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Legendary artist Mathias Kaden joins PIV Records for a special exclusive vinyl release on their PVCLB imprint.

With two original tracks Mathias delivers his own sound bringing a classic feeling back to the clubs worldwide. PIV’s very own Retrouve took on remix duties on the title track, adding their own flavour for a complete peak time package.

Ryan Silva, known professionally as Plato III, is an American rapper, producer, and songwriter. He is recognized for his introspective lyrics, fusing personal narratives with sharp insights on race, class, and identity. His music blends hip-hop with influences ranging from indie rock to r&b and funk, creating a sound that is both boundary-pushing and deeply rooted in his experiences.

After self-releasing several projects throughout the 2010s, Plato III gained wider attention with his 2022 Polyvinyl debut, The Devil Has Texas, a vivid exploration of his trailer park upbringing in West Texas. On his new album, Grown, Silva pushes his artistry even further, with a more pop-forward approach that showcases his innovative sound and compelling storytelling. Produced by Phillip Odom (Militarie Gun, Say Anything), Grown features Silva’s most mature work to date, examining the weight of responsibility and aging under the strain of capitalism. Musically, the album bridges modern rap with "grown folks music," drawing inspiration from the soul of Al Green and Marvin Gaye to the funk and boogie of Prince and Earth, Wind & Fire. Grown offers a fascinating look at Silva’s reflective inner dialogue, cementing his status as one of contemporary music’s most original voices.

Hellblaues Vinyl, limitiert auf 400 Exemplare. Dynamik, vielgestaltige Sounds und auch jede Menge Wumms: Das ist das Ding von Niels Hoffmann, Alex Fedorov und Johannes Rosswog. "Die Grenzen Deines Landes sind die Grenzen Deines Verstands" - hier mit markant-markigem Gesang ist ein forderndes Stück und, wie der Titelschon andeutet, auch ein dezidiert politisches. Und auch "Storno" treibt vehement nach vorne: ein unwiderstehlicher Beat aus Schlagzeug und Bass, störrische Gitarrenriffs, breite Soundflächen, Freejazz-Artiges vom Keyboard: Hier spielt eine Band, die mehr sein will, als ein nostalgischer Krautrock-Gedächtnisverein. Die Kunst wird hier nicht für die Kunst gemacht. Es geht um etwas. "Kein Schlussstrich" hält das schnelle Tempo - überhaupt ist "Energie" eine Highspeed-Platte, die nicht an Energie verliert. Im Gegenteil: Sie nimmt weiter Fahrt auf, verbindet reine Spiel-Energie mit der Lust am Experiment. Wie bei "Straßennamen", wo Einseinseins zeigen, wieviel Freude es machen kann, über einen interessanten Beat zu improvisieren.

Iris Juice Coloured LP, limitiert auf 500 Exemplare. Nach dem von Presse und Fans hoch gelobten Album WE CANNOT AWAKE (2024) schafft es die Düsseldorfer Psych Band diese Leistung im 35. Jahr ihres Bestehens zu toppen. Das neue Studioalbum hat alles, was ein moderner Klassiker braucht. Die Bandbreite der Songs pendelt mühelos zwischen Psych-Pop und ausgiebigen psychedelischen Eskapaden. Die Songs haben dabei einen hohen Wiedererkennungswert. So klingt echter Neo Kraut Rock.

gold nugget vinyl, limited to 350 copies. Since 2017, Cosmic Reaper has carried a black-flamed torch of tradition, forged in the long lineage of doom and sludge. Emerging from the shadows of Charlotte, North Carolina, the band blends a raw, southern swing with the full circle of heavy metal-creating a sound as steeped in American mysticism as it is overloaded saturation of amplifier worship. "Bleed the Wicked, Drown the Damned is an album we poured our hearts into. With our sophomore LP, we wanted to take our sound to a new level, but also call back to the roots of doom, with a touch of 90s angst. Lyrically, it touches on everything from standing up to tyranny, to revenge, to sacrifice, to love, lust and betrayal- all wrapped in themes of horror, science-fiction, and history. For the best listening experience: light one up, and turn it up loud."

“Tunggak Semi” is the third album from Indonesian musician and producer Bambang Pranoto. Originally released in 2000, it’s an exemplary slice of what has become his signature style, a dream-like meditation on aspects of nature, combining elements of accordion, acoustic guitar, flute and percussion. The compositions cross eastern and western notation to inhabit a world of their own, a world between worlds, where harmonies reflect the beauty and joy of nature.

Bambang had a rather atypical entry into music, and studied electronics and telecommunications, before he took advantage of the wave of computer software like Cubase and Protools in the 1990s that enabled him to set about recording his own compositions and soundscapes. After playing in groups, he developed his own approach to constructing his productions. He invites musicians to record interpretations of his themes, which he then pieces together in Protools like a jigsaw puzzle. “The musicians have never even met!” he chuckled on a Skype call.

“Tunggak Semi” refers to the giant trees that appear all over Bali, and their process of renewal and regeneration. “If you cut the tree, and leave the roots, they will grow again. Everytime we cut, they grow again. It’s limitless. This philosophy means there’s always something new coming, whether an idea or music, anything.” This approach has grown out of Bambang’s studies into meditation, including Indian and Chinese scriptures, also Balinese and Indonesian religions. Music, like meditation, is a daily practice, and acceptance of the music and its ‘unfinishedness’, forms a central part of the process.

“We must not just think, but we must also feel, and we must accept that feeling,” explains Bambang, and that’s a step of opening one’s mind to possibility. It seems in keeping with two of Bambang’s musical inspirations, namely Ryuichi Sakamoto and Peter Gabriel, both known for their love of world folk music, and fusion of musical traditions. That’s mirrored in Bambang’s own collage-like approach, recording elements and piecing them together to make something unimagined. While the acoustic sound palette for “Tunggak Semi” is rooted in live recordings, Bambang is not afraid to put the digital technology to good use.

“We have to use the computer as a tool in the best way we can,” Bambang says. “Sometimes people say music is made by people, not by the computer, but it’s just another piece of equipment. What can we compose from this equipment? It’s technology music!”

Written and produced by Bambang Pranoto at interactive garden studio, Depok, Bogor between September and December 2001. 2025 version remastered by Wouter Brandenburg at Brandenburg Mastering.

First time reissue of this French cold-wave / minimal-synth treasure.



November 1981 – In the heart of autumn, we set off in two cars along the Nationale 1 (!) to reach Choisy-le-Roi, where a 16-track studio was waiting for us—a place where, over the course of a weekend, we would finally be able to carve our own grooves into vinyl. We were quite nervous, as Guerre Froide had already been around for a year and a half. Our elders in Kas Product had already released two EPs—one with four tracks, the other with three—in 1980, even though they’d started only a few months before us. Admittedly, there wasn’t really a sense of urgency—some of us came from the punk movement, where the prevailing mood was still very much No Future, even if we’d long since stopped believing in it... And yet others had truly lost everything, like those from the generation before us. The reasons, ironically, were often the same: heroin and/or love—hard drugs, in both cases.

Speaking of which, I had a terrible stomach ache—due to nerves or some form of tension—which forced us to make a pit stop in the Oise region so I could rush to the toilet of a local café. That same stomach discomfort would hit me again once we arrived at the studio—whose name, incidentally, I’ve since forgotten...

We had gotten there thanks to the generous initiative of a friend, Sylvain S., known as “Perlin” (what a phonetic coincidence!?), who had specifically created the Stechak Products label to produce our record. Stechak because it was consistent with his earlier association called Tchernoziom, and Products as a plural tribute to the trailblazers from Nancy.

Guerre Froide originally consisted of four members: Fabrice Fruchart on guitar-synth (Korg MS-20), Patrick Mallet on bass, and Gilbert Deffais, known as “Bébert”, on Korg drum machine. At the time, I was already singing in a rock/post-punk band called Stress, and that’s how Guerre Froide picked up the bad habit of rehearsing in the same basement in Amiens as Stress. Within a month or two, we had half a dozen songs. We then had the opportunity to record a 4-track demo with a friend from Radio France Picardie, and to perform in October at a festival held at the Amiens municipal circus. Then came the now-legendary concert on November 11 at B.J.’s Club. After that, we self-produced and released 50 completely DIY copies of a cassette titled Cicatrice. A few concerts later—after Jean-Michel Bailleux had joined us on bass and Patrick had switched to guitar, which felt more natural to him—and with more concrete plans starting to take shape, we had to find a new rehearsal space and start renting a room.

Then came the moment when Fabrice told us he was leaving to go study in Lille... After the June 19, 1981 concert, which was naturally dubbed “Farewell to 2F,” Marie-José, Bébert’s wife, offered to take over on synth.

That’s when Perlin, who was a close friend of the Deffais couple and a great fan of our music, offered to fully finance the production of a 4-track 12-inch EP—covering the studio time, mastering, pressing, and artwork. What up-and-coming band would have turned that down? An improvised contract was signed with each member of Guerre Froide. The first step was choosing which four songs we would record. Berlin 81 was an obvious pick, having already become the group’s flagship track. We wanted to avoid reusing songs from Cicatrice, so the focus shifted to new material—some written before, some after Fabrice’s departure. Ersatz, for example, was his composition, but Mauve and Peine Perdue, which were also selected, were both written by Patrick.

Alongside Bérurier Noir, Parabellum and Les Wampas, Ludwig Von 88 is a major figure in French punk – or alternative rock, call it what you will. To celebrate the 40th anniversary of their cult debut album Houlala, Archives de la Zone Mondiale is releasing a limited edition (gold sleeve and disc), an identical reissue of an ultra-confidential (and highly sought-after!) gold pressing released in 1986. ‘Pololop’, ‘HLM’, ‘Marche’, “Bilbao”, ‘Bière et Punk’ are hits that Ludwig continue to play live today in their colourful, joyful and chaotic performances.

Vierfaches Vinyl (Frosted White Vinyl Colour) - oder CD-Box-Set, kuratiert von David Gedge, um vier kompromisslose Jahrzehnte The Wedding Present zu feiern. Nachdem sich die Alternative-Rock-Band The Lost Pandas aus Leeds Anfang der 1980er Jahre aufgelöst hatte, beschlossen Sänger/Gitarrist David Gedge und Bassist Keith Gregory, eine neue Gruppe zu gründen. 1985, inspiriert von Pop-Radio, Punk-Frechheit, The Velvet Underground und Davids ehemaligen Schulkameraden The Chameleons, gründeten sie The Wedding Present. Diese Band war - und ist bis heute - in jeder Hinsicht kompromisslos und unerschütterlich authentisch, und so wurde Gedge, ohne es zu beabsichtigen, zu einer legendären Figur der alternativen Musik. Er ist einer der wichtigsten Architekten und Begründer des alternativen Gitarrenrocks und der Mastermind hinter einem der reichhaltigsten, eingängigsten und beständigsten Kataloge der Popgeschichte. Vier Jahrzehnte später, mit 13 Studioalben, 20 Compilation-Alben und einer ganzen Reihe von Singles, EPs, Live-Alben und Radio-Sessions - und weiteren in Aussicht - ist "The Wedding Presen 40" eine feiernde Reflexion dieser komplexen und faszinierenden Band. Erhältlich als vier Vinyl- oder vier CD-Box-Sets, handelt es sich hierbei nicht um eine gewöhnliche Sammlung der ,beliebtesten" Songs, sondern um eine chronologische, akustische Reise durch Albumtracks, Singles und B-Seiten. Das atemberaubende Artwork wurde von Jonathan Hitchen zusammengestellt, der viele der Original-Plattencover der Band entworfen hat, und es gibt ausführliche Begleittexte von David Gedge selbst sowie dem renommierten Musikjournalisten Mark Beaumont NME, Guardian, Independent. Gedge's Kommentare bieten einen einzigartigen Einblick in die Arbeitsweise der Band und einen spannenden Track-für-Track-Leitfaden zur Jubiläums-Compilation. Inklusive 32-seitigem Hardcover-Buch mit ausführlichen Begleittexten von Mark Beaumont sowie Kommentaren zu jedem einzelnen Titel von David Gedge.




[b] 1.2YOU SHOULD ALWAYS KEEP IN TOUCH WITH YOUR FRIENDS [PEEL SESSION VERSION]


[e] 1.5MY FAVOURITE DRESS [LP VERSION]



[i] 1.9GIVE MY LOVE TO KEVIN [ACOUSTIC VERSION]




[n] 2.3BRASSNECK [SINGLE VERSION]





[t] 2.9CORDUROY [LP VERSION]





[z] 3.6SPANGLE [LP VERSION]



[xd] 3.10INTERSTATE 5 [LP VERSION]





[xj] 4.5TWO BRIDGES [LP VERSION]

[xl] 4.7I AM NOT GOING TO FALL IN LOVE WITH YOU [LP VERSION]
[xm] 4.8SCIENCE FICTION [LP VERSION]

Fred Armisen, long known as one of the most curious actor/comedian/musician/ producer/ author/all-round good guys in the business, likes unusual ways of entertaining people. Like this one: 100 Sound Effects is an album that can be used as a library, an industrial tool for your own entertainment projects, or simply for brain-stimulating deep listening. From basic sounds to more abstract scenarios, 100 Sound Effects is an album like no other!

,Endling" heißt das geniale dritte Album der Grazer Indie-Rockband ,Love God Chaos`. Ein ,Endling" ist der Letzte seiner Art. Ein euphorisch, kosmisch tanzbar schräges Gesamtkunstwerk aus Graz. VÖ: 2019

Sam Prekop"s work over the last 30 years, whether created primarily on his guitar or on his modular synth, is consistent in its powerful melodicism, delicate arrangements and subtle evolution. Prekop"s singular blend of melody, impressionistic lyricism and quietly intricate rhythms are the core of the singular sound of The Sea and Cake. Since 2010"s Old Punch Card, Prekop"s exploration of modular synthesis and electronic atmospheres, has come into its own. Highly skilled at manipulating the sonic interplay, Prekop has established a sytle all his own, his pieces are complex expressing real movement. Harmonies bloom with granular detail and contrary to their machine sources are able to convey emotion. Open Close is an album that captures the flow and energy of a live performance through the lens of a deft craftsman, an equilibrium of intuitive composition and the excitement of possibility.

Sam Prekop"s work over the last 30 years, whether created primarily on his guitar or on his modular synth, is consistent in its powerful melodicism, delicate arrangements and subtle evolution. Prekop"s singular blend of melody, impressionistic lyricism and quietly intricate rhythms are the core of the singular sound of The Sea and Cake. Since 2010"s Old Punch Card, Prekop"s exploration of modular synthesis and electronic atmospheres, has come into its own. Highly skilled at manipulating the sonic interplay, Prekop has established a sytle all his own, his pieces are complex expressing real movement. Harmonies bloom with granular detail and contrary to their machine sources are able to convey emotion. Open Close is an album that captures the flow and energy of a live performance through the lens of a deft craftsman, an equilibrium of intuitive composition and the excitement of possibility.

For our fourth release, we welcome Basel-based producer Ben Kaczor. ‘To Baby Bones’ showcases the tracks produced as part of Ben’s first live set presented at Above Below Festival in 2024.

Written as a homage to a loved one, the title track of the EP is a gentle soundscape traveling through memories and subtle body shivers, far away yet never out of heart’s reach. ‘Bridge’, as if hung high above, suffuses the air with a thick emotional haze, lifting slowly as a walk along a fragile structure ends. Wistfully transforming present into past, ‘This Blue Light’ melds with the orange glow of the sun and dissolves into a white cloud. Driving and fizzy ‘Punchbag’ brings all the dreamers down to earth. Immersing them straight into the buzzing front left, it buoyantly concludes an ode to the melody of life and the joy of a loving heart — To Baby Bones.

West coast writer / producer George Semper recorded four sides on the Sherilles − a group led by Vessie Simmons, who had been lead singer for the Ribbons in the early 60s. She would go on to have a prolific solo career in the 70s, right through to the 90s. Ace sleuth Alec Palao found four Semper-produced sides on two DCT acetates and we licensed the rights from the Semper family.

These fully realised recordings are from 1968 when the group had to swiftly change their name from the attempted one of the Shirelles − which they had hoped to get away with, and presumably cash in on that outfit’s fame. A court injunction put paid to that plan and though the name change was only slight, it was never tested in court, as the tracks were never issued. ‘Nobody’s Gonna Love You’ is an excellent George Semper song and judging by the 100 Club’s audience reaction to recent plays will become a staple of forward-thinking club’s playlists.

‘Make It On My Own’ is in the same groove and not far short of the A side. Vessie would re-write and re- record it in 1975 as ‘I Can Make It On My Own’ for a solo release on her Simco label.

RELEASE INFO: Robert Plant's "Saving Grace", sein erstes Album mit einer neuen, hochkarätig besetzten Band, ist, wie er es nennt, "ein Liederbuch der Verlorenen und Gefundenen". Es entstand während der Lockdowns in „The Shire“, als Plants übliches Umherwandern fast verboten war. Auf dem englischen Land fand er engen Kontakt zu einer Gruppe von Musikern - der Sängerin Suzi Dian, dem Schlagzeuger Oli Jefferson, dem Gitarristen Tony Kelsey, dem Banjo- und Streicherspieler Matt Worley und dem Cellisten Barney Morse-Brown -, die alle eine gemeinsame Vorliebe für seine stimmungsvollen Lieder hatten. Saving Grace wurde von Plant und der Band produziert und über sechs Jahre hinweg in den Cotswolds und an den walisischen Grenzen aufgenommen. Das Album haucht einem Schatz von Songs von Memphis Minnie, Bob Mosley (Moby Grape), Blind Willie Johnson, The Low Anthem, Martha Scanlan, Sarah Siskind und Low neues Leben ein. MARKETING: Umfassende Marketingkampagne mit Print-Anzeigen in MINT, Classic Rock, ROCKS, Slam Magazine und GoodTimes. Begleitend Digitalmarketing mit Fokus auf Onlineversandhändler.

Chers legendäres Live-Album "The Farewell Tour" feiert 22 Jahre nach seiner ursprünglichen Veröffentlichung ein spektakuläres Comeback und erscheint erstmals auf Vinyl und digitalen Streaming-Plattformen.Die Doppel-LP wird auf hot-pinkfarbenem und lilafarbenem Vinyl erhältlich sein und enthält eine remasterte Version des Originalkonzerts. Zusätzlich zu den ursprünglichen 18 Songs der CD-Veröffentlichung beinhaltet die Kollektion drei bisher nur auf dem Konzertfilm enthaltene Bonus-Tracks: „Save Up All Your Tears“, „We All Sleep Alone“ und „Different Kind of Love Song“.Das Album nimmt die Hörer mit auf eine faszinierende musikalische Reise durch Chers einflussreiches und einzigartiges Werk. Es präsentiert kraftvolle Live-Performances von Hits wie „Believe“, „If I Could Turn Back Time“, „Just Like Jesse James“ und „All Or Nothing“ und repräsentiert jede Facette ihrer kreativen Karriere – von ihren klassischen Alben bis hin zu ihrer Arbeit für Film, Fernsehen und Theater. Diese Neuauflage ist nicht nur für Sammler ein Muss, sondern auch eine Würdigung von Chers phänomenaler Karriere und ihrem unvergleichlichen Einfluss auf die Popkultur.

Escalator" by Sam Gopal feat. Motorhead’s Lemmy – A Psychedelic Gem
Released in January 1969, Escalator is the only studio album by the British psychedelic rock band Sam Gopal, led by tabla maestro Sam Gopal himself
Unique both in sound and lineup, the record blends Eastern percussion with psychedelic rock and has garnered cult status—especially thanks to guitarist/vocalist Ian “Lemmy” Kilmister.
This record marks Lemmy’s earliest studio work, before his stints with Hawkwind and of course, Motörhead, making it a vital piece for fans of his legacy.
Incl. Unreleased tracks “Horse/back Door Man”
180 gram vinyl + insert

Recorded at the O2 Islington Academy, London, 23rd October 2010.
Limited edition White vinyl.
The Secret Affair line-up:
Ian Page - Vocals
David Cairns – Guitars, backing vocals
Martyn Blagden - Trumpet
Steve Rinaldi - Trombone
Andy Brush - Saxophone
Bryn Barkham – Hammond organ

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