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Mit der Wahl des ehemaligen Roxy-Music-Mitglieds und David-Bowie-Kollegen Brian Eno als Produzenten erweiterten Talking Heads ihren Sound für ihr 1978 veröffentlichtes zweites Album erheblich. More Songs About Buildings And Food zählt zu den besten Werken der Talking Heads. Der Einfluss des Produzenten Brian Eno ist deutlich zu spüren, da er die Band in immer innovativere Gefilde vorantrieb. Das gesamte Album, sogar der kleinere Hit, eine von Eno bearbeitete Coverversion von Al Greens „Take Me To The River“, klingt auch 36 Jahre später noch erstaunlich frisch. Diese Super Deluxe Edition erweitert das Originalalbum um ein Bonusalbum mit seltenen und bisher unveröffentlichten Studio-Outtakes sowie einer bisher unveröffentlichten kompletten Show aus der More Songs…-Tour, die im Oktober 1978 im Entermedia Theatre in New York City aufgenommen wurde. Das CD-Format enthält eine Blu-ray-Disc mit Dolby Atmos, 5.1 und Hi-Res-Stereo-Mixes sowie zwei bisher unveröffentlichte Live-Auftritte in voller Länge, die 1978 auf Video aufgezeichnet wurden.

Mit der Wahl des ehemaligen Roxy-Music-Mitglieds und David-Bowie-Kollegen Brian Eno als Produzenten erweiterten Talking Heads ihren Sound für ihr 1978 veröffentlichtes zweites Album erheblich. More Songs About Buildings And Food zählt zu den besten Werken der Talking Heads. Der Einfluss des Produzenten Brian Eno ist deutlich zu spüren, da er die Band in immer innovativere Gefilde vorantrieb. Das gesamte Album, sogar der kleinere Hit, eine von Eno bearbeitete Coverversion von Al Greens „Take Me To The River“, klingt auch 36 Jahre später noch erstaunlich frisch. Diese Super Deluxe Edition erweitert das Originalalbum um ein Bonusalbum mit seltenen und bisher unveröffentlichten Studio-Outtakes sowie einer bisher unveröffentlichten kompletten Show aus der More Songs…-Tour, die im Oktober 1978 im Entermedia Theatre in New York City aufgenommen wurde. Das CD-Format enthält eine Blu-ray-Disc mit Dolby Atmos, 5.1 und Hi-Res-Stereo-Mixes sowie zwei bisher unveröffentlichte Live-Auftritte in voller Länge, die 1978 auf Video aufgezeichnet wurden.

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

One of the biggest underground rap songs of the 2010s, “Look at Wrist” (ft. iLoveMakonnen & KEY!) is the viral internet sensation that made Awful Records and Father some of the most exciting names in hip-hop. The song took the media by storm, earning praise from publications like The Fader, Pitchfork, and Billboard, and capturing the attention of stars like Tyler, the Creator and Drake.

Ten years later, Father is celebrating the single that launched his career with a special edition picture disc featuring “Nokia” (ft. iLoveMakonnen & Richposlim) on the B-side—a track that has never been released on vinyl before. The record includes Father’s signature artwork on the front and an homage to the Nokia cellphone on the back. This picture disc is a must-have collector’s item for rap fans. Limited to 500 units.

"Platinum Rare 2" enthält extrem seltene Aufnahmen, eingespielt von den vier SWEET Originalmitgliedern. Der legendären Glam/ Hard Rock Band gelingt es bis heute ihre Fans überall auf der Welt immer wieder aufs Neue zu begeistern. Im Laufe der Zeit verkauften SWEET mehr als 55 Millionen Tonträger und erreichten dabei 34 Nummer 1 Chartpositionen. Die Songs auf "Platinum Rare 2" stammen aus dem Privatarchiv von SWEET Gitarrist Andy Scott und wurden von ihm persönlich ausgewählt.

Waxwork Records is thrilled to release BUBBA HO-TEP Original Motion Picture Music by Brian Tyler for the first time on vinyl! Bubba Ho-Tep is a 2002 American Comedy Horror film written, co-produced, and directed by Don Coscarelli (Phantasm). It stars Bruce Campbell (Evil Dead 1 & 2, Army of Darkness) as Sebastian Haff, a man residing in a nursing home who claims to be the real Elvis Presley.

The film also stars Ossie Davis as Jack, a black man who claims to be John F. Kennedy. While the novella of the same name by Joe R. Lansdale and the film revolve around an ancient Egyptian mummy terrorizing a retirement home, Bubba Ho-Tep also deals with the deeper theme of aging, identity, mortality, and existentialism. The film also features a cameo by Reggie Bannister from Coscarelli's Phantasm series. Waxwork Records is proud to release the debut vinyl album of the outstanding soundtrack by Brian Tyler (Scream VI, Six String Samurai, Ready or Not) as a deluxe album featuring Egyptian Sand & Silver swirl colored vinyl, heavyweight gatefold packaging, new artwork by JJ Harrison, and an 11"x11" art print insert. BUBBA HO-TEP Original Motion Picture Soundtrack Features:

RYAN DAVIS & THE ROADHOUSE BAND ist das Projekt des in Louisville lebenden bildenden Künstlers, Multiinstrumentalisten und Songwriters Ryan Davis. Für Freunde von Alternative Country, Folk, AMERICANA, Independent, Silver Jews, Bill Callahan, Lambchop, Cass McCoombs, Sparklehorse, Giant Sand/Howe Gelb... Das kommende zweite Album, "New Threats From The Soul", beschäftigt sich intensiv mit der Verwirrung menschlicher Leistungsfähigkeit und deren Wirkung in einer absurden und entarteten Welt. Das klingt wahrscheinlich hoffnungslos schwerfällig und streng. Ist es aber nicht - nicht im Entferntesten. Es macht einen Haufen Spaß. Die Songs sind allesamt Ohrwürmer; die Arrangements sind wirklich aufregend und beleben die Arbeit der CRACKERJACKS, aus denen sich die weitläufige ROADHOUSE BAND zusammensetzt. Jedes Durchhören des Albums offenbart mehr von der Tiefe, der Breite und dem Gewirr der Komplexität des Projekts. Das erst limitierte Debüt-Album "Dancing On The Edge" von 2023 wurde von denen, die es gefunden haben, schnell geliebt und von Publikationen wie Pitchfork oder The Line Of Best Fit hoch gelobt. Sie hielten es für ein "bemerkenswertes, unendlich lohnendes Debüt". Tough Love legte es im Jahr 2024 erstmals weltweit auf. "Davis is someone with the originality, wit and ambition to cut through the murk." - Uncut In "New Threats From The Soul" gelingen RYAN Beinahe-Reime, die Affen, die seit hundert Jahren an Chat-GPT-fähigen Schreibmaschinen arbeiten, nicht hinbekommen hätten: "bromeliad" und "necrophiliac"; "urinal" und "de Chirico". Kinky Friedman beklagte, dass die Leute seine lustigen Lieder für traurig und seine traurigen Lieder für lustig hielten, obwohl sie beides gleichzeitig waren. Wie der Kinkster kann RYAN einen durch einen Kloß im Hals zum Lachen bringen. In seiner formidablen Crew von Harmonie-Sänger*innen befinden sich vier der begabtesten Lyriker*innen und Sänger*innen, die derzeit unter uns wandeln - Catherine Irwin (von FREAKWATER), Will Oldham, Lou Turner, Myriam Gendron - was von der tiefgründigen Kraft seiner Texte zeugt (diese Leute melden sich nicht oft, um irgendwelchen Brei zu singen). "New Threats From The Soul" ist eine Meisterklasse in der Reduktion des Erhabenen auf das Prosaische, des Unermesslichen auf das Winzige und umgekehrt (der Trick kann nur in beide Richtungen funktionieren). Dopple-Vinyl und CD (Digipak) erhältlich

Originally released in 2010, "The Body"s All The Waters Of The Earth Turn To Blood" is a watershed album that changed the landscape of heavy music. Buoyed by the eclectic cast of musicians, from the undeniably potent collaboration with The Assembly of Light Choir as led by now longtime The Body collaborator Chrissy Wolpert, to guest contributors that include members of Dead Times, Fang Island, Lichens (aka Robert Aiki Aubrey Lowe), Human Beast, and many more. The album"s singularly bleak, yet beautiful atmosphere not only set the tone for The Body"s career in breaking the mold, but set a new standard for what extreme music could do.

Announcing "Obsolete Music" by Juri Seo, an anachronistic mixture of old forms with modern harmonic and rhythmic devices. Seo utilizes her masterful command over traditional classical forms to build intricate, driving, and surprising compositions which are brilliantly executed by the energetic sextet, Latitude 49, who is known for blending the finesse of a classical ensemble with the drive and precision of a finely tuned rock band, via New Amsterdam Records.

Vinyl reissue of the legendary soundtrack to Forbidden Planet by Bebe and Louis Barron, an absolute milestone for Electronic Music. Recorded in 1956 by Bebe and Louis Barron, the soundtrack to the cult film Forbidden Planet is without a doubt one of the most suggestive and astounding examples of early Electronica, bringing the extraterrestrial experience of the movie to new levels with the help of the stunning sounds created by the couple through of a myriad of vintage artifacts, including loop FX and amazing modular synths. An absolute masterpiece of the genre, bringing proto electronica, sci-fi and abstract music together for an unforgettable aural experience. Includes a foldout insert with a Bebe Barron interview.

Originally released in 2010, "The Body"s All The Waters Of The Earth Turn To Blood" is a watershed album that changed the landscape of heavy music. Buoyed by the eclectic cast of musicians, from the undeniably potent collaboration with The Assembly of Light Choir as led by now longtime The Body collaborator Chrissy Wolpert, to guest contributors that include members of Dead Times, Fang Island, Lichens (aka Robert Aiki Aubrey Lowe), Human Beast, and many more. The album"s singularly bleak, yet beautiful atmosphere not only set the tone for The Body"s career in breaking the mold, but set a new standard for what extreme music could do.

RYAN DAVIS & THE ROADHOUSE BAND ist das Projekt des in Louisville lebenden bildenden Künstlers, Multiinstrumentalisten und Songwriters Ryan Davis. Für Freunde von Alternative Country, Folk, AMERICANA, Independent, Silver Jews, Bill Callahan, Lambchop, Cass McCoombs, Sparklehorse, Giant Sand/Howe Gelb... Das kommende zweite Album, "New Threats From The Soul", beschäftigt sich intensiv mit der Verwirrung menschlicher Leistungsfähigkeit und deren Wirkung in einer absurden und entarteten Welt. Das klingt wahrscheinlich hoffnungslos schwerfällig und streng. Ist es aber nicht - nicht im Entferntesten. Es macht einen Haufen Spaß. Die Songs sind allesamt Ohrwürmer; die Arrangements sind wirklich aufregend und beleben die Arbeit der CRACKERJACKS, aus denen sich die weitläufige ROADHOUSE BAND zusammensetzt. Jedes Durchhören des Albums offenbart mehr von der Tiefe, der Breite und dem Gewirr der Komplexität des Projekts. Das erst limitierte Debüt-Album "Dancing On The Edge" von 2023 wurde von denen, die es gefunden haben, schnell geliebt und von Publikationen wie Pitchfork oder The Line Of Best Fit hoch gelobt. Sie hielten es für ein "bemerkenswertes, unendlich lohnendes Debüt". Tough Love legte es im Jahr 2024 erstmals weltweit auf. "Davis is someone with the originality, wit and ambition to cut through the murk." - Uncut In "New Threats From The Soul" gelingen RYAN Beinahe-Reime, die Affen, die seit hundert Jahren an Chat-GPT-fähigen Schreibmaschinen arbeiten, nicht hinbekommen hätten: "bromeliad" und "necrophiliac"; "urinal" und "de Chirico". Kinky Friedman beklagte, dass die Leute seine lustigen Lieder für traurig und seine traurigen Lieder für lustig hielten, obwohl sie beides gleichzeitig waren. Wie der Kinkster kann RYAN einen durch einen Kloß im Hals zum Lachen bringen. In seiner formidablen Crew von Harmonie-Sänger*innen befinden sich vier der begabtesten Lyriker*innen und Sänger*innen, die derzeit unter uns wandeln - Catherine Irwin (von FREAKWATER), Will Oldham, Lou Turner, Myriam Gendron - was von der tiefgründigen Kraft seiner Texte zeugt (diese Leute melden sich nicht oft, um irgendwelchen Brei zu singen). "New Threats From The Soul" ist eine Meisterklasse in der Reduktion des Erhabenen auf das Prosaische, des Unermesslichen auf das Winzige und umgekehrt (der Trick kann nur in beide Richtungen funktionieren). Dopple-Vinyl und CD (Digipak) erhältlich

Award-winning producer and composer Giorgi Koberidze offers up a head-spinning debut of Georgian modern classical music shot through with 360° electroacoustic textures.

Giorgi Koberidze is an electronic and classical music composer from Georgia. He currently serves as a professor of music at Tbilisi State Conservatoire, as well as at Ilia State University, and the private music school "303 Herz". Giorgi's work is rooted in the Georgian musical tradition, cross-pollinating indigenous instrumentation with electronic and western classical timbres. He recently won first prize in the Tbilisi Conservatoire Composers Awards, and received Georgia's most prestigious cultural gong, the Tsinandali Award.
The Album was premiered in Georgia at the Kutaisi Film Festival, and later showcased at the Tbilisi Film Festival. Working from graphic scores, Giorgi's ensemble includes strings, woodwind and traditional instruments from the Caucasus (doli, chuniri). Fleeting voices, field recordings and skittering percussion converge to paint a storied map of Tbilisi, and its surrounding terrain of forested polyphony and microtonal peaks and crags.

Each listen of the album is projectively rich, like a dizzying series of sonic inkblot images. The piece is designed to be absorbed in the surround sound of darkened movie theatres, conjuring a multiverse of narratives in the half-light of sensory acuity. At home, Giorgi invites listeners to set aside time to experience the record in a dark, comfortable space absent of external stimuli.

This album was made with the support of the Tbilisi State Conservatoire. The recordings were funded by Nicolas Jaar. Thank you. We are beyond proud to present this incredible project.

Recommended for fans of Pierre Bastien, Roméo Poirier, Jan Jelinek.

THE INFINITE STREAM TO ETERNITY LAYS IN THE UNDERSTANDING OF THE WHIRLING ASCENT TO PERFECTION’

Jon Tye, aka Ocean Moon is a man who truly needs no introduction. For the last 30 plus years, the founder of LO RECORDINGS has consistently been a part of some of the most seminal and groundbreaking sonic excursions of our time — MLO, Seahawks, Cherry Garcia, and Brain Machine, to name a few.

After his recent album for Music From Memory, ‘Ways To The Deep Meadow’, Ocean Moon now sets his controls for the heart of the sun and takes the listener on an epic journey into a world of vibration, wild oscillations, molecular transformation and altered states of consciousness.

Inspired by the kaleidoscopic majesty of 4 Hero, Terre Thaemlitz, and Alice Coltrane combined with the the wonders of the cosmos, 'SHIMMERING STATES' is an electronic symphony that feels like a magical sonic voyage into deep space.

With ,We Do It Out of Love," acclaimed harmonica player Alex Rossi delivers a heartfelt and masterfully crafted tribute to jazz legend Toots Thielemans - one of the most influential voices ever to grace the chromatic harmonica. This album features a carefully curated selection of pieces that reflect the full emotional and musical range of Thielemans' legacy - lyrical, virtuosic, and deeply moving. Highlights include the evocative ,Waltz for Sonny," the tender ,I Do It for Your Love," and Pat Metheny's rhythmically vibrant ,Better Days Ahead" - all reimagined with fresh arrangements that honor the original spirit. Alex Rossi captures the essence of Toots' sound while adding his own voice, bridging past and present with stylistic sensitivity and precision. He is joined by a stellar lineup of internationally acclaimed harmonica players: Antonio Serrano, Gabriel Grossi, Grégoire Maret, Franco Luciani and Olivier Ker Ourio - each bringing their unique sound and deep respect for Toots' musical heritage. ,We Do It Out of Love" is more than just a tribute - it's a global celebration of the instrument Toots Thielemans elevated to poetic heights. A soulful, resonant homage filled with admiration, artistry, and, above all, love.

Red/Black marbled vinyl. With ,We Do It Out of Love," acclaimed harmonica player Alex Rossi delivers a heartfelt and masterfully crafted tribute to jazz legend Toots Thielemans - one of the most influential voices ever to grace the chromatic harmonica. This album features a carefully curated selection of pieces that reflect the full emotional and musical range of Thielemans' legacy - lyrical, virtuosic, and deeply moving. Highlights include the evocative ,Waltz for Sonny," the tender ,I Do It for Your Love," and Pat Metheny's rhythmically vibrant ,Better Days Ahead" - all reimagined with fresh arrangements that honor the original spirit. Alex Rossi captures the essence of Toots' sound while adding his own voice, bridging past and present with stylistic sensitivity and precision. He is joined by a stellar lineup of internationally acclaimed harmonica players: Antonio Serrano, Gabriel Grossi, Grégoire Maret, Franco Luciani and Olivier Ker Ourio - each bringing their unique sound and deep respect for Toots' musical heritage. ,We Do It Out of Love" is more than just a tribute - it's a global celebration of the instrument Toots Thielemans elevated to poetic heights. A soulful, resonant homage filled with admiration, artistry, and, above all, love.

Als der Pianist 1967 mit zwei britischen Jazz-Rock-Größen das Album “Trio” aufnahm, arbeitete er parallel
als Songwriter mit Ginger Baker für die Rockband Cream zusammen. Das abenteuerliche Album, bietet
laut dem Guardian-Jazzkritiker John Fordham “hochmoderne britische Klaviertrio-Musik aus den 1960er
Jahren”.

„Force Majeure“ ist DAS Album, mit dem alles begann.
Nach ihren bahnbrechenden Erfolgen als Leadsängerin der legendären Hardrock-Band Warlock („All We
Are“, „I Rule The Ruins“, „Fur immer“ u.v.m.) markierte „Force Majeure“ den Beginn von Doro Peschs
Solokarriere. Seitdem hat sie sich im Laufe der folgenden Jahrzehnte zu der weiblichen deutschen MetalIkone entwickelt.
Das Album enthält Hits wie „World Gone Wild“ oder Doros Interpretation von „A Whiter Shade Of Pale“.
„Force Majeure“ erreichte in Deutschland im vergangenen Jahr schließlich verdientermaßen Gold-Status.
Ihr internationaler Erfolg zeigt sich in unzähligen Auszeichnungen aus aller Welt: der „Metal Goddess Legend Award“, der ihr in Las Vegas verliehen wurde, oder der „Legend Award“ in Großbritannien, während
sie in den USA in die „Hall Of Heavy Metal History“ aufgenommen wurde - um nur einige wenige zu nennen.
„Force Majeure“ wird zum ersten Mal überhaupt in einer streng limitierten Auflage als Picture-Vinyl erhältlich sein, inkl. höchstpersönlich von Doro verfassten Linernotes. Ein absolutes Must-Have für alle Hard
Rock- und Heavy Metal-Liebhaber aus aller Welt!

Das Debütalbum des Jazzmusikers Ken McIntyre, Looking Ahead, wurde ursprünglich 1961
veröffentlicht und enthält neben McIntyre auch den Saxophonisten Eric Dolphy. Auf dem Album sind 5
McIntyre-Originale sowie der von George und Ira Gershwin geschriebene Standard „They All Laughed“
enthalten. Diese Neuauflage des Albums erscheint als Teil der OJC-Serie auf 180-Gramm-Vinyl, das bei
RTI gepresst und von den Originalbändern bei Cohearent Audio komplett analog gemastert wurde, und mit
einem Stoughton Tip-On Jacket.

2025 repress. Expo 70, held in Osaka, was a pivotal event for the Japanese people and their relationship with the rest of the world, demonstrating both the nation's ongoing economic recovery from World War Two and the creative spirit of Japanese society and its artists. The event gained international acclaim for its adventurous architectural design, visual art and electronic music. Some of Japan's most renowned composers were involved, but also present were the now-legendary rockers, the Flower Travellin' Band. A series of performances, billed as "Night Events" were held at the Expo; the most radical of these was "Beam Penetration and Mad Computer, plus the Minimal Sound of Motorcycles", but its anti-establishment feel and general madness took the Expo organizers by surprise and it was cancelled after only one night, despite being scheduled for a longer run. An air of myth developed around the event, but a recording of the event has been discovered and this release is the result. And what an event it was: a night-time sound-bomb with a fabled band, electronic sound and 50 motorcycles with horns blaring,spotlights, electronic billboards and a robot ― all flashing, roaring andhowling at the night sky. This release comprises a CD, a 10-inch record with fold-out sleeve and large obi, plus fascinating notes in Japanese and English by Kenichi Yasuda, an expert on Japanese rock music, and Koji Kawasaki, a renowned researcher of Japanese electronic music, as well as rare photos.

"The debut album from jazz musician Ken McIntyre, Looking Ahead was originally released in 1961 and features fellow Saxophonist Eric Dolphy alongside McIntyre. Included on the album are 5 McIntyre originals plus the George and Ira Gershwin penned standard “They All Laughed”. This new edition of the album is released as part of the OJC Series on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.
"

Limtierte Anzahl in creme-farbenen Vinyl erhältlich! Mit "Moonlight Concessions" kehren Throwing Muses zu ihren Wurzeln und abgedrehten Stärken zurück - dank Kristins gestochen scharfen Skizzen und ihren passend rauen musikalischen Arrangements. Das Album folgt auf ihr gefeiertes ,Sun Racket" aus dem Jahr 2020, ein berauschendes Werk voller harter und zarter Geschichten, gespickt mit surrealen Bildern. Das neue Album wurde von Kristin Hersh im Stable Sound Studio von Steve Rizzo in Portsmouth, Rhode Island, produziert und ist eine Sammlung von Schnipseln aus dem täglichen Leben - man denke an die Short Cuts von Raymond Carver, belauschte Gespräche, erzählte Begebenheiten und treffende Einzeiler, die alle zusammengefügt wurden, um die Zeit zu illustrieren, in dieser sie langsam heranreiften, gespickt mit dem Elan und der Kraft der Original Muses. "Drugstore Drastic" ist ein Selbstgespräch am Straßenrand auf dem Weg zu einem verlockenden Rendezvous. Aufgebaut auf einem flotten akustischen Strum mit einer Gitarren-Submelodie, die das Geschehen untermauert, ist es eine sich entfaltende Geschichte über soziales Bewusstsein aus einem verschwommenen Unterbewusstsein. Summer Of Love" begann als Wette mit einem Typen um einen Dollar, die sich um die Idee drehte, dass die Jahreszeiten uns nicht verändern. Der Opener des Albums ist eine eindringliche barocke Ouvertüre, gestrichen und grüblerisch. Die Streicher von 'Libretto' kompensieren das akustische Ambiente, das heiße und kalte Gefühl der Sehnsucht im Herzen des Stücks, ein thematischer Treiber, der mit Wärme in einem sicheren, von Tequila geschmierten Hafen abgelegt ist. "Moonlight Concessions" wurde in den unterschiedlichen Umgebungen der Südküste des Golfs von Mexiko und Südkaliforniens geschrieben und schöpft aus den Sternenhaufen, die beide beleuchten, und erzeugt Optimismus und Hoffnung in unterschiedlichem Ausmaß. Hersh erklärt: ,In New Orleans sehen die Sterne grünlich-blau aus, weil sie unter dem Meeresspiegel liegen und den Sumpf beleuchten. Aber am Moonlight Beach leuchten sie eisig weiß. All diese Songs wurden an diesen beiden leuchtenden Orten geschrieben, was unserem Sounddesign half, sich selbst zu finden."

Peter Cunnah and Al Mackenzie, a.k.a D:Ream land with their brand new, fifth studio album Do It Anyway, a well crafted, feel good blend of pop-electronic songs. Do It Anyway's songs draw on a combination of the duos current & past life experiences, a 30 year journey through pop music and UK club culture plus some wry geo-political commentary. When added to some finely honed song-writing skills that delivered ten Top 40 hit singles Do It Anyway proves to be an accomplished album. Do It Anyway is preceded by the release of the self-titled lead single, D:Ream's homage to the not-so-innocent golden days of 90s clubbing adventures and will be priority promoted to radio & press alongside the album, aiming at mainstream national radio, BBC Radio 2, 6 Music, Capital plus red top and broadsheet press. A further single, The Geek Who Rules The World, is slated for release post-album to continue the campaign through the summer and will similarly be promoted as a priority single. D:Ream are probably best known for their hits Things Can Only Get Better and UR The Best Thing. However, there is so much more than that to discover. They scored two UK Top 10 albums: 1993's D:ream On Vo1 and 1995's World, plus ten Top 40 singles! Things Can Only Get Better was no.1 for four weeks in 1994 then was famously co-opted as the anthem in 1997 by Tony Blair's Labour Party, writing D:Ream into English history; pop, political and otherwise!

One month after releasing “Vitalogy” , Pearl Jam performed ten songs on a radio show hosted by Eddie Vedder on January 8th, 1995 in a Seattle home-studio. This recordings was also the live debut for their new drummer Jack Irons, one of the original found- ing members of Red Hot Chili Peppers.

Zum 100. Geburtstag von Peter Thomas - der Kult-Soundtrack neu aufgelegt! Zum Jubiläum des 1925 geborenen Komponisten Peter Thomas erscheint einer seiner größten internationalen Erfolge erneut auf Vinyl: Bruce Lee: The Big Boss (Revised) - die alternative Filmmusik zum gleichnamigen Martial-Arts-Klassiker von 1971. Die ursprünglich 2020 veröffentlichte und längst vergriffene LP wird nun als 180g-Vinyl in schwarzer Pressung neu aufgelegt und ist ab sofort wieder im Handel erhältlich. Die Musik - ein mitreißender Mix aus Big-Band-Sound, Funk, Space-Age und psychedelischer Elektronik - wurde vom deutschen Verleih als westliche Alternative zur Originalmusik in Auftrag gegeben und entwickelte sich zur offiziellen internationalen Filmmusik des Films (außerhalb Chinas). Das aufklappbare Gatefold-Cover wurde vom renommierten Künstler Adrian Keindorf gestaltet und verbindet Retro-Ästhetik mit modernem Design. Diese Veröffentlichung ist der Auftakt einer Reihe, die dem Werk von Peter Thomas (1925-2020) gewidmet ist. Bereits erschienen sind:

Winnetou und sein Freund Old Firehand
Steiner - Das eiserne Kreuz 2
Edgar Wallace
Derrick & Der Alte
Ein Muss für Soundtrack-Sammler, Bruce-Lee-Fans und Liebhaber außergewöhnlicher Filmmusik.

Massi NPL’s EP debut on House on the Strand’s label 'Herah' is a wonderful cluster of ambient club adjacent works
Producer and sound artist Massi NPL has spent close to a decade honing his craft as a producer with an impressive growing list of accolades that have seen him try his hand at everything from scoring award winning video games and theatre productions at the Zurich theater to DJ at events and radio stations around the globe.
While the producer’s output may be slim it is considered and precise. His new Fragments EP is a deeply personal project that is the product of years of work.
These select 3 pieces are crafted from a series of field recordings spanning 3 cities that have shaped much of the producers life. These ambient club adjacent works are equally promising at decibel sound system shaking volumes as they are within tucked away headphone and home listening environments. They exude expansive soundscapes, featuring a rich array of washed out synth backdrops and percussions.
As featured on Alex Ruder’s Pacific Notions on KEXP
Mastered by artist engineer Adam Badí Donova (ulla, mu-tate, dj lostboi, Torus)

In the world of Pharaoh Overlord, little is ever as it seems. This band is less comprised of tricksters or mischief makers than fearless obsessives whose musical instincts take twisted and wild pathways. Now, fresh from forays into Italo-disco and synth-pop, they have thrown another still more mighty statement of intent into the universe. Louhi is a thunderous and majestic epic of joyful repetition and earth shaking power. A two-track minimalist-rock monolith forged from guitars, synths and hurdy-gurdy, inspired by the band’s eternal touchstone influence Outside The Dream Syndicate by Tony Conrad and Faust, and constructed around a single riff and melodic idea, it builds and evolves to fearsome pinnacles of elemental intensity.Luminaries and constant compatriots in the Pharaoh Overlord
headspace were recruited for this voyage into the ether. Vocalist and longtime collaborator Aaron Turner (SUMAC, Isis, Old Man Gloom)and Tyneside maverick Richard Dawson were equally keen to get on board, the former taking a spontaneous and improvisatory approach to his vocal parts, and the latter largely playing a part consisting of one guitar chord. Yet whatever routes Pharaoh Overlord take to their destination, a common theme is the consciousness-warping singularity of the riff and the mantra, and the temporal disorientation this can provoke mirrors the broader designs of this record, which takes traditional folk elements and transports them in the band’s singular time machine. “It’s our 25th Anniversary this year, and from time to time we hear wishes that if just we could play more of the stuff that we did twenty or more years ago” relate Jussi and Tomi. “We totally understand this. You could say we used Louhi to reset ourselves to the past, to be able to continue again to the future.” Aaron puts it another way, evoking simplicity in the chaos – “The world of Pharaoh Overlord is a magical one - every album is an invitation to enter that place and rejoice in doing so…”

Following their rattling 45 Cry / I’ll Be There Now and the wiry full-length My Mother Was a Friend of an Enemy of the People, Blurt returns to All City with Mecanno Giraffe - a new 12" capturing Ted Milton’s band of beat-punk absurdists in full, surreal stride.

The A-side delivers the title track: Mecanno Giraffe, a spiky, off-kilter groove threaded with Milton’s unmistakable bark, rhythmic sax blurts, and angular momentum that feels both mechanical and oddly animal. It’s Blurt as alwaya: driving, dry-witted, and defiantly out of sync with any prevailing trends.

On the flip, Milton shifts gear with a number of spoken word pieces. Stripped bare, intimate, incantatory. More Artaud than Allen, these pieces reveal another facet of Blurt’s singular frontman, echoing threads found in recent interviews tracing his ongoing collision of poetry, punk, and performance.

Third strike on the label and still no sign of softening. Mecanno Giraffe proves that Blurt still remains gloriously out of step, part animal, part machine!.

Seedbed is a new revolving-door collective project helmed by Atlanta songwriter JJ Posway (Sloping, Scooterbabe). After six years of recording what was to be the ambitious final studio album of Posway’s long-running Athens-based band Scooterbabe, most traces of the group’s scrappy indie pop had been burnished off to reveal something entirely new. What emerged from the ashes was Seedbed.

Largely composed of performances and songwriting contributions by Scooterbabe’s final lineup (Anna Staddon vocals, keyboard, Michael Buice [bass], Zach Spires [drums]), the formation of Seedbed marks the calling in of producer Terence Chiyezhan to help mix and arrange years of piecemealed recordings. The result is an intensely imposing stylistic shift for Posway and company, as tense as the apt title of Seedbed’s growing pains-fueled debut album Stalemate implies.

Stalemate stares straight into an all-consuming whirlpool of a million swirling emotions spanning the past seven years; It’s glistening and reflective on “Unit 4” and “C c c c c c c c c c c,” while cacophonously turbulent for “Fingertips Like Ice” and foreboding album opener “Mouse At Your Feet.” But the entirety of Stalemate is nostalgia-soaked and dripping with the painful necessity of change. It brazenly steeps in the tension and grief that accompanies evolution - even at the risk of drowning in it completely.

Detroit’s DJ Slush presents his debut solo EP “Model Collapse” with five versatile tracks inspired by classic stripped down Midwest house & techno. The EP marks the launch of Polytechnic Recordings - a new sublabel of Mark Grusane’s Disctechno Music - run by Eric Schwab (DJ Slush) & Grusane. Following his productions on the Midwest Rhythms series, “Model Collapse” delivers more jacking drum machine programming, spacey & melodic synth lines, and a few psychedelic elements, with nods to the early years of deep house & proto-techno, packaged in a full color jacket sleeve.

Swimming Paul's first album is available again as a new edition.



In the vibrant city of London, a talented French producer named Swimming Paul made his mark. While he had already spent several years producing music for others, Swimming Paul felt a strong calling to embark on his own creative project—one that would redefine the concept of dance music and infuse it with meaning.
Paul drew inspiration from the early days of house music, recognizing it as more than just a genre. It represented a cultural movement that united people from diverse backgrounds. Motivated by this spirit, Swimming Paul sought to create music that not only made people dance but also brought them together and conveyed powerful messages.
With each composition, Paul approached his work as an artist would approach a blank canvas. He poured his heart and soul into every beat, melody, and rhythm, meticulously crafting a sound that blended elements from various genres while bearing his own unique touch. His music pulsated with the infectious energy of a crowded dance floor, yet it also possessed the ability to evoke deep emotions and provoke introspection.
Swimming Paul’s vision extended far beyond mere entertainment. He aspired to establish a space where people could connect, express themselves, and find solace in the universal language of music. Every track he produced served as an invitation to embrace the present moment, to let go of inhibitions, and to discover the transformative power of music.

Grinderman entstand 2005, als Nick Cave Material für das Album „Abattoir Blues/The Lyre of Orpheus“
von Nick Cave & The Bad Seeds schrieb. Gemeinsam mit Martyn Casey am Bass, Warren Ellis an Violine
und Gitarre und Jim Sclavunos am Schlagzeug erarbeitete die Band gemeinsam Songs. 2006 ging sie in
ein Londoner Studio und begann eine Marathon-Session mit Songwriting und Demoaufnahmen. Mit dem
Ziel, den raueren, ursprünglicheren Sound von Caves gefeiertem Post-Punk-Projekt „The Birthday Party“ nachzubilden, wichen die Texte und die Musik von Grinderman deutlich von Nick Caves früheren Arbeiten
mit The Bad Seeds ab.
Im darauffolgenden April nahmen sie die besten dieser neuen Songs auf und nahmen mit Hilfe ihres langjährigen Freundes und Produzenten Nick Launay ein Album auf. Ihr am 5. März 2007 veröffentlichtes Debü-
talbum „Grinderman“ mit elf Songs wurde von der Kritik hoch gelobt und enthält die Singles „No Pussy
Blues“ und „Get It On“. Das Quartett kam 2009 wieder zusammen, um „Grinderman 2“ aufzunehmen, das
2010 erschien. Im Dezember 2011 gab Cave die Auflösung der Band auf einem Musikfestival in Australien
bekannt.
Das „unglaublich aufregende Debütalbum“ (Observer Music Monthly) ist auf schwarzem Öko-Vinyl und im
CD-Digisleeve-Format erhältlich

Grinderman entstand 2005, als Nick Cave Material für das Album „Abattoir Blues/The Lyre of Orpheus“
von Nick Cave & The Bad Seeds schrieb. Gemeinsam mit Martyn Casey am Bass, Warren Ellis an Violine
und Gitarre und Jim Sclavunos am Schlagzeug erarbeitete die Band gemeinsam Songs. 2006 ging sie in
ein Londoner Studio und begann eine Marathon-Session mit Songwriting und Demoaufnahmen. Mit dem
Ziel, den raueren, ursprünglicheren Sound von Caves gefeiertem Post-Punk-Projekt „The Birthday Party“ nachzubilden, wichen die Texte und die Musik von Grinderman deutlich von Nick Caves früheren Arbeiten
mit The Bad Seeds ab.
Im darauffolgenden April nahmen sie die besten dieser neuen Songs auf und nahmen mit Hilfe ihres langjährigen Freundes und Produzenten Nick Launay ein Album auf. Ihr am 5. März 2007 veröffentlichtes Debü-
talbum „Grinderman“ mit elf Songs wurde von der Kritik hoch gelobt und enthält die Singles „No Pussy
Blues“ und „Get It On“. Das Quartett kam 2009 wieder zusammen, um „Grinderman 2“ aufzunehmen, das
2010 erschien. Im Dezember 2011 gab Cave die Auflösung der Band auf einem Musikfestival in Australien
bekannt.
Das „unglaublich aufregende Debütalbum“ (Observer Music Monthly) ist auf schwarzem Öko-Vinyl und im
CD-Digisleeve-Format erhältlich

layered through
soundholes,
feedback moves and
waves
of hisstortion

i've been told
that
skin can fold


Mastered by Miles Whittaker
Visuals by Zurab Babunashvili
Tapes by Tapeline

Diese brandneue Deluxe-Edition ist Teil des Jubiläumsprogramms von Decca zum 100. Todestag des großen
Opernkomponisten Giacomo Puccini. Die im Januar 1974 in den Wiener Sofiensälen entstandene Aufnahme
präsentiert die beste Besetzung der damaligen Zeit: angeführt von Mirella Freni und Luciano Pavarotti
sowie unter der Leitung von Herbert von Karajan. Bei ihrer Erstveröffentlichung wurde die Einspielung
von Kritikern und Musikliebhabern gleichermaßen gelobt. Das Magazin Gramophone beschrieb sie als „ein
Set zum Träumen“. Dieses Erbe wird mit der neu präsentierten Edition fortgesetzt. Die Aufnahme wurde
von den Original-Bändern aus dem Jahr 1975 neu gemastert und ist nun auf audiophilem Vinyl sowie als
Hybrid-SACD mit einer Auflösung von 192 kHz/24 Bit erhältlich.

a1 E Soffitto E Pareti (LP1: Act 1) (2:19)
a2 Sorride Vostro Onore? (3:26)
a3 Dovunque Al Mondo Io Yankee Vagabondo (2:00)
a4 America For Ever (2:47)
a5 Ier L'altro Il Consolato Sen; Venne A Visitar (3:43)
a6 Ecco. - Son Giunte Al Sommo Del Pendio (2:51)
a7 Gran Ventura (3:40)
a8 L'imperial Commissario, L'Ufficiale Del Registro, I Congiunti (3:50)
a9 Vieni, Amor Mio! VI Piace La Casetta (2:13)
b1 E Un Presente Del Mikado (3:52)
b2 Tutti Zitti! (5:21)
b3 O Kami! O Kami! (4:36)
b4 Cio-cio-san! Cio-cio-san! Abbominazione! (1:15)
b5 Bimba, Bimba, Non Piangere (3:52)
b6 Viene La Sera (4:33)
b7 Vogliatemi Bene (3:19)
c1 E Izaghi Ed Izanami (LP2: Act 2 - part 1) (4:15)
c2 Un Bel Di, Vedremo Levarsi Un Fil Di Fumo (2:59)
c3 C'e - Entrate (3:17)
c4 Si Sa Che Aprir La Porta E La Moglie Cacciar (4:41)
c5 Udiste? (3:20)
c6 Ora A Noi - Sedete Qui (4:22)
c7 Ebbene. Che Fareste, Madame Butterfly (3:11)
c8 E Questo? E Questo? (3:16)
d1 Che Tua Madre Dovra Prenderti In Braccio (3:13)
d2 Vespa! Rospo Maledotto! (4:05)
d3 Una Nave Da Guerra (2:47)
d4 Scuoti Quella Fronda Di Ciliegio (4:35)
d5 Or Vienmi Ad Adornar (4:27)
d6 Humming Chorus - Summchor (5:09)
e1 Intermezzo - Oh Eh! Oh Eh! (LP3: Act 2 - part 2) (2:16)
e2 Twittering Of Birds From The Garden (2:59)
e3 Gia Il Sole! Cio-Cio-San! (2:30)
e4 Chi Sia? (2:27)
e5 Io So Che Alle Sue Pene Non Ci Sono Conforti! (2:09)
e6 Non Ve L'avevo Detto? (4:20)
e7 Addio, Fiorito Asil Di Letizia E D'amor (2:48)
e8 Suzuki! Suzuki! Dove Sei? (2:36)
f1 Tu, Suzuki, Che Sei Tanto Buona, Non Piangere! (3:39)
f2 Come Una Mosca Prigioniera L'ali Batte Il Piccolo Cuor! (5:15)
f3 "Con Onor Muore Chi Non Puo Serbar Vita Con Onore" (5:10)

KYOTO JAZZ SEXTET's new work is a folk song cover!
KYOTO JAZZ SEXTET, which will celebrate its 10th anniversary in 2025, has released an emergency 12-inch. It is a cover of "DOSOJIN NO UTA",
a folk song handed down in Nozawa Onsen Village, Nagano Prefecture, with a spiritual and danceable jazz arrangement.
In 2022, the demo version was used for the video distribution of the Dosojin Festival and secretly attracted attention, and was completed in 2025
with new recordings of drums and bass.
It was also selected as the commercial song for "THE GIN SODA", which uses gin from Nozawa Onsen Village Distillery and will be released at Lawson stores
nationwide in March 2025, and has attracted a lot of attention.
The coupling is Extra Freedom, which has been played more than 1 million times on Spotify and became KYOTO JAZZ SEXTET's biggest hit. In addition, the album includes a new jazz version of Still In Love, a cover of Shuya Okino's global anthem, featuring Navasha Daya and Tomoki Sanders.

This is a supreme album that breaks new ground for KYOTO JAZZ SEXTET and features their strongest songs.
This is also the first release from KJCC (Kyoto Jazzy Creative Council), a voluntary organization that Shuya Okino founded with Yukari BB (Jazz Sport Kyoto) and Masaki Tamura (DoitJAZZ!). Shuya Okino himself wrote the Japanese title on the front cover.

Experience the magic of a timeless classic reborn: this exclusive 7" vinyl features a brand-new remake of the iconic "I Believe in Miracles", produced by French groove maestro MonsieurWilly and performed by the radiant soul vocalist Natalie Nova. With a perfect balance of vintage disco vibes and fresh production finesse, this release breathes new life into the legendary track, making it both nostalgic and clubready. Adding to its irresistible charm, the remake is infused with a Latin summerinspired rhythm—a driving, syncopated beat that designs the heartbeat of Latin music. Ment to be upbeat and danceable, the track incorporates percussive grooves, rhythmic guitars, and tasteful electronic elements to create a vibrant, sun-soaked atmosphere that feels right at home from beach bars to dancefloors. The collaboration between MonsieurWilly and Natalie Nova delivers a unique blend of soulful warmth, infectious energy, and rhythmic flair. Natalie Nova’s powerful vocals shine with emotion and style, while MonsieurWilly’s production wraps it all in a groove-heavy, analog-inspired soundscape. This 7" is pressed on high-quality vinyl and is ideal for collectors, DJs, and lovers of soul, disco, and feel-good summer anthems. Don't miss this limited edition release - proof that miracles still happen on wax.

The Time Capsule label unites record collectors and DJs of Brilliant Corners and Beauty & The Beat communities in London. For each release, Kay Suzuki works alongside one co-curator to reinstate and repackage the music they hold dear into perfectly restored historic artifacts.

For the first release, Brilliant Corners regular and Meda Fury signing Ryota OPP curates the reissue of Il Guardiano Del Faro’s 1978 album Oasis.

Born 1940 in Milan, Federico Monti Arduini was a child prodigy who studied piano and was already performing at concerts from the age of eight. He composed pop songs for other artists which sold millions of copies, but his own solo success came after he encountered synthesizers in the early 70s.

Viewed as a precursor of New Age sound art, Arduini was one of the first producers in Italy to use the Moog synthesizer and a meeting with Bob Moog in New York only added to this obsession. He was also an early adopter of the tradition among electronic producers to use a moniker to disguise his identity. Il Guardiano Del Faro (translated as “the guardian of lighthouse”) is a nod to the small Italian fishing town Porto Santo Stefano, where Arduini created his studio in the mid-70s.

He produced a number of albums from this seaside idyl of electronic instruments and tape recorders, but Oasis stands out from the pack. Released in 1978, it became a cult classic for its experimental sounds and emotional expressions. Spiritual synth sounds cover the album in a dreamy haze, oscillating between ambient and psychedelic. Sparing deployment of the Roland rhythm box gives dance floor favourites ‘Disco Divina’ and ‘Oasis’ touches of space disco and even teases proto-house elements like the great Sun Palace.

“The passionate, sweet and dramatic sound of Il Guardiano Del Faro made me fantasise about so many romantic aspects of Italian culture. Oasis is sonically more interesting than his other albums and these exotic, eccentric rhythms sound quite familiar to the modern music fans.” – Ryota OPP

Demon Records Singles Club are proud to present a reissue of the
legendary band Freestylers.
Freestylers formed in 1996 when DJs and producers Matt Cantor and
Aston Harvey joined forces. Two years later Freestylers would release
their debut album We Rock Hard on the legendary imprint
Freskanova.
We Rock Hard would become their most commercially successful
release to date and this reissue cherry picks four of the biggest tracks
from the album. B-Boy Stance, Ruffneck, Here We Go and Warning all
showcase the classic big beat and breakbeat electronica that would
remain the band's trademark sound throughout their career.
Newly remastered and now available in a 12” discobag sleeve
featuring the original artwork

Demon Records Single Club are delighted to introduce a reissue of
Urban Cookie Collective’s 1994 mega hit The Key, The Secret and
Feels Like Heaven.
Urban Cookie Collective was founded by Rohan Heath in the late 80s.
The Key, The Secret was the groups first single from their debut album High On A Happy Vibe. The track was an instant hit landing at the top of the charts cross Europe and today the track is widely regarded as one of the biggest dance music anthems of the 90s.
Flip it over and on the B-side is Feels Like Heaven, the follow up to The Key, The Secret. Another mega chart smash in the UK and across
Europe. Now newly remastered and with fresh artwork – an adaptation of the original High On A Happy Vibe sleeve

Japanese acid pop outfit Cho Co Pa Co Cho Co Quin Quin channel the globe-trotting spirit of Haruomi Hosono’s 1970s tropical boogie on their debut album, Tradition.

Named after one of the basic rhythms of Cuban folk music and drawing on influences from across the globe, Cho Co Pa Co Cho Co Quin Quin are quite simply a world unto itself.

Comprised of three childhood friends, Daido, Yuta and So, who reconnected during the coronavirus pandemic, Cho Co Pa initially emerged as a playful way for the three 23-year-olds to pass the time. Tapping into their youthful connection, they created a sound that exudes confidence and curiosity, a homage to the masterful world of YMO’s and Happy End’s Haruomi Hosono, rooted in the trio’s own idiosyncratic experience of the present.

Recorded at home and promoted on hugely popular DIY TikTok videos, their debut album Tradition is a technicolour exercise in armchair travelling – a kind of lockdown exotica for the housebound whose nostalgic flights of fancy are laced with a sense of whimsical melancholy for the lost freedoms of youth.

Referencing everything from Afro-Cuban percussion to lo-fi beats, Buddhist spirituality to trap, each member of the band brings different musical inspirations to the table. Latin American and Middle Eastern styles sit adjacent to a fascination for the electronic music of Aphex Twin, Dorian Concept, Underworld and Daft Punk. At times, the music verges on acid pop bliss, at others, it grooves with the instrumental funk sensibility of BADBADNOTGOOD.

“In the first place, when I create a song, my goal is to transport the listener to a mysterious place,” vocalist Daido explained in a recent magazine interview. Using lyrics as another sonic texture in the composition of ideas, Cho Co Pa paint beguiling sonic postcards of far-flung moods across 12 highly original tracks.

Marrying the organic and the electronic on rhythmically sophisticated compositions like ‘Chichibu’ and ‘Watatsumi’, it is on the album’s standout track ‘Gandhara’ that the experimental sound of Cho Co Pa comes to the fore. Referencing the ancient city of Gandhara through which Buddhism made its way from India to China, the track is a vocoder-trap-inspired, Udu drum-driven pop jam that lilts with unmistakable Balearic flair. If that’s difficult to imagine, then know simply that ‘Gandhara’ sounds like nothing else on this side of Saturn. Even Daido seemed surprised by the outcome: “I feel like we were able to create something that exceeded our abilities. That was huge!”

Hugely popular in Japan, with festival appearances lined up alongside BADBADNOTGOOD at Asagiri Jam in October, it's safe to say the success of Tradition has taken Cho Co Pa by surprise. You won’t have heard anything like it."

A long-lost Japanese acid folk gem, Niningashi’s 1974 private press debut Heavy Way shimmers with originality, deft song writing and a dream-like groove.

Although he was training as a pharmacist, Kazuhisa Okubo was much more interested in prescribing musical medicine.
A coming-of-age album, Heavy Way captured a turning point in Okubo’s life, and Japanese society more widely as a nostalgia for the pastoral calm of the traditional life, met the cosmopolitan thrill of coffee, sex and cigarettes in the big city.
Intoxicated by Tokyo, driven by a passion for music and surrounded by a thriving acid folk scene, the young student filtered his experiences through a psychedelic cocktail of soulful influences from the US and Japan.
Niningashi was his first band, and Heavy Way was their only album. It was honest and raw, deep and strangely funky, in an off-beat kind of way. Across nine tracks, Okubo and the 6-piece band put their own spin on the new folk sound of Japan, combining witty lyrics with electric guitar-driven solos and crisp, understated grooves.

Melancholy and profound, opening track ‘Ameagari’ feels like a synthesis of Harvest-era Neil Young and Haruomi Hosono’s Happy End. Then there’s the whimsical washboard country sound of ‘Semai Boku No Heyade’; the moody, low-lit charm of ‘Restaurant’; and ‘Hitoribotchi’, a sensitive portrayal of childhood, steeped in memories of rainfall that will resonate with fans of Woo and Mac Demarco.
While Okubo would go on to taste success with psychedelic folk bands Neko and Kaze, the latter of which scored three #1 albums, little is known about his mysterious debut with Niningashi.
Self-released by Okubo in 1974, and featuring album artwork by his brother, it has slowly generated a cult following online, intrigued by its soft and enchanting sound. So few records were ultimately pressed that those remaining have fetched up to £1,500 online.

Featured on Time Capsule’s era-spanning collection Nippon Acid Folk, Niningashi’s Heavy Way is a deep-cut grail of a vibrant time in Japan’s musical history, where even the pharmacists were making jams.

This one is very special! Last time the Dusty Donuts DJ Squad got invited down to play in Skopje/ North-Macedonia we all got together in the Studio of the undisputed South Balkan King to cook up some magic. DJ Goce had the whole team including his DJ brother Chvare in the control room and ideas were sparking. Marc came up with a very unique twist on this def joint. Straight Brown Sugar Brooklyn flavours on this one to make bootys shake around the world. The flip stays in Brooklyn, DJ Chvare hooked us up with this special masala as the notorious combination and arrangement of spaced out US-Indian Funk combined with heavy weight Brooklyn Beats will make it into any 45 DJs box.

Compact, colourful and full of fine songs, this is truly, pocket music. Includes ‘Saturday's Lover’, ‘Wind Corridor’, ‘The War Song’ and more.
Includes detailed liner notes by Tatsuro Yamashita himself!

This one is very special! Last time the Dusty Donuts DJ Squad got invited down to play in Skopje/ North-Macedonia we all got together in the Studio of the undisputed South Balkan King to cook up some magic. DJ Goce had the whole team including his DJ brother Chvare in the control room and ideas were sparking. Marc came up with a very unique twist on this def joint. Straight Brown Sugar Brooklyn flavours on this one to make bootys shake around the world. The flip stays in Brooklyn, DJ Chvare hooked us up with this special masala as the notorious combination and arrangement of spaced out US-Indian Funk combined with heavy weight Brooklyn Beats will make it into any 45 DJs box.

Nubiyan Twist present NT Soundsystem - Dubplate Inferno, a new 9 track album reimagining tracks from their critically acclaimed album ‘Find Your Flame’, transforming them into bass-heavy, dub-infused dancefloor killers. Produced by band leader Tom Excell alongside singer Aziza Jaye, the remixes channel the raw energy of the band’s live performances, blending their signature fusion of jazz, afrobeat, soul, and reggae with the gritty, immersive sound of traditional UK soundsystem culture.

The album features some extra guests on vocals, legendary MC Horseman appears on a drum & bass version of ‘Battle Isn’t Over’ whilst newcomer SkillFul Kxng from Kingston, Jamaica, breathes some Dancehall fire on ‘Woman’, adding to contributions from the original record including Seun Kuti, Mamani Keita & NEONE the Wonderer.

This project is a celebration of collective musical innovation, paying homage to the UK’s rich soundsystem heritage while pushing boundaries with their genre-defying style.

Nubiyan Twist have built up a name as one of the forerunners of the UK Jazz scene, fusing together global grooves, soul and jazz; intertwined with electronic elements, horn-led melodies and spontaneous improvisation.

The influence of soundsystem culture has been ever present in their music, from dub sessions the band used to attend in Leeds to jungle raves of East Anglia in the 2000’s. Band Leader Tom Excell has a history of DJing and producing dance music, including with reggae side-project Chief Rockas, working with reggae giants such as Super Cat, Luciano & Turbulence.

Nubiyan Twist’s lead singer Aziza Jaye was born of Jamaican heritage and has grown up around soundsystem culture, boasting an incredibly versatile vocal style and large catalog of work alongside a plethora of producers, including recent work with Mungo’s Hi-Fi.

DJ Haram's debut album “Beside Myself” is about the survival of the spirit in day to day struggle. Following on from her collaboration with Moor Mother as 700 Bliss on “Nothing to Declare”, here she is joined by a swarm of collaborators, collectively navigating pain and rage, and in occasional moments of joyful respite, mocking the strife. Haram describes herself as a “multidisciplinary propagandist, contemporary anti-authoritarian Arab, gendered labor class, god fearing atheist” who makes “anti-format, audio propaganda, anti-lifestyle, immersive sonics”. Her music attests to this, as she brings in friends and collaborators, from MC's Armand Hammer, Bbymutha, SHA RAY, Moor Mother, and Dakn, through to co-producers August Fanon, Egyptian producer El Kontessa, and Jersey Club producer Kay Drizz, trumpeter Aquiles Navarro, and guitarist Abdul Hakim Bilal. It's immediately identifiable as her work, but simultaneously unclassifiable, finding equal space in its dusty live production for Jersey Club, punk noise, Central Asian and Middle Eastern Percussion, synths, 808's and lurking, rumbling bass. Often central to this is her own performance of unflinching sorrowful verses, comparable to the poets Audrey Lorde or Ai in tone and Kim Gordon in context, examining the material and the abstract in equal measure. Her grungy futurism offers no easy resolutions, yet the drama and catharsis it presents is rarely so defiantly delivered.

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

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

Balmat 17 marks both a return and a new frontier. It is the second album on the label from Patricia Wolf, whose 2022 album See-Through is one of the most beloved in Balmat’s catalog; it also marks the first time that Wolf has turned her hand to a film soundtrack. The results are every bit as magical as fans of the Portland, Oregon, composer’s music might expect.

Hrafnamynd—Icelandic for “raven film”—is a new feature-length documentary by experimental filmmaker Edward Pack Davee. Shot on a mix of film and digital formats, and incorporating his father’s Ektachrome slides from the 1970s, the autobiographical film works on multiple levels at once: a reminiscence of his childhood in Iceland, an exploration of landscape and folklore, and a documentary study of the island nation’s ravens—including a talking raven named Krummi.

Wolf is the perfect artist to score such an unusual film. Mixing ambient music and field recording—including extensive experience documenting bird song—Wolf brings an unusually empathic perspective to her music. In the context of Hrafnamynd, her airy melodies, pensive atmospheres, and vivid textures intuitively complement the film’s grainy film stock and blown-out colors. Friends for years, the two artists further bonded when Wolf asked Pack to film music videos for her songs “Woodland Encounter” (from See-Through) and “The Culmination Of” (from I'll Look For You In Others). Pack used Wolf’s previously recorded music as placeholders as he began assembling a rough cut of the film, which made her a natural choice to help him complete his idiosyncratic vision with an all-new, bespoke score.

But Wolf’s soundtrack also indisputably stands alone as a full-length album. Largely created using the UDO Super 6 synthesizer, it features a carefully distilled palette of warm, string-like pads and darkly glistening mallets, rounded out with the very occasional introduction of nylon string guitar. Musically and stylistically, the album’s 11 tracks represent both a continuation of the ruminative sound of See-Through and also an extension into new expressive modes. Few musicians, ambient or otherwise, are as skilled at balancing melody with atmosphere, or at finding ways to eke fresh at finding ways to eke fresh, surprising sounds out of an intentionally reduced toolkit. Meditative, immersive, and emotionally generous Wolf’s Hrafnamynd soundtrack evokes a range of ambient classics from decades past while confidently marking out its own verdant patch of ground.


Artist’s Statement:
Edward and I have been friends for years, but we really started to get to know one another better after I hired him to make music videos for my songs “Woodland Encounter” and “The Culmination Of.” For those projects we got to spend a lot of time hiking in various locations around the Pacific Northwest with his camera, very nice lenses, and tripod. Keeping quiet, hidden, and vigilant we searched for wildlife, good light on the trees, meadows, lakes, rivers, and skies. Edward was already an appreciator of my music and I was already in awe of his filmmaking talents so it felt like a great fit. Although we work in different areas of art our styles compliment one another. We both tend toward slow and careful pacing, with a focus on emotion and introspective reflections on life and the landscapes around us. For this reason, Iknew that I could trust Edward to create videos for my music. We saw so many beautiful and unexpected things on our filming days, but I was moved to tears once I saw how magnificent and poetic it all was. His video work from the cinematography, to the editing, and color correction helped bring my inner vision to life.

A few months after that, Edward surprised me with an invitation to work on the soundtrack for his new film, Hrafnamynd. I enthusiastically said yes. I had always wanted to work on a film, and I knew that his filmmaking style would be inspiring to write music for. I had recently acquired an UDO Super 6 synthesizer but hadn't used it much. I decided that this would be the synth that I'd use for the film. It has the ability to sound very modern, but can also sound so warm and fuzzy, like a synth from the 1970s. It turned out to be the perfect instrument for this project as the film itself straddles time from the ’70s to today.

When Edward sent me the rough cut of the film, he used placeholder music to help give me an idea of the emotion and energy that he was hoping to achieve for each scene. For many of the scenes, Edward used music from my albums as temporary tracks. This told me that he trusted my work and style and therefore I should just trust my intuition with how to proceed. I wanted to make sure that everything that I made was a direct reflection of what was happening on screen, a mirror of its emotion and energy so people could really lock into the film psychologically. This process took my composing to unexpected places—like being led by a strange cat or a raven that seemed to have something to show me. I found that the approach made the music so much more dynamic than my usual style. I really enjoyed being influenced by the action and dialog on the screen. Thankfully, Edward was very happy with the work. I made sure to handle this project with the utmost care because this is about his life and his family, and an exploration of the experiences that made him an artist and filmmaker. While watching the film many times over, I found myself thinking about my own family and my early memories with them and how the place where I grew up has influenced who I have become. I found that his film invites the viewer to reflect on their own lives in a similar way. I hope that this music and film can guide others to contemplate on the history of their beingness and the people and places that shaped them.

Another aspect to this project is the splendor and wonder of Iceland itself. I had the opportunity to visit Iceland for the first time in 2023. I got to play a show there for the Extreme Chill Festival and met many friendly and brilliant Icelanders. I also got to collect field recordings that I used in the film. It's a fascinating place and culture that easily captures the hearts and imaginations of anyone who visits. Whether you spend your time in the city immersed in its impressive arts scene, or venture out into the wilderness to behold its wondrous landscape, it will leave a lasting impression. The soundtrack is also a love letter to Iceland itself.

We’re thrilled to announce the release of “Strangers Become Friends”, the soulful new single from Incognito featuring the powerhouse vocals of Zebulon Ellis. This uplifting track, rich with timeless grooves and heartfelt lyricism, is paired with a stunning remix by producer and keyboard maestro Ski Oakenfull. The release lands first on a beautifully pressed 10” vinyl, available from 11th July, with the digital and streaming release following on 25th July. Whether you’re a vinyl collector or a streaming fan, this is one to add to your summer rotation.

Sudd WAX is a vinyl only label of Sudd Records.

Remastered previous release from Reggie Dokes exclusive in Sudd WAX 11th Catalog, Vinyl Version.
Combined with a new unreleased track, Electronic Dreams reborn into a 2025 Revision.

Listen to the Motorcity’s born artist gems, much influenced by Hip-Hop, House and Techno.

In 2025 Acid Jazz announced the Spring Revisited project, in collaboration with Ace Records,
exploring the musical legacy of the iconic New York label Spring Records, with a series of new
mixes and limited edition vinyl releases.
After the rapid sell-out of the first release – 12” mixes of Millie Jackson’s iconic ‘We Got To Hit It
Off’ from Dimitri From Paris and Opolopo respectively – they are introducing a special 7” to the
series. This release is fronted by Dimitri’s ‘Liberated Woman Edit’ of the track – a vinyl exclusive,
dance-floor and flight-ready for DJ sets this summer. It is backed by a special edit of Dave Lee’s
inspired disco mix of The Joneses ‘Love Contest’.
It is presented in a beautiful, aged reproduction of the classic Spring house-bag, looking as if it
were hand-delivered to you from 1979. Limited to 500 copies and out 11 July, pre-order is
advised…

‘Moiré’ is the second album by French musician and singer Charlotte Leclerc. Charlotte's songs are like those little details of everyday life that you discover when you slow down the pace of your busy day. She uses the sound of her machines to tell us about human relationships. Relationships between two people and universal relationships. The ones that connect us all and make this planet run a little more smoothly.

Demdike Stare & Cherrystones unveil a long-in-the-making darkside fantasy weaving atmospheric and loose-limbed cuts recorded at labs in London and Manchester, brilliantly shaking a bush of ghostly trig points ranging from the Mars rehearsal tapes to Minimal Man, Randy Greif’s cut-ups, Conrad Schnitzler’s industrial prototypes and ‘70s ECM sides – with vocal contributions from Ssabae’s mesmerising Laura Lippie.

In dazed pursuit of styles heard on Cherrystones’ DDS tape ‘Peregrinations in SHQ (Super High Quality)’, the renowned London digger properly hexes sonic leylines with his label bosses on 10 wickedly grubby and hazed sound experiments. They tumble down the rabbit hole like some sixth sense-guided call-and-response, resulting in an exquisite unfolding of psychoacoustic spaces familiar to their mutually spirited sounds.

Honestly it's some of the dirtiest and most esoteric gear we've heard from Demdike; you can sense a lifetime of incessant digging drip through every loop and crack; grotty no-wave, industrial noise, DIY psych, proto-techno and gnarled concrète, further bolstered by Cherrystones’ perpendicular, equally insatiable and fathoms-deep areas of interest. With a focus on scrappy, feral cuts and hastily recorded edits, the trio roughly re-draw wordless chants and hyper-compressed knocks over a vortex of found sounds that curdle in rhythmic heat. Never staying sill for long, the trio get drowned by watery ambience, then shredded loops, Technoid shrapnel and electric bass prangs dancing into the aether.

The crankiest spirit perfuses the whole thing, evoking states of unravel and psychic distress as they pit a near-peerless collective knowledge into the void. Laura Lippie acts as human ligature to sanity, a fleeting constant found smudged into the hip hop chops of ‘Familiar Unfamiliarity’, spectral incantations of ‘Prophet in View’, or a channelling of Ozzy in ‘Thee Oath’, among more deranged tongues on ‘Observing the Crux’.

It’s the missing link between ECM, Earth and Dilloway we didn’t know we needed - up there with some of the most satisfyingly deep and frazzled gear this century.

Bebedera takes the style of Tarraxo to a heightened awareness of its sexual nature. Tight, wicked layers of percussion, a suggestive ID ("Drinking is his life"), a slow pace that's not only perceptively slow, it sounds charged with intent, even malice, dissolution. Letting go of morality may be the big attraction in the music, permission to get down, this time in a heavy, conspicuous manner instead of a spiritual, breezy floatation. One has to recognize the impulse in ourselves. Once at peace with this rough nature, there are sublime grooves to follow, mind-boggling arrangements, a freedom from judgement in connecting with what may seem to be at first a very masculine take on dancefloor sensuality but which is in fact only human. Just with less filters.

In other ways, an aural combination of metal and flesh produces this notion of a cyborg, a very expressive physical body making its weight known to everybody around, a sort of walking fortress as in the "Moderan" group of sci-fi short stories. A glorious rattle of lata percussion, scraps from the junkyard. A sense of unease, even slight danger starts a flow of adrenalin. According to DJ Marfox, it's not the only thing flowing, there's also a strong desire for intercourse when a Bebedera tarraxo is playing. His very distinctive style has been a cult favourite for years. Accordingly, it took years to make contact, to reach an agreement, and the result is a set of classics that stretch as far back as 2014. Still the same punch, still the feeling no one has really stepped into this territory with such force.

Flipping the construct on its head, there's two Bebedera house tracks, we'd say almost an oddity, an abrupt change from the previous density of atmosphere, though they retain all the percussive bounce. Sensual, sure, a different tempo also letting through a romantic disposition other than the sheer physical attraction. One of the titles sums up the aesthetical power at play: "I Will Beat The Top High". As in reaching further out, further up. Wanting to. Time freezes - 2014 and 2016 (production years of these two tracks), fold up and melt into the Present. Where it matters.

Heaven & Hell ist das 2020 erschienene Debüt-Studioalbum von Ava Max, das die Hits "Sweet But Psycho", "Salt", "Kings & Queens" und "So Am I" enthält. Musikalisch ist Heaven & Hell eine Pop-, Dance-Pop- und Elektropop-Platte, die in zwei Seiten aufgeteilt ist; die erste enthält hymnische Klänge, während die zweite dunklere Melodien enthält. Limitierte LP-Auflage auf kristallklarem Vinyl.

Limited edition of 1000 copies on dark green vinyl. The gutter-scraped amalgamation of sludge, punk, noise, and bracing wit of Pissed Jeans is back on full display in "No Convenient Apocalypse," a new single release and first material since Why Love Now, the group's acclaimed album of 2017. "No Convenient Apocalypse" was originally recorded for the Cyberpunk 2077 video game soundtrack. The b-side to the physical single is "Bathroom Laughter (Live in Allentown)". Pissed Jeans is currently at work on the follow-up to Why Love Now, an album that took aim at the mundane discomforts of modern life-from fetish webcams to office-supply deliveries. "_ One of our era's best punk bands." - SPIN "Another blast of full-fury guitar rock." - Billboard

2025 Repress

Hector Couto joins Cécille Records this summer for the heavy hitting ‘Hot Stuff’ EP, comprising one collaboration with Alejandro Paz and three solo jams.

Spain’s Hector Couto has long been at the forefront of the underground house scene now, since the early 2000’s he’s racked up releases on Hot Creations, BPitch, Defected, Solä, Saved, ElRow and of course his own Roush among others. Here we see Couto add another reputed label to his affiliations, namely Nick Curly and Marc Scholl’s Cécille, the powerhouse German label that’s also been a staple platform in the scene since the early 2000’s.

Opening up the EP is a special collaboration that’s already been causing a stir across South America, Alejandro Paz’s original vocal of ‘El House’ was released on the beloved Cómeme 12 years ago and became a cult classic. Here Hector revisits it, stirring in the vocal alongside his own robust, stripped-back house style. ‘Cami’s House’ follows with vacillating sub bass tones, shuffled snares, crisp percussion and resonant flutters running
alongside dubbed out chords and hypnotic vocal hooks. Opening the B-Side is ‘Hot Stuff’ , leaning into a more filter-house aesthetic with sweeping, choppy soul samples and swinging drums before ‘Red Velvet’ concludes the release, laying down funk-infused guitar licks, organic percussive grooves, bulbous low-end tones and twitchy synth stabs.

Modularz is proud to welcome back Venezuelan-born, Buenos Aires-based producer Michel Lauriola for his second full-length release on the respected American techno imprint. A rising figure in the global underground scene, Lauriola has consistently earned acclaim for his raw, immersive sound—an aesthetic rooted in precision, intensity, and emotional depth. With this new release, he further refines his unique sonic identity, presenting a gripping body of work that blends driving, hypnotic rhythms with a bold approach to sound design often described as sonic brutalism.

Each track on the 8-track release is a testament to Lauriola’s dedication to the craft, weaving together pounding drums, industrial textures, and layered atmospheres that build tension with surgical focus. His work evokes the stark energy of warehouse spaces, late-night dance floors, and the darker corners of techno culture, while still maintaining a sense of control and finesse. There is a narrative quality to the arrangement—one that guides listeners through a landscape of intensity, depth, and release.

Lauriola's return to Modularz marks a significant moment for both artist and label, as the project continues to push boundaries and elevate the label’s already rich catalog of forward-thinking techno. This release is not only a showcase of his technical skill and creative vision but also a powerful statement of where modern techno is headed: uncompromising, emotionally resonant, and undeniably physical. Whether heard in a club, warehouse, or on headphones, this is music that demands attention and rewards deep listening.

2018 repress of this highly limited heavyweight classic. Clatterbox is no joke! Regular pressing black vinyl... don't sleep!

During the mid-nineties, David Kempston secured himself a considerable following while recording releases for the seminal UK labels Clear and Evolution/Universal Language. He went on to produce music under various guises including the solid house sounds of Cartel Productions and his darker electro alias Clatterbox.

Tuesday The Sky's origins could almost be considered accidental. Guitarist Jim Matheos, famed for his work with progressive metal giants Fates Warning alongside projects such as OSI and his collaboration with John Arch, Arch/Matheos, penned a few songs that did not fit in with any of his established outlets, and intrigued by this, decided to write more and see where this took him. The result was 2017's Drift, a record that drew influence from the likes of Brian Eno, Sigur Ros, Boards Of Canada and Explosions In The Sky, and now he returns with its successor, The Blurred Horizon.

In demand Electroclash from the golden days in the rebound! The best tracks by Michi Bormann, all released under his alias Latex on Muller Records and some tracks released under the pseudonym Steril on Gigolo and Lasergun. All newly mastered and processed. Seven tracks will be released on vinyl and the edition is limited.

Thee modern masters of sweet soul return with two killer 6/8 ballads that explore the messy particulars of love lost and love found. The moody, blues forward “Somebody Knew” tackles the former as singer Josh Lane bares his soul with a tale about a sensitive subject many of us can relate to- processing the shame and pain associated with losing the one you love to another. Tracked during the sessions for Got A Story to Tell and a stand out in their live set, “We Don’t Have to Be Alone” is a gorgeous, floaty ballad that deals with two folks coming to terms with the fact that it’s ok to find comfort and joy in love at a provisional level.

Alpenglühen continues to establish itself as a trusted source for forward-thinking ambient techno with its latest vinyl release, introducing Vanertia, the new collaborative alias from Vand and !nertia. This debut offering fuses the distinctive sonic DNA of both artists into a deeply textured and rhythmically intricate EP.

The record draws heavily from the dub techno tradition, with spacious delay lines and submerged chord stabs setting the tone across all tracks. Yet it’s the subtle interplay between syncopated grooves and classic 4x4 pulse that gives the record its driving energy. The percussion is detailed and organic, riding a bed of carefully sculpted low-end that never overwhelms but always supports the movement.

The result is a hypnotic, immersive listen that balances club functionality with introspective richness.

With Vanertia, Vand and !nertia have laid the groundwork for what promises to be a highly fruitful collaboration.

Truncate sub-label vinyl debut with 4 regular hitters on the menu

dljife – The Essence Of Experimental House.
On the A-side of our first 7“ single we see the production team of Hamburg-based baze.djunkiii and Uelsen's finest Sascha Müller who have also ventured into the world of Bass Music with their acclaimed Combat Dubs project as well as their most recent Footwork x Juke x Global Bass fusion remix for Colombian artist Iam JDP on the Freebreakz.FWD label harking back to the Minimal House vibe of the mid-90s, presenting a stripped down, yet groovy and seductive take on late night club music with a tongue-in-cheek twist, Jazz-referencing percussions, wonky, ever meandering midrange synths and a simple, highly effective main motif expertly crafted for those in the know.

On the flip we've got „Acid Jackson“, a vinyl debut for the mysterious project that is RU DEAD 42 which enters a hyperdense realm of muscular, hard-stomping and heavily Acidinfused House Music backed by soft Piano chords and a trippy dreamstate attitude of sorts with this musical outing, providing quite a deliberate contrast to the deep and restrained vibe of the A-side.

Here we have the vinyl debut of LA's INTROVERTED FUNK. Formed in 2018 by by producer DANIEL VALLE & vocalist VERONICA ROSA, the duo channels a deep love of vintage vinyl into soulful modern disco funk. Their upcoming 7" features 2 analog-recorded tracks inspired by ROD TEMPERTON & NILE RODGERS.

After the remarkable success and acclaim that greeted her second album Carry Them With Us (tak:til / Glitterbeat, 2023), Scottish composer and small pipes player Brighde Chaimbeul returns with a magic(k)al third album, Sunwise, which sees her push forward experimentally but also immerse her music more deeply in tradition, folklore and mystery.

Chaimbeul has travelled in a short time from her roots as a teenage piping contest winner into a fearless, widescreen artistry. She appeared on avant-pop paragon Caroline Polachek's last album, has collaborated with Canadian composer/saxophonist Colin Stetson on her previous album (and this one also) and in the last couple of years has graced the stages of premier experimental festivals such as Big Ears (USA), Le Guess Who? (NL) and Supersonic (UK).

Sunwise is a revelatory album, steeped in landscape, ritual, minimalism and the eternal presence of the drone.

Laura Jane Grace, Emmy-nominierte Musikerin, Autorin, Aktivistin und Against Me!-Gründerin/Songwriterin meldet sich mit ihrem dritten Studioalbum "Laura Jane Grace In The Trauma Tropes – Adventure Club" zurück – ein kraftvolles neues Statement mit einigen ihrer intensivsten und anregendsten Songs. Aufgenommen in Athen (GR), enthält es sensationelle Features externer Kollaborateure, bekannt als "The Trauma Tropes", darunter Graces Frau Paris Campbell (vocals) sowie die Athener Musiker Jacopo Fokas (bass) und Orestis Lagadinos (drums). Auf dem Keytrack "Your God (God's Dick)" schmettern sie die wohl hymnischsten Texte in Graces Historie, mit einem an Queens Power-Pop erinnernden A-cappella-Intro. In "Wearing Black" kritisiert Grace die Kommerzialisierung und Polizeipräsenz bei Pride-Veranstaltungen und stellt dabei ihren charakteristischen Punk-Ethos und ihre raue, unverhohlene Haltung voll zur Schau. Grace arbeitete mit Künstlern wie Miley Cyrus, Joan Jett und Weezer zusammen, trat auf Festivals wie Coachella, Reading & Leeds Festival oder Lollapalooza auf, erhielt einen Emmy-Nominierung für ihre Arbeit an der AOL-Serie "True Trans" und platzierte sich mit ihrer Autobiografie "Tranny: Confessions Of Punk Rock's Most Infamous Anarchist Sellout" auf der Billboard-Liste der 100 besten Musikbücher aller Zeiten.

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

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





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3kelves and Dylan C. Greene unveil their debut EP, THEY'RE NOT GONNA KNOW, a four-track blast of high-energy, filter-heavy disco house released on their San Francisco-based label C3DO Recordings. Inspired by early-2000s sample house and modern club energy, the EP opens with ISSINME, a hard-hitting disco cut with soaring string melodies, followed by SOGOOD, a slow-burn synth tool built for extended sets with a twist in the back half. SLIDE brings blistering uptempo energy and big chorus vocals, while FORYOU closes the project on an emotional note, celebrating the duo's journey so far.

Blues-rock titan Joe Bonamassa is back with Breakthrough, his powerful new studio album dropping July 18th.

Produced by longtime collaborator Kevin Shirley (Iron Maiden, The Black Crowes, Journey) and co-written with Grammy-winner Tom Hambridge (Buddy Guy, ZZ Top, Lynyrd Skynyrd), Breakthrough captures Bonamassa at the height of his creative powers. Expanding his signature sound while staying true to the deep blues roots that launched his storied career, the album promises raw emotion, blistering guitar work, and fresh sonic twists.

With over 50 albums to his name and an unprecedented 28 #1 Billboard Blues Albums, Bonamassa proves yet again that he's not just keeping the blues alive--he's driving it into the future.

* In April the European tour starts.
* Joe Bonamassa has sold well over 4 million records worldwide and has had 20+ #1 Billboard Blues Albums
* Joe Bonamassa has been featured on the cover of virtually every guitar magazine multiple times. His name is notorious among guitarists not only for being a virtuoso, but also for his incredible collection of vintage guitars, gear and memorabilia.

Tracks: Breakthrough / Trigger Finger / I'll Take The Blame / Drive By The Exit Sign / Broken Record / Shake This Ground / Still Walking With Me / Life After Dark / You Don't Own Me / Pain's On Me

Edmondson presents his new 5-track EP, Azura. Newcastle-born, the English producer, renowned for his skills as a DJ and his atmospheric electronic music deeply rooted in UK movements, returns with a new EP on the French label Noire & Blanche. Azura embodies his signature deep house sound, infused with refined instrumentation that showcases his mastery of detail and sonic textures. Having made a name for himself by playing in venues across Europe and South Africa and gaining recognition from major media outlets such as NTS, Resident Advisor, Truants, and Delayed, he continues to establish himself as a key figure in the electronic music scene.

A warm breeze drifts through the open cabin of the boat, carrying the scent of salt and sunwarmed teak as it stirs the linen curtains. The man moves easily, bare feet against the wooden floor, the slow rhythm of the harbor rocking beneath him. He flips through his records with a knowing touch, pulling out a favorite—something smooth and mellow, with buttery vocals and melodies that drift like a sailboat on calm waters. The needle drops, and honeyed guitar riffs spill into the air, effortless and sunlit. He reaches for the bottle of rum, the ice in his glass chiming softly as he pours, then adds a squeeze of lime, a lazy stir. Outside, the water glows in the last light of day, golden ripples stretching toward the horizon. He leans back against the cushioned bench, drink in hand, the music swirling around him like the evening breeze—unhurried, weightless, exactly where he wants to be.


Small Talk brings together a carefully curated selection of long-forgotten, yet remarkably smooth and captivating soft rock and AOR tracks from the ‘70s and ‘80s, compiled by Brandon McMahon. These lesser-known songs are drenched in lush harmonies, dreamy guitar riffs, and mellow rhythms, capturing the essence of an era without the mainstream recognition. For those with an ear for the obscure and a taste for the subtle, Small Talk offers a fresh perspective on an era’s most overlooked gems.

The double A-side includes the super "Fresh X Pop" new song "Sunny Side Up" which signals a new start, as well as the next latest song.
Released on July 16th, which is Roy's (Vo&Ba) birthday and "Hot Dog" day, which is also the origin of the self-managed "Hot Dog Records" label.

Auf "At Tubby's" spielt Dougie Poole Live-Versionen seiner beliebtesten Songs in einem Veranstaltungsort, der von Musikern für seine Intimität und Akustik sowie für seine außergewöhnliche Behandlung von tourenden Musikern geliebt wird. Dieses Set war wie geschaffen für die Veröffentlichung als Live-Album, da es ein besonderer Abend für die Band war. Einer dieser Abende, an denen die Musik, das Publikum und der Raum zusammenkommen. Das Album wurde direkt am Mischpult aufgenommen, wobei Dougie selbst nur minimale Nachbearbeitungen vornahm. Dougies Live-Band auf "At Tubby's" besteht aus Mike Etten an der elektrischen Gitarre und Connor ,Catfish" Gallaher an der Pedal Steel. Beim ersten Song des Abends, ,Los Angeles", ergänzen Ettens klassische Country-Licks und Catfishs hochfliegende Slide-Linien perfekt Dougies beeindruckende akustische Arbeit und seinen goldenen Bariton. Man merkt, dass die drei schon seit Jahren zusammen spielen und in dieser Formation straßentauglich sind. Sie nehmen sich einiger von Dougies beliebtesten Songs an, von Rave-Up's (,Beth David Cemetery" & ,Vaping on the Job") bis hin zu Country-Balladen (,Must Be in There Somewhere", ,Don't You Think I'm Funny Anymore") und allen Punkten dazwischen. Es gibt hier einige Stücke, die für Fans von Dougies letzten Alben neu sein könnten. ,Toshiba Sky" ist eine einmalige digitale Single aus dem Jahr 2020 und ,Wild Motion` ist ein Stück, das Dougie für Drugdealer aus L.A. geschrieben hat, die es für ihr 2020er Album Raw Honey aufgenommen haben. Bei "At Tubby's" wurde auch eine neue Komposition von Dougie aufgenommen, ,Heaven Sent an Angel", die das Set mit einer herzlichen Note abschließt. "At Tubby's" entführt den Zuhörer an einen anderen Ort und in eine andere Zeit und ist für alte und neue Fans ein spannendes Erlebnis.

Coral Grief, das Rocktrio aus Seattle, und Air Between Us, sein Debütalbum, sind treffend betitelt. Die ersten Töne von Sam Fasons Gitarre im Opener ,Starboard" treffen wie ein Windstoß Seeluft ins Gesicht. In nur wenigen Sekunden schwebt man, zu gleichen Teilen unter dem Himmel und über dem Meer. Es ist ein ähnliches Dazwischen, in dem Coral Grief gedeihen, denn sie konstruieren ein kunstvolles Geflecht aus doppelten Bedeutungen in dieser Hommage und Lobrede auf ihre Stadt und Community. Die Sängerin und Bassistin Lena Farr-Morrissey und Fason sind durch die psychische Chemie verbunden, die man nur durch jahrelanges gemeinsames Spielen in Bands entwickeln kann. Die Gitarre von Fason ist das Segel zu Farr-Morrisseys Anker, und hier schafft er Texturen, die so dicht sind wie der Wind. Das Bindeglied - der Motor in dieser nautischen Metapher - ist Schlagzeuger Cam Hancock, der von gemeinsamen Freunden wärmstens empfohlen wurde. Sein treibendes Spiel dient als Brücke der Ideen, als letztes Puzzlestück, als Meister der Dynamik und Übergängen, der ihre Songs in neue Gefilde treibt, ohne dabei aufzufallen. Gemeinsam lassen sie sich von Stereolab, Broadcast, Th' Faith Healers und Seefeel inspirieren, und umrahmen diese sehr spezifische Sorte von britischer Coolness auf eine einzigartige Weise wie es sie nur im pazifischen Nordwesten gibt. Um die Songs zum Leben zu erwecken, begab sich das Trio ins The Unknown - eine eine stillgelegte Kirche, die als Segelmanufaktur und Aufnahmestudio in Anacortes, WA dient. In Zusammenarbeit mit dem Toningenieur Nich Wilbur, der sich von fünf Matchas pro Tag ernährte, wurde der Arbeitsraum zu ihrem Workshop. ,Wir wollten die Dinge zu dritt angehen, aber auch, dass es so üppig und voll wie möglich klingt", erklärt Fason.

Alex Williams revisits his favorite ‘80s Hard Rock songs and gives them some Outlaw Country grit on his third studio album, Space Brain. Inspired by the classic Skid Row, Cinderella, and Mötley Crüe CDs he discovered in his dad’s collection as a kid. What began as a nostalgic conversation during an acoustic session in Illinois quickly turned into a full-fledged passion project. With support from his label and the creative guidance of longtime friend and producer Ben Fowler, Alex spent months reworking his favorite songs from the decade — peeling back the distortion to uncover the lyrics and emotion at the heart of the originals. Backed by a talented crew of musicians, Space Brain captures the spirit of the '80s with a fresh perspective and a deep respect for the music that shaped his youth.

Toomy Disco, hailing from the land of silver—Argentina—delivers a top-tier House EP on our beloved imprint. Blending deep cuts with a touch of disco flair and progressive grooves, this release is tailor-made for summer dancefloors. Featuring two standout remixes by Furz and Takuma Matsumoto, this EP is set to be a true floor-filler for the summer of 2025.

Eines wollen die Forth Wanderers vor der Veröffentlichung ihres dritten Albums "The Longer This Goes On" klarstellen: "Wir sind nicht zurück", sagt Gitarrist Ben Guterl mit Nachdruck. Das ist vielleicht eine unerwartete Aussage für das erste Album der Band seit ihrer Trennung vor sieben Jahren, aber die Band besteht darauf, dass es eine ehrliche Antwort ist - sie haben sich zusammengefunden, um die zehn kompliziert konstruierten Perlen aufzunehmen, die dieses neue Album ausmachen, und sie sind immer noch dabei herauszufinden, was es für sie bedeutet, in Forth Wanderers zu sein. Wenn man sich diese Songs anhört, von denen jeder einzelne ein glitzerndes Fest der eindringlichen und intuitiven Texte von Sängerin Ava Trilling und der natürlichen musikalischen Chemie der Band ist, hat man allerdings kaum das Gefühl, dass irgendetwas ungesagt bleibt. Das Album ist voller glänzender Melodien, klingender Gesangsharmonien und schlüpfriger, schräger Rhythmen und ist mehr als nur eine Rückkehr zur alten Form. Die Band scheut sich nicht, den Umweg über eine Hook zu gehen, indem sie instrumentale Schnörkel übereinander legt, um die leeren Stellen zu füllen, Raum für Trillings eindringliche Stimme zu schaffen oder ein Riff oder einen Text zu wiederholen, bis er zu einem Zen-Koan wird. Auf "The Longer This Goes On" klingen Forth Wanderers selbstbewusster und selbstsicherer als je zuvor. Man sollte es nur nicht als Comeback bezeichnen. Der Weg zu "The Longer This Goes On" begann im Sommer 2021 in einem Café in Brooklyn. Dort trafen sich Guterl und Trilling zum ersten Mal seit der Auflösung der Forth Wanderers im Jahr 2018. Die drei Jahre, die sie voneinander getrennt waren, hatten den Druck, den die Band während der Tourneen mit ihrer früheren Musik verspürte, teilweise abgebaut: "Wir fühlten uns alle frei, herumzualbern und Spaß zu haben", sagt Guterl. Die Wiedervereinigung mit dem Bassisten Noah Schifrin, dem Gitarristen Duke Greene und dem Schlagzeuger Zach Lorelli führte dazu, dass sich das Spielen so gut anfühlte, wie seit der Gründung der Band nicht mehr. "Es fühlte sich an, als wären wir wieder in der High School". Die Band hat die Art und Weise, wie sie bisher gearbeitet hat, neu definiert. "Dies ist das erste Mal, dass ein Großteil der Musik organisch entstanden ist", erklärt Schifrin. "Alle fünf von uns haben wirklich auf eine Art und Weise zum Schreibprozess beigetragen, wie wir es in der Vergangenheit nicht getan haben", fügte Guterl hinzu. Das daraus resultierende Album, das unter dem wachsamen Auge von Dan Howard produziert wurde, zeigt die Band so präsent und unbelastet, wie sie ihren Sound zum ersten Mal in Echtzeit geschaffen hat. Die Texte sind vollgepackt mit Bekenntnissen, die so breit gefächert sind, dass sich jeder, der sich in den Wirren einer unsicheren romantischen Vorhölle verirrt hat, verstanden fühlt, und doch so präzise geschrieben, dass sie eindeutig aus eigener Erfahrung stammen müssen. Das ist genau das, was Forth Wanderers sowohl so universell nachvollziehbar als auch so speziell macht. Auf "The Longer This Goes On" haben sie diese Fähigkeit, mit minimalistischen Texten und üppiger Instrumentierung an den starken Fäden der romantischen Langeweile zu ziehen, noch vertieft. Forth Wanderers sind sich nicht sicher, was als Nächstes kommt - sie wissen nicht, ob sie weiterhin neue Musik aufnehmen werden oder ob sie diese Songs jemals live aufführen werden. Diese Aufnahmen sind also zehn flüchtige, aber unschätzbare Eindrücke aus der Zeit, die sie als Band verbracht haben; das Wiederaufleben von Freundschaften zwischen Highschool-Kumpels, deren Träume sie ins Rampenlicht katapultiert haben, bevor sie alt genug waren, um Auto zu fahren; Songs, die die Ungewissheit der Zukunft ebenso einfangen wie ihre Musik ihr eigenes Selbstvertrauen in der Gegenwart zementiert. Auf "The Longer This Goes On" machen die Forth Wanderers Musik zu ihren eigenen Bedingungen.

Anchored in the charmingly warm vocal presence that McNown partly honed by busking at the beach in Southern California just a few years ago, Night Diving (The Cost of Growing Up) takes the latter half of its title from a gorgeously textured track that perfectly exemplifies his newly refined sound. With its rootsy and ethereal instrumentation—luminous steel guitar, lush mandolin, soulful organ—“The Cost of Growing Up” arrives as a clear-eyed but melancholy meditation on the inevitability of pain. “To me, the cost of growing up is an acceptance that difficult things are going to happen—from minor inconveniences to devastating loss, it’s all a part of life,” says McNown. “But there’s also beauty in that because, without those hard moments, you wouldn’t be able to truly love.”

for the next release on galaxiid, we present "carpet watcher", the long-awaited second album from ishome, the project of russian producer and visual artist mirabella karyanova.

emerging from the far eastern port city of nakhodka, ishome's music has always carried a sense of distance and introspection. her debut album confession (2013) became a cult classic, a fragile, cinematic blend of ambient textures, submerged rhythms and quiet emotion.

carpet watcher was completed in 2018 but remained unreleased until now. like much of ishome's work, it was created with no urgency to be heard, a self-contained world suspended in time. drifting between viscous beats and spectral melodies, the album feels like a memory slowly coming into focus.

from her earliest recordings, mirabella has resisted genre classification. her sound draws from minimal techno, ambient, leftfield pop, outsider art, and the surrealism of soviet-era animation. in her hands, these influences dissolve into something deeply personal, a language of mood and movement rather than style.

beyond the studio, ishome has performed live across europe and russia, including sets at berghain and signal festival, as well as appearances on boiler room and nts. she also creates under the mischievous alias shadowax, where playful chaos replaces introspection. her audiovisual performances, combining original music, iphone-shot footage, digital collage and hand-drawn animation, reveal the full breadth of her artistic vision. dreamlike, humorous and emotionally direct.

ishome rarely releases her music, and when she does, it feels less like a project and more like a postcard from a world she's still wandering through. carpet watcher is the first glimpse into that world in over ten years.

The double A-side includes the super "Fresh X Pop" new song "Sunny Side Up" which signals a new start, as well as the next latest song.
Released on July 16th, which is Roy's (Vo&Ba) birthday and "Hot Dog" day, which is also the origin of the self-managed "Hot Dog Records" label.

Representing the spirit of the underground in Dubai, Shadi Megallaa is a multifaceted music lover whose unwavering passion for music permeates throughout all of his endeavours. A pioneer of Dubai’s electronic music culture, Shadi’s roots lie with the foundations of modern day electronica: all shades of house, techno and beyond. His commitment to preserving and evolving the culture is inherent in his record shop, The Flip Side, which has been intrinsic to the growth and development of music culture in Dubai. As a DJ and producer he draws on a multitude of experience, diverse taste and a refined ear that has instilled the ability to craft compelling productions. On Spirits Of The Deep we find Shadi exploring the deeper side of electronic music, creating layers of vibration designed to immerse the listener in layers of positive vibration.

As prescribed by Shadi himself, we start the traditional way, with Side B (the info side), where ‘Microgravity’ transports us into the cosmos. Soothing sonics envelop a taut low end with crisp percussion and swathes of pad work cultivating an interstellar atmosphere. Subtly shifting layers keep you locked into a groove, as the track maintains its energetic pulse. The synth lines increase with intensity midway through, adding more potency. Across almost nine minutes Shadi takes us on an excursion beyond the stars…

This is followed by ‘G-Dub’, a smooth jazz-inflected piece full of soul nourishing goodness. Intuitive drum programming with a groove-laced low end form the propulsive backbone of this track. The dreamlike melodic elements are almost transcendent in their illuminating impact. With all of its elements combined, ‘G-Dub’ is a glorious foray into the depths of true deep house. Shadi keeps things interesting throughout, adding and subtracting layers to complement the pace. Those hi-hats and intermittent cymbal crashes are especially impactful. A delight.

On the flip we have ‘Pressure’, where Shadi’s UK breaks influence comes through. A characterful vocal sample features throughout the intro before we enter a world of unusual sounds. The beats are, once again, impeccably executed, accompanied by a dubby bassline and an ever-evolving cacophony of squelchy sounds and chirps. Running at just over 9 ½ minutes, ‘Pressure’ sees Shadi flexing his creative muscles with a heady, expansive composition that invites us on a deep musical trip.

Finally, ‘The Poet’ closes out the EP on an emotive tip. The track is dedicated to the Palestinian poet and activist Refaat Alareer, who was killed during an airstrike on Gaza in December 2023. It utilises Refaat’s powerful poem If I Must Die, with the spinetingling words taking centre stage, as Shadi’s beats, bass and bright pads provide the backdrop. A piano-led melody appears in the latter part of the track, amplifying its emotionally-charged atmosphere. A wonderfully imagined homage to a martyr for peace. As the samples state, Let it bring hope…