in den Texten niederschlagen. Diese Geschichten sind von den Romanen von Ursula K. le Guin, Octavia Butler, Greg Egan und Peter Watts inspiriert und führen den Hörer in mythische, kühne und etwas beunruhigende Realitäten. Der Titeltrack "Aurora" spielt in einer dystopischen Zukunft, in der die Erde aufgrund von nuklearem Fallout längst verlassen ist - er erforscht Themen wie Verlust, Liebe und Hingabe. "Oblivion" befasst sich mit dem Phänomen der semantischen Sättigung - wenn man ein Wort oft genug sagt, verliert es seine Bedeutung. "Exodus" ist eine Neuinterpretation des Schiffsparadoxons von Theseus und erzählt von der Erfahrung, das Bewusstsein in einen neuen, perfekten Körper zu übertragen. An anderer Stelle steht "Portrait of a Scorched-Earth" für einen direkten Akt des Widerstands. Als einer der emotionalsten Songs des Albums bricht er mit der üblichen lyrischen Abstraktion der Band und ist eine schonungslose Abrechnung mit den Schrecken der modernen Kriegsführung und der Vertreibung, die in der gelebten Tragödie von Gaza wurzelt. Lathe of Heaven hoffen, dass "Aurora" ein breites Spektrum an Emotionen hervor ruft und zum Nachdenken über den Zustand unserer Realität und der Menschheit anregt. Es ist literarisch, ohne prätentiös zu sein, politisch, ohne zu predigen, und emotional, ohne mit der Wimper zu zucken. Jeder Song hält ein Stück eines zerbrochenen Spiegels, und was zum Vorschein kommt, ist eine prismatische, verwundete Schönheit, die mit tausend Gesichtern zurückstarrt. "Aurora" erhebt den Anspruch, "ohne Angst in das traumlose Vergessen zu zittern". Sie sind herzlich eingeladen.

Released in 1989 by the noted audiophile label Chesky Records, Portraits is a testament to the prodigious talent of the legendary trumpeter, flugelhornist, and jazz educator Clark Terry.

The first of four albums for the Chesky label, Portraits was recorded when the St. Louis-born hornblower, then 68 years old, was a much-venerated jazz elder. By then, he had 35 albums under his belt and boasted a resume that included stellar collaborations with Duke Ellington, Charles Mingus, Quincy Jones, and Dizzy Gillespie.

For Portraits, produced by David Chesky, Terry assembled a quartet comprising pianist Don Friedman, bassist Victor Gaskin, and drummer Lewis Nash. With Terry alternating between flugelhorn and muted trumpet while also showing off his chops as an occasional vocalist, the quartet breezes through a blend of familiar jazz standards, like 'Pennies From Heaven,' and Terry's hard-driving original tune, 'Finger Filibuster,' where he shows off his athletic scat singing.

Other highlights include the Louis Armstrong favorite 'When It's Sleepy Time Down South' and 'Sugar Blues,' a nostalgic nod to New Orleans jazz. The album is reissued on 180g One Step Pressing Vinyl LP and SACD Hybrid Stereo.

* 140gm vinyl in charcoal black reverse-board disco bag, with red/ hot pink/ blue/ off-white patterned wraparound sticker, and embossed play:musik icon on front sleeve.

* Kuttin Edge arrives on p:m with (115), a musically adventurous set that draws from a range of influences - West African funk, UK and US electronics, Autonomic moods, minimal techno, and Brutalism; while a focus on analogue feel, overdubbing, and textural detail processes tie it together. An interesting, experimental, yet firmly dancefloor friendly EP.

* Tracklist:
A1. Onyeabor: a unique track full of vintage-sound synths, bright melodic lines, Moog-style arpeggios, and rhythms built on a CR78, layered with live drums, tambourines, and bass guitar. Disco funk samples and fx add texture, alongside heavy overdubbing. Inspired by early William Onyeabor aesthetics.

A2. Dark Horse: Dark Horse: an atmospheric arrangement of phase-y pads reminiscent of the peak Autonomic era, filtered through the abstract lens of artists like Actress or King Britt. The pacing and negative space give the tune a weighty but airy feel, punctuated by heavy toms and documentary-style foley. Soulfully cosmic.

B1. Loop Me: polyrhythmic arpeggios, swirling delays, unstable harmonic structure, and chromatic movement form a tense, shifting progression. Built around a single bell sample, the track is reshaped through layering, modulation, subtle changes in texture, and filtered transitions. A techno stepper.

B2. Geiger Scale: experiments with playful but controlled randomness, minimal structure and off-grid sequencing. The idea centres on a toy synth with loose notes and laidback groove formed of irregular, rhythmic patterns. Geiger Scale perfects restraint as the arrangement bubbles along with sparse melodies. Smokey and potent.

First-ever double vinyl release of TARIKAT, featuring 16 tracks recorded between 1986 and 1989, originally released on the now out-of-print 1997 double CD (Daft Records) and innitial 1991 cassette. This release features 16 tracks, remastered for this edition, showcasing E.G.'s unique sound from the eighties, reminiscent of other albums like Arispejal Astisaró, Nador, and Sheikh Aljama. This is a period especially appreciated by E.G. fans, where they developed their original and unique style that influenced many later groups and artists of industrial music and even certain forms of techno. Rough, primitive and minimalist, the tracks are constructed on distorted and noise rhythms, sometimes industrial, sometimes with tribal and African influences using synthesizers and analog electronic instruments. Gabriel Riaza, founding member of E.G. until 1991, worked in Melilla (North Africa) during those years, and this influenced the conception of many of Tarikat's tracks. The images used in this release are by Andrés Noarbe, who was responsible for Esplendor Geométrico's graphic design during the eighties and also served as the band's manager. The overall design is by Alonso Urbanos. Recorded by Arturo Lanz and Gabriel Riaza in Madrid and Melilla (North Africa) between 1986 and 1989. Tarikat is available as a limited edition double LP, a key release for fans of E.G., capturing their innovative and influential style that shaped industrial music and techno.

DJ Support - Make A Dance, Chloe Calliet, LF System, Josh Baker, Holly Lester, Horse Meat Disco, Elliot Schooling, Blond:ish, and Jamie Jones to name a few are all on board.

The third vinyl only release from the mysterious Duzer project. Dropping two fresh cuts in two different spaces, that have seen strong support from some heavy hitting names across the scene.