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New album from Pictish Trail, AKA Johnny Lynch, known for his wildly inventive electro-acoustic psych-pop. Life Slime is the sixth full-length album by Pictish Trail (AKA Johnny Lynch) - a strange, tender, psychedelic electro-pop record shaped by transformation, exhaustion, hope, guilt, and renewal. Written at home on the Isle of Eigg and recorded at Mike Lindsay's studio down in Margate (Tunng / LUMP), the album follows 2022's critically acclaimed Island Family, further refining Lynch's world of lo-fi electronics, warped pop melodies, baggy psych rhythms and emotionally direct songwriting. It's a record that balances woozy synth-pop, motorik propulsion and intimate acoustic songwriting, all infused with the emotional messiness that gives the album its title. Across the album's singles - the guilt-stained psych-pop ballad 'Hold It', the life-affirming shimmer of 'Infinity Ooze', the late-night confession of 'Torch Song', the expansive eight-minute centrepiece 'Another Way', and the cinematic closer 'Werewolf Ending' - Life Slime charts a journey from emotional fracture to uneasy release. 'Sorry Eyes' brings a punchy electro-pop strut with a sharp emotional edge, 'Crystal Cave' drifts through crystalline guitars and shoegaze haze into transformation, and the title track 'Life Slime' moves with a slow, weary swagger toward bittersweet acceptance. Together, these tracks form a cohesive album statement about surrender, resistance, change and renewal. "Wonderfully weird pop"- Brooklyn Vegan For fans of Hot Chip, The Flaming Lips, Liars, Mercury Rev, Beck, John Grant, Empire of the Sun, Grandaddy. Colour vinyl and digisleeve CD

GOLLIWOG is billy woods' first album in two years, preceded by 2023's Maps, his second collaboration with producer Kenny Segal. That nimble travelogue has little in common with woods' newest work, despite the fact that Segal shows up a couple times in the credits. GOLLIWOG is a haunting collection that weaves horror, humor, surrealism and Afropessimism into a cinematic tapestry, aided and abetted by a murderer's row of producers. African zombies, time traveling trap cars, malevolent ragdolls and a dying Frantz Fanon are just a few of the revelers in woods' danse macabre. GOLLIWOG features production from The Alchemist, Kenny Segal, EL-P, Conductor Williams, Preservation, Messiah Musik, Sadhugold, Ant (Atmosphere), Shabaka Hutchings, Steel Tipped Dove, DJ Haram, Willie Green, Jeff Markey, Saint Abdullah, and LA-based experimental jazz trio Human Error Club. Meanwhile, woods is joined on the mic by Backwoodz labelmates ELUCID and Cavalier, along with rappers Bruiser Wolf, Despot, Al.Divino, and singer-songwriter Yolanda Watson. GOLLIWOG is another triumph in the woods oeuvre, as layered and compelling as anything he has ever done. A black carnival pitched in a muddy field overnight, empty rides whirring and clattering in the dark.

2026 Repress

FFF returns to 3AM Eternal with a 4 track ep. Side a features 2 soundclash infused rare groove amen tunes that are atmospheric, melancholic but still guaranteed ruff!
The B side is less smooth. 100% riot beats! Mentasm mayhem!! Rotterdam based Newk's remix goes even deeper into jungle tekno territory.

Die größten Hits der 90er – jetzt auf hochwertigem Vinyl.

Mit der Compilation „BoomBox 90s“ holst du dir das unverwechselbare Lebensgefühl der 90er Jahre direkt auf deinen Plattenteller. Diese exklusive Vinyl-Sammlung vereint legendäre Chart-Hits und unvergessene Klassiker – perfekt für nostalgische Musikabende und echte Sammler.

Freue dich auf zeitlose Songs wie:

„What’s Up?“ – 4 Non Blondes
„Zombie“ – The Cranberries
„Old Pop in an Oak“ – Rednex

Von Alternative Rock über Grunge bis Eurodance – „BoomBox 90s“ bringt die musikalische Vielfalt eines ganzen Jahrzehnts authentisch zurück. Der warme, satte Klang der VinylPressung sorgt für ein intensives Hörerlebnis, das digitale Formate kaum erreichen

Die 6-LP-Box „60 Jahre Floh De Cologne Vol. 1“ ist eine umfassende Sammleredition mit historischen Aufnahmen der legendären politischen Rockband Floh de Cologne. Enthalten sind die originalen LP-Reproduktionen Vietnam,

Geyer - Symphonie, Lucky Streik, Fließbandbabys BeatShow, Profitgeier, die einen Querschnitt durch das frühe Schaffen der Band bieten. Die Box richtet sich an VinylSammler und Fans deutscher Underground- und Protestmusik und dokumentiert ein wichtiges Kapitel der Musik- und Kulturgeschichte.

2024 marked the 50th anniversary of Cymande’s ‘Promised Heights’, a record that closed out an historic three album run of seminal early 1970s Afro-soul that also included their 1972 self-titled debut and 1973’s ‘Second Time Round’

Promised Heights’ solidified Cymande’s place in music history and contains some of their most- beloved and often-sampled tracks such as ‘Brothers On The Slide’.

As children of the Windrush Generation, Cymande were part of the first wave of innovators and originators of the fledgling Black British music scene.

Taking influences from their Guyanese and Jamaican roots, the band fused reggae basslines, Afro-tinged Nyabinghi percussion, psychedelic rock touches, and American style funk instrumentation into a unique sound they dubbed as ‘Nyah-rock’.

‘Promised Heights’ was recorded following the band’s US tour with Al Green, which had firmly planted Cymande in the ears of an adoring American audience.

Broadside has never been a band to stay in one place for too long—musically or otherwise. The Richmond, Virginia-based band has spent the past decade carving out their own space in the pop rock scene. Drawing influence from The Killers, AFI, Kings of Leon, and Taking Back Sunday, their sound seamlessly fuses nostalgic rock energy with a fresh, modern edge. Their evolution has been nothing short of remarkable, taking them from underground favorites to genre staples, all while embracing the idea that growth and change are not just inevitable but necessary. With Oliver Baxxter (vocals), Domenic Reid (guitar), and Patrick Diaz (bass/backup vocals) at the helm, Broadside has built a career on crafting music that feels both deeply personal and universally relatable.

Their last full-length album, Hotel Bleu, served as a bold chapter in their story, using the transient nature of hotel stays as a metaphor for self-reflection, fleeting moments, and personal reinvention. The album marked a significant milestone in their career, amassing over 100 million streams and standing as their boldest, brightest, and most ambitious work to date. Now, as they prepare to enter their next era, the band is gearing up to release their most dynamic music yet, continuing to evolve while staying true to the energy and authenticity that first captivated listeners.

Broadside has never been a band to stay in one place for too long—musically or otherwise. The Richmond, Virginia-based band has spent the past decade carving out their own space in the pop rock scene. Drawing influence from The Killers, AFI, Kings of Leon, and Taking Back Sunday, their sound seamlessly fuses nostalgic rock energy with a fresh, modern edge. Their evolution has been nothing short of remarkable, taking them from underground favorites to genre staples, all while embracing the idea that growth and change are not just inevitable but necessary.

With Oliver Baxxter (vocals), Domenic Reid (guitar), and Patrick Diaz (bass/backup vocals) at the helm, Broadside has built a career on crafting music that feels both deeply personal and universally relatable. Their last full-length album, Hotel Bleu, served as a bold chapter in their story, using the transient nature of hotel stays as a metaphor for self-reflection, fleeting moments, and personal reinvention. The album marked a significant milestone in their career, amassing over 100 million streams and standing as their boldest, brightest, and most ambitious work to date. Now, as they prepare to enter their next era, the band is gearing up to release their most dynamic music yet, continuing to evolve while staying true to the energy and authenticity that first captivated listeners.

Now, Fantastic Cat has defied the odds—and their therapists’ strong recommendations—to return with their third and finest album yet, Cat Out Of Hell. Produced by the band and mixed by D. James Goodwin (Goose, Kevin Morby, The Hold Steady), the collection elevates Fantastic Cat’s trademark blend of craftsmanship and chaos to new sonic heights, capturing the freewheeling, lightning in a bottle energy of their must-see live show and channeling it into a ramshackle house party full of existential searchers, desperate romantics, and barstool philosophers.

Vivel is Alexander Eldefors’ second release under his own name. Built around eurorack and field recordings, many captured during still moments while traveling to visit family and friends. The album was created during a period of transition. It functions as an anchor in a time of change, representing a sense of home, safety, and stillness.

Alexander Eldefors is a producer, composer, and mixing engineer based in the countryside outside of Stockholm, Sweden. With a background as both a sound engineer and musician, he has spent years recording, mixing and playing in a wide range of bands and solo projects. In 2019, he consciously slowed down and returned to a more intimate and quiet musical expression, leading to the release of his debut album Bergen in 2020 under his own name. Bergen is the Swedish word for mountains and reflects the fact that Alexander grew up in the north of Sweden close to the mountains.

His music is minimalistic, melodic, and embracing, shaped by a deep connection to nature. Natural environments are a constant presence in his work, serving both as inspiration and as a sound source. Alongside this, he is drawn to the raw textures of everyday objects, working with foley sounds and field recordings. His arrangements unfold as organic sound collages, where elements blend freely and imperfections are preserved to maintain a natural, human feel.

Der „vielleicht beste Ravel-Interpret unserer Zeit« - Scherzo
Nun endlich auf Vinyl erhältlich! Seong-Jin Cho’s weltweit gefeiertes Album “Ravel: The Complete Solo
Piano Works.”
Im Sommer 2024 stellte sich Cho dem historischen, umfassenden Werk in der Siemens-Villa in Berlin:
»Ravel wusste, was er wollte, deshalb versuche ich, mich an seine genauen Spielanweisungen zu halten.
Miroirs zum Beispiel ist technisch unglaublich herausfordernd. Es ist gefühlvoll und dramatisch, voller
Fantasie und Farbe. Fast ist es unmöglich, jeder Angabe zu folgen, aber ich gebe mein Bestes!«, so Cho.
Das scheint zu gelingen, wie jüngste Kritiken nahelegen: Nach einem Recital in Madrid kürte Scherzo Cho
zum »vielleicht besten Ravel-Interpreten unserer Zeit«, während The Scotsman nach dem Auftritt beim
Edinburgh Festival konstatierte: »Den Ravel-Part des Konzerts spielte Cho mit kaum fassbarer Präzision
in kontrastierenden und reichen Farben, er war wie im Fluss der Musik, was ihr erlaubte, voller Leichtigkeit
und Wärme zu atmen.«
Zehn Jahre nach dem Gewinn des Chopin-Wettbewerbs bestätigt sich Chos Status als einer der bedeutendsten Pianisten unserer Zeit, und der erste Teil dieser maßstabsetzenden Aufnahmen sind nun endlich
auch auf 180g-Vinyl erhältlich.

Nur wenige Tage, bevor der Altsaxofonist Cannonball Adderley mit Miles Davis, Art Blakey und anderen
Größen sein emblematisches und einziges Blue-Note-Album “Somethin’ Else” einspielte, ging er noch ein
letztes Mal mit seinem regulären Quintett ins Studio, um für das Label EmArcy “Cannonball’s Sharpshooters” aufzunehmen. Das Ensemble präsentierte zum Abschied ein kompaktes Programm mit Klassikern von
u. a. Tadd Dameron und Thelonious Monk sowie einer Eigenkomposition des Bandleaders.

Mango Glow Edition. Das experimentelle Berliner Trio ZAHN kehrt mit seinem bislang elektrisierendsten Werk zurück. Eine üppige Fusion aus Schwere, Elektronik und halluzinatorischen Farben. Monolithische Grooves treffen auf synthetischen Schimmer. PURPUR strahlt Spannung und Gefahr aus und pulsiert mit Tiefe und Dichte. Bekannt für ihren intensiven, treibenden Sound, der den unerbittlichen Marsch einer Welt am Abgrund widerspiegelt, vertieft das Trio ZAHN - Chris Breuer, Nic Stockmann und Felix Gebhard - seine klangliche Erkundung mit einem Album, das gleichzeitig elektronischer und rockiger ist als seine gefeierten Vorgänger. Purpur orientiert sich am lebhaften Cover des Albums - einer Explosion aus Trauben und Beeren, die seinen üppigen, farbenfrohen Sound widerspiegelt. Das Album verbindet kraftvolle Genres zu etwas Frischem und Elektrisierendem: schwere Fundamente treffen auf reichhaltige elektronische Texturen und schaffen Schichten aus Farbe, Komplexität und einem Hauch von halluzinatorischer Süße. Erneut in Gyhum mit dem Toningenieur Peter Voigtmann (ex-The Ocean, Death By Gong, Heads.) aufgenommen, tritt Purpur in die Fußstapfen der bisherigen Werke der Band, markiert aber auch einen mutigen Sprung nach vorne. Gastbeiträge von Fabian Bremer (Radare, AUA) und Kjetil Nernes (Årabrot) vertiefen das Gefühl der Unruhe und Faszination des Albums, während Magnus Lindberg (Cult of Luna) mit seinem Mix und Mastering dem Album die Tiefe eines unterirdischen Pulses verleiht - knackig, schwer und lebendig mit mikroskopischen Details. Während ,Adria" eine lebhafte Flucht durch Krautrock, Dark Jazz, Noise Rock und Post-Punk bot, zieht ,Purpur" die Zuhörer in eine dichtere, komplexere und eng verwobene Klanglandschaft. Das dritte Album der Band ist ein berauschender Wirbel aus synthetischem Puls und physischer Schwere - ein Album, das sich eher wie fermentiert als wie komponiert anfühlt.

Das zweite Album des Duos aus Denver, Colorado! Shores of Scorpio fordert Sie nicht nur zum Zuhören auf - es fordert Sie dazu auf, sich mit dem auseinanderzusetzen, was Sie zu wissen glaubten. Das mit Spannung erwartete zweite Album des Duos Volores aus Colorado - Shelby und Nathen Maxwell (Bassist von Flogging Molly) - ist ein sehr persönliches Konzeptalbum, das Shelbys Entdeckung nachzeichnet, dass ihr leiblicher Vater nicht der Mann war, für den sie ihn gehalten hatte. Das Album wurde im legendären Sonic Ranch aufgenommen und markiert eine mutige emotionale und klangliche Weiterentwicklung der Band.

Sonderausgabe auf türkisfarbenem Vinyl. Ursprünglich 2009 veröffentlicht und seit Jahren vergriffen. Seit ,Endless Summer" hat uns die Musik von Christian Fennesz fasziniert. Während viele Laptop-Künstler nicht über ein leeres elektronisches Rumpeln ohne Tiefe hinauskommen, schafft es Fennesz, eine Welt voller ungehörter und reichhaltiger neuer Klänge zu erschaffen. Christians Idee, mit Mark Linkous von Sparklehorse zusammenzuarbeiten, hat uns sofort begeistert. Die beiden Künstler waren schon ein paar Mal gemeinsam aufgetreten und hatten beide das Gefühl, dass in dieser Zusammenarbeit noch mehr Potenzial steckte. Nur zwei Tage im Dezember 2007 reichten aus, um über 40 Minuten der erhabenen Kombination aus Fennesz und Sparklehorse aufzunehmen. Vorbereitete Kuriositäten und jede Menge Inspiration machen diese Aufnahmen einzigartig in ihrem Stil und insbesondere in dieser Serie. Songs und Klanglandschaften von seltener Schönheit mit atemberaubender Atmosphäre, in denen abstrakte Klänge und gut ausgearbeitete traditionelle Songstrukturen aufeinandertreffen und akustische Instrumente und Elektronik ein herausragendes Ambiente schaffen.

“Duran Duran” aka “The Wedding Album” released in 1993 was a return to form for the band, charting in the top10 on both the UK and US album charts and spawning the world-wide hit’s ‘Ordinary World’ and ‘Come Undone’

Following in 1995, “Thank You” was an album of covers featuring songs written by Led Zeppelin, Bob Dylan, The Doors, Lou Reed and Elvis Costello. The album charted in the top20 of both UK and US charts.

Originally squeezed onto 1LP, both albums are highly sought after as neither have been re-pressed on vinyl since their original release. They are now spread across 140g 2LPs for the best sound. CDs will now be in paper sleeves as opposed to jewel cases.

“The Wedding Album” has a newly embossed sleeve and includes a 12” art card, and “Thank You” features a gatefold sleeve with a fold out poster replicating the original release.

Nora Steiner und Madlaina Pollina malen das Bild einer Welt, die wir schon lange nicht mehr so eindrücklich und reflektiert wahrgenommen haben. Aufbruch, Licht und Schatten und die Bedrängnis der Gegenwart, ausgedrückt in bezauberndem Indie-Folk-Pop, der Zähne zeigt und enorme Dynamik entwickelt. Mal erinnert ihr zweistimmiger Gesang an First Aid Kit, ihre kompositorische Zugänglichkeit lässt an den perlenden Pop von Boy denken, dann wieder geleitet uns das Duo an düstere Abgründe, wie sie auch Emily Jane White beschreibt. Allerdings sind dies nur ungefähre Orientierungspunkte. Dass die beiden aus der Schweiz kommen, ist grundlegend für deren Debütalbum "Cheers", denn "Cheers" heißt nicht nur Prost, "Cheers" kann ein Anfang und ein Ende sein, eine Begrüßung und auch ein Abschied. Dabei spielen Steiner & Madlaina gekonnt mit Ambivalenzen. Mal fließen ihre Songs lieblich daher, dann türmen sich die Instrumente walzenartig auf. Durch die analogen Sounds und teils surfigen Gitarrenklänge gewinnt "Cheers" an Wärme und transportiert einen unterschwelligen 60er-Jahre-Charme. Im Zentrum des Ganzen stehen aber immer die Stimmen von Steiner & Madlaina, die so perfekt harmonieren, dass man die Vertrautheit und langjährige Freundschaft der beiden herauszuhören meint.

THE RAPPER ANDPRODUCER"S NEW ALBUM
Palmier is producer and rapper Rocé"s new album. At the crossroads of Sade and Rakim, the album unfolds an impeccable flow over gentle melodies, the mellow sound of the saxophone softening the sharpness of the spoken truths. Rocé delivers a melody of hope, and appreciation of determination in the face of the impossible. "La Voie Lactée" features the captivating voice of Natacha Atlas and the sublime orchestrated violins of Samy Bishaï, the whole thing wrapped up in the style reminiscent of Isaac Hayes" soul and Portishead"s trip-hop. "Laisse les enfants courir" reveals a soulful hip-hop,between powerful groove and relentless flow, where Rocé blends political lucidity and poetic verse while Cisko"s subtle arrangements sculpt an organic, sensitive landscape, poised between tension and serenity. On "Lunaire", Rocé surprises us right away, with a sharp and melodic flow. Driven by powerful imagery and sharp lyrics, the track transforms anger into creative energy. It portrays an artist outsidethe mainstream, awareof the world"s failings but determined to create his own haven. Palmier embodies the melancholy of unfinished struggles, perseverance, and the promise of a brighter dawn.

This is the Dahmers third album “Creature Feature” and the band continues to dig deeper in to a world of dark things, the things that don't belong, provokes, gives you the creeps or just makes you want to look away. “Our vision has been to explore and develop the bands sound but also to maintain the bands profound and colorful essence. “We want people to get excited when they hear the album, take them with us to another planet and make 'em forget about all the trouble in the world for a while” - Christoffer Karlsson (Lead singer/guitar)
The album was recorded and co-produced by Johan Gustafsson aka “The Johan and only” from the Hives in studio Ingrid in Stockholm. There's a new level and feel to the production with guest musicians on some tracks. With instruments like brass, cello, flute and piano the songs reaches their full true potential, along with added synth elements this gives the band a fresh feel. There's a wide variety of songs on the album where every track has it's very own theme, sound and characteristics. Where deep subjects like darkness, sorrow and alienation are being explored along with the bands continuing homage to the classic slasher and giallo flicks of the 70's and 80's, but also songs about a Swedish fakir, cults, rats and creatures from outer space. This album is a celebration to trash culture and to the underdogs, all delivered with a catchy uplifting chorus that The Dahmers is known for.
Creature Feature will be released on the bands own label Eerie sounds and will be out on February Friday the 13th.

With Alouette!, Les Louanges attempts to make sense of his human condition and Québécois identity by bringing guitars and Joual (the French language dialect spoken in Québec) to the forefront while still fuelling his signature grooves. More rock-oriented than his previous albums, this third effort is luminous yet rich in sounds, emotion and political commentary. It unfolds through a journey that will lead Loulou to encounter universal experiences such as illness, death, and true love.

The album is also the result of an artistic quest that began during a period of self-reflection, when Vincent Roberge (aka Les Louanges or Loulou) seized the opportunity to take a break after his last extended tour. Alongside the existential questions typical of someone approaching their thirties came a rediscovery of the classics—from Leonard Cohen and Prince to Richard Desjardins and the nursery rhyme that gives the album its name–, followed by total exploration. In addition to playing most of the instruments himself, the singer-songwriter revived obscure Quebec records through sampling and got to experiment with actual sound recording. Roberge co-produced Alouette! with his long-time collaborator Félix Petit (because why change a winning formula).

Four years after the success of his sophomore album Crash, Les Louanges returns more confident than ever, thanks to a renewed cultural and emotional baggage that allows him to reflect on the past to better engage with the present, while also enjoying it to the fullest. All of this, without overlooking the future, which he foresees with hope despite the collective challenges that await us.

Blue Hour is Nick Schofield’s first foray into ambient jazz music. The album is an ambient ode to Miles Davis’ In A Silent Way, and opens up Schofield’s sonic palette to introduce his childhood instrument, drums, with his contemporary ambient-electronic practice. Blue Hour features the intuitive, and totally improvised, trumpet playing of Scott Bevins (No Cosmos, Busty and the Bass).

Schofield grew up playing drums, but turned to creating experimental-electronic music when studying Electroacoustics at Concordia University. Well-known for his signature ambient aesthetic, Schofield has been called a “dazzling electronic artist” by Aquarium Drunkard and a “synth maven” by Constellation Records. Blue Hour marks the first time that he has merged his percussion practice with his ambient electronic explorations, and it is all in the service of reinterpreting Miles Davis’ 1969 watershed recording In a Silent Way.

Schofield improvised all of the drumming and main synthesizer parts over the course of a single day, recording in a church in Ottawa. These foundational layers comprise tender Moog pulses and Roland Juno-6 pads, some of which would not be out of place on the back half of Another Green World or Music Has the Right to Children.

If this was to be a reflection of In a Silent Way, of course there would need to be trumpet. Schofield invited Bevins to record the missing piece of the album during a one day recording session, where Bevins improvised all his trumpet parts having never heard the songs before. Scott Bevins’ contribution gives the music a leading instrumental voice, and his intuitive approach shows a perfect understanding of how to both integrate and elevate the compositions.

Blue Hour is itself a profound reference, an ambient adaptation, a dream realized and an uncanny synthesis of sounds, styles, and personal history.

Blue Hour is Nick Schofield’s first foray into ambient jazz music. The album is an ambient ode to Miles Davis’ In A Silent Way, and opens up Schofield’s sonic palette to introduce his childhood instrument, drums, with his contemporary ambient-electronic practice. Blue Hour features the intuitive, and totally improvised, trumpet playing of Scott Bevins (No Cosmos, Busty and the Bass).

Schofield grew up playing drums, but turned to creating experimental-electronic music when studying Electroacoustics at Concordia University. Well-known for his signature ambient aesthetic, Schofield has been called a “dazzling electronic artist” by Aquarium Drunkard and a “synth maven” by Constellation Records. Blue Hour marks the first time that he has merged his percussion practice with his ambient electronic explorations, and it is all in the service of reinterpreting Miles Davis’ 1969 watershed recording In a Silent Way.

Schofield improvised all of the drumming and main synthesizer parts over the course of a single day, recording in a church in Ottawa. These foundational layers comprise tender Moog pulses and Roland Juno-6 pads, some of which would not be out of place on the back half of Another Green World or Music Has the Right to Children.

If this was to be a reflection of In a Silent Way, of course there would need to be trumpet. Schofield invited Bevins to record the missing piece of the album during a one day recording session, where Bevins improvised all his trumpet parts having never heard the songs before. Scott Bevins’ contribution gives the music a leading instrumental voice, and his intuitive approach shows a perfect understanding of how to both integrate and elevate the compositions.

Blue Hour is itself a profound reference, an ambient adaptation, a dream realized and an uncanny synthesis of sounds, styles, and personal history.

HYPER GAL are restless. Since 2019, Kansai’s minimalist duo has been in persistent, perpetual motion.

In January of 2024, SKiN GRAFT Records introduced HYPER GAL to western audiences, giving the previously self-released album “Pure” a worldwide release. It was followed by “After Image”; a new full-length record; in September of that same year. In short order HYPER GAL left Japan to embark on a month-long European tour, performing at festivals such as Left of the Dial in Rotterdam and Le Guess Who? in Utrecht.

Consisting of Koharu Ishida (vocals) and Kurumi Kadoya (drums), HYPER GAL craft a sound all their own, characterized by avant-garde rhythms, looping landscapes, and hypnotic vocals. Their music resists traditional genre boundaries to carve out a truly singular sonic space.

With their fourth album “Our Hyper”, HYPER GAL thrust their sound into a deeper, harder core. Songs unfold into surprising shapes, embracing shadowy turns emboldened by a heavier low-end, while unearthing sharp takes on Japan’s harsh noise roots. The drums have grown even more acrobatic and unorthodox, while the vocals take on new colors, shifting from mesmerizing repetition to melodic, pop-tinged expression.

The album’s artwork is no less adventurous and features masks created by contemporary artist Tokiyoshi Akina and photographed in the band’s own hands, signaling resistance to the performative dualities of social media and a commitment to authenticity.
Despite the lean, unadorned two-piece setup, HYPER GAL’s music attains an intense and unmistakable presence - an unwavering momentum driven by an unrelenting intent. “Our Hyper” is HYPER GAL amplified.

"With each release they appear as mirage sculptors, using simple tools (drums, keyboards, vocals) in craft of multi-genre spanning work which only becomes more captivating the simpler their execution becomes...”
– MYSTIFICATION

The cycle of life and nature is a precious and wondrous thing. We are born. We learn. We live. We die. And after death, another life awaits. When the world succumbs to the cold, dark grasp of winter, the promise of a spring birthing everything anew keeps hope alive. Such is the journey we make, and such is the lifespan of “Faþir”. Heaving, pulsating, filled with contrasts: ardent hostility and fiery revenge, blossoming life and lush fertility, soul-wrenching grief and deep anguish. Such is the path we walk under the guidance of the deities – the helping hand of a father, the nurturing wisdom in times of need. But sometimes, a treacherous god leads us into death and despair, albeit always with an underlying purpose. Such is “Faþir”.

With eloquence, elegance, and emotion, L. Swärd has created another monolith of sublime art to add to Forndom’s impeccable discography. This highly awaited follow-up to 2016’s “Dauðra Dura” is nothing short of a modern masterpiece, rooted in ancient ways. Expressive vocals and strings soar atop a foundation of unyielding drums, like spirits dancing in the skies yet bound to the human pulse. Never surrendering its strong connection to our mortal world, “Faþir” carries a deeply sacred dimension – a glimpse of the divine, seen through a lens of devotion and veracity. The joining of death and life, if you will.

The thick atmospheres and vast inner landscapes Forndom creates are more prevalent than ever, and from the first trembling string introduction of “Jakten” to the last wistful beat of “Hemkomst”, one is transported to another time, another place, and another mindset – leaving behind the calamity, stress, and superficiality of the modern world, and rediscovering the lost wisdom hidden behind the veil of passing years.

The sibling duo behind the music on Graceful Degradation — organ and drums, nothing more, nothing less — carve out a sound that feels unmistakably organic in a world drifting steadily toward the synthetic. Their interplay is entirely live, subtle in its details yet dynamic in its momentum, built on the kind of instinctive communication only brothers can share.
The music is fully instrumental, unfolding in a borderland where dreamy retro pop dissolves into the hazy textures of shoegaze and the unruly pulse of noisy, electronic leaning jazz. It’s a sonic world that feels both familiar and elusive, nostalgic yet inherently restless. Melodies shimmer and blur, rhythms swell and contract, and the space between the notes becomes as expressive as the notes themselves.
What emerges is a sound that resists easy categorization: warm but unpredictable, intimate yet expansive, grounded in the physicality of two musicians performing in real time. The organ breathes like a living organism, shifting from soft focus ambience to swirling, saturated harmonics, while the drums move with a fluid, human elasticity — sometimes whisper quiet, sometimes erupting with raw, kinetic force.
In this in between terrain, the duo has always found its identity and its freedom. Their music doesn’t chase perfection; it chases presence. It embraces imperfection, celebrates spontaneity, and insists on staying alive in a landscape where so much is becoming weightless and automated.
This is instrumental music with a pulse: subtle, dynamic, and unmistakably human.

Laufey’s deluxe album, A Matter of Time: The Final Hour, is the closing chapter of her beautiful, critically acclaimed, and GRAMMY® Award-winning third album, A Matter of Time.
With four new songs, this 19-track deluxe album is an introspection about learning to live with one’s anxieties — embracing uncertainty, accepting the passage of time, and finding calm after the storm.

JAPAN & PORCUPINE TREE SYNTHESIST RICHARD BARBIERI RETURNS WITH NEW STUDIO ALBUM 'HAUNTINGS' GATEFOLD 2LP EDITION, PRESSED ON CLASSIC BLACK VINYL. Richard Barbieri remains one of contemporary music's most distinctive voices. Emerging as a key architect of the late '70s/'80s synthesiser revolution with David Sylvian's art-rock ensemble Japan, his visionary synthesiser programming expanded the horizons of electronic music & left a lasting mark on artists from The Human League & Duran Duran to Gary Numan & Talk Talk. His subsequent & ongoing tenure with Steven Wilson's legendary progressive outfit Porcupine Tree across albums such as 'In Absentia' (2002), 'Fear Of A Blank Planet' (2007) &, most recently, 'Closure/Continuation' (2022) further affirmed his status as one of the most intuitive & unique musicians of his generation.

'Hauntings' is Barbieri's first studio album since 2021's 'Under A Spell', deepening the pensive, dark instrumental aesthetic of its predecessor. A diverse collection of immersive sound worlds, both dark & uplifting in equal measure, 'Hauntings' is influenced by a nostalgia for the past & future, & for things that didn't happen yet still manage to haunt the mind & soul. What is real & what is simulation? The album finds Barbieri at the height of his powers, his deft keyboard & sonic architecture conjuring a shadowy, creeping Lovecraftian atmosphere. The music wanders through the streets of a gloomy lamp-lit Victorian London & drifts into grain-speckled snapshots of Belle Époque Paris. These journeys into the past are contrasted with nihilistic but euphoric forays into the future, "Traveler" & "A New Simulation" bristling with the itchy modern anxiety that often runs through his best work. Contrasting the sound designs & electronics of Barbieri, the album features performances from renowned musicians Morgan Agren (drums & percussion), Percy Jones (bass guitar) & Luca Calabrese (trumpet). This 2LP 45 RPM edition of 'Hauntings' is presented in gatefold packaging & pressed on classic black vinyl.

A very short- lived band from the '90s UK punk scene, with members ranging from DOOM to ZOUNDS. Even though they were short-lived, their material made an impact and the crater can still be seen today. Somewhere between EXTREME NOISE TERROR and STATE OF FEAR, this is a heavy- hitting crust machine. Phobia Records put together this great reissue, which consists of their demo from 1990 and another demo from 1992, with extra songs from a 1993 split with Japanese legends BEYOND DESCRIPTION. A staple in any crusty's collection!

10 songs from what is possibly the best anarchopunk band currently in existence. The dynamics of the tracks are refreshingly simple, a powerful yet neutral- sounding recording, with very little embellishment or stylized production to hide behind, approaching filth with distorted guitars, haunting bass lines, and steady drum beats, all elevated by the combination of the three voices perfectly balanced between melody and hatred. In a quantized world, one can perceive an endearing dose of human spirit through their tense and disturbingly melodic expressions. A modern Anarcho Punk classic that is surprising to find 40 years after the wonderful bands that spawned the genre, especially England. Includes poster and insert with lyrics.

Since reviewing Pomegranate Seeds: An International Benefit for Mutual Aid in Gaza, the compilation put out by the DISSIDENTS, I've been hunting for more VAMPIRE material, so when I saw I was assigned this LP I became very excited. VAMPIRE is an Australian band that plays apocalyptic anarcho- punk. A sense of extreme urgency pervades VAMPIRE's sound, and What Seems Forever Can Be Broken is ten songs that combine the demanding hardcore of CONFLICT, with a foundation of CRASS, and the rough-hewn delivery of raw punk. The resulting album is dark, hauntingly mesmeric, but also aggressive with a sense of communal voice. In other words, this is anarchopunk that is of the moment, and articulates exactly what contemporary punk is about without being preachy or elitist. This is that eye-to-eye, in-the-trenches vocalization of criticism that comes off as eye-opening and perspective-altering. What Seems Forever Can Be Broken is by far my favorite release thus far in 2025, but also might be the best album I've heard in a really long time. Like, this is benchmark-level material, so definitely give this a listen.

I'm very excited to present the second Desolate release from this amazing band. "Dissekerad's newest and strongest 12" release yet. 12 new songs from a now-classic modern band made up of Swedish scene vets, all having put in their time in many other now- legendary acts: from TOTALITAR to MAKEBERT FYND, AVSKUM to BRAINBOMBS, and many more. Poffen's bands alone are probably too numerous to name at this point. VAGGARNA RASAR gives us exactly what we expect and hope for--a master class of Swedish mangel HC distilled to its most essential and purest form. Somehow the songs feel even more urgent this time, paired with fuller, thicker production than previous releases. The blown-out, contrasted-to-hell artwork perfectly represents the music, with song titles on the front cover because why not; fuck it. Time marches on and so does hardcore, but some things don't need to change.

The album presents a distinctive artistic statement built around song, texture and collective exploration. Opening tracks such as 'Fair Weather' and 'The Big Flood' draw on the oblique lyricism of Henry Cow and the surreal songcraft of Robert Wyatt, with Beraha's voice at the centre of a sound world shaped by analogue radio collage and drifting, delayed saxophone lines. Punk-inflected rhythms emerge on 'Modern Times', while the reflective 'Into the Woods' blends lyrical song with collective improvisation, highlighting the ensemble's dynamic range. Across the album, tightly composed material sits alongside free improvisation, cinematic writing and storytelling. Tracks including 'February' and 'I the King' explore contemporary jazz, humour and surreal narrative, while groove- led pieces such as 'Dorian Gray's Bathroom Cabinet' and Morricone- inspired 'Same Time Next Week' showcase rhythmic drive and playfulness. The album closes with 'Strangers on a Train', where scripted text gives way to improvised spoken dialogue over a relentless pulse, uniting the record's themes of collaboration, narrative and spontaneity. Reflecting on the recording process, Kevin Figes describes Wallpaper Music III as "a joy to make", marking a return to Rockfield Studios and a collaborative experience with musicians whose sensitivity, imagination and improvisational skill shaped the music at every stage

By the time Just One of Those Things was recorded, Nat "King" Cole was already considered by the general public as more of a singer and entertainer than a jazz pianist. Cole did his first sessions with the more jazz-oriented Billy May in 1951, but it wasn't until 1957 when they collaborated on this first LP - Just One of Those Things, a memorable album in which all 12 songs fit seamlessly together perfectly. It wasn't just May's arrangements that created such swinging music behind Cole's vocals though, it was also the band, which included many illustrious soloists: Harry "Sweets" Edison, Willie Smith, Pete Candoli, Jimmy Rowles and Lee Young, along with John Collins and Jack Costanzo, members of the celebrated Nat "King" Cole Trio.

Portrait in Jazz was Bill Evans' third album as a leader and his first LP with the talented bassist Scott LaFaro. The Evans-LaFaro collaboration would reach a climax with their June 1961 club recordings at the Village Vanguard in New York. Portrait in Jazz is made up of eight popular standards plus a couple of original compositions; Evan's 'Peri's Scope', and 'Blue in Green, co- composed by Evans and Miles Davis and first taped in March of 1959 by the two musicians in Miles' sextet that produced the perennial classic, Kind of Blue. This special edition features exclusive photographs by famous French jazz photographer Jean-Pierre Leloir. Includes the bonus track 'Autumn Leaves' (Mono take) from the same session but not on the original LP.










[j] Autumn Leaves [mono Take]

Born into a musical family Al Manfredi started writing songs when he was child. As a teenager in 1965, he formed the Nuts & Bolts in the small beach town of San Clemente, California. Inspired by the Kinks, the Beatles and the Byrds, the group separated themselves from the pack by also performing original material written by Manfredi and band mate Mike Ingram. In late 1966 they changed their name to the Lost & Found and relocated to Phoenix, Arizona, where they cut a rare single, “Don’t Move Girl” b/w “To Catch the Sun,” which now commands high coin from ‘60s garage collectors. When they returned to San Clemente in early 1967 their music had taken a more psychedelic direction. The Lost & Found were riding high that year, until tragedy struck. Ingram was found hanged under suspicious circumstances and soon after Lost & Found drummer Mike Ryer died of cancer at the age of 19. Heartbroken, Manfredi gave up on the band scene completely and moved to Garden Grove to teach at his family’s music store. But alone, behind closed doors, he kept writing songs and working on his music, recording hours of tapes, often tracking all the instruments himself. In 1973 he chose six of his best songs, some of them written back in the Lost & Found days, and had them custom-pressed as an LP. Only a handful of copies were pressed, and most of these were sent out to various record companies in the hope of landing a deal. Despite the outstanding quality of the music, there were no takers. But decades later, collectors discovered the Al Manfredi album and hailed it a West Coast rock masterpiece. In his Acid Archives book, Patrick Lundborg called its discovery a deus ex machina and compared it to David Crosby’s first solo album and Hawaii-era Merrell Fankhauser, “not just the acutely captured mellowness, but the self-confidence and the talent.”This little-known West Coast rock masterpiece was rediscovered and celebrated by Acid Archives founder Patrick Lundborg and others around the time that Manfredi died in 1995. This version of the album, overseen by Manfredi’s son Exile, and with Manfredi’s story told by Ugly Things’ founder Mike Stax, presents the complete package of an incredible lost and found artist. Contains the album, as originally issued, on side A with unreleased music on side B.

Crypt of the Wizard is proud to make available two legendary underground albums by Slutet on vinyl and digital formats. Here we present the debut self titled LP Slutet - Slutet
Slutet originated in Uppsala well over a decade ago, first emerging as a loose idea around 2010. The original cluster of strangely like minded individuals - Dingir, Ryttersson, J.P., Sviatopolk, were equally set on starting a cult as they were a band, the former emerging as a loose collective known as The End Commune, while the latter eventually began rehearsing together as Slutet on September 1, 2013.
From this constellation three notorious demo tapes sprung which were self-released in very limited numbers, and only available by trading bodily fluids, blood, and/or hair for the cassettes. “A very loose guess but we made probably around 20-30 hand-drawn/custom demo tapes of the first three releases. We got blood and hair from many places, actually the very first offering was from INDONESIA. Slovakia, Germany, USA, Argentina, Norway, Canada, Finland followed.... if my memory serves..... hazy years indeed”
J.P. left early 2015. Later that year, after trying the band as a bass-drum-vocals outfit for a while, Fjalar joined on guitar. This is the classic constellation. Dingir, Ryttersson, Fjalar, Sviatopolk. The same troupe playing to this very day.
While the difficulty of obtaining the demos certainly added to the band’s bottomless mystique, the subsequent release of the self-titled compilation / LP secured their reputation as one of the most interesting and unorthodox bands recording under the somewhat ill-fitting moniker of ‘underground black metal’.
First released as a cassette by Berlin label Teratology Sound & Vision, and later on vinyl in an edition of 100 by Goatowarex, the self-titled LP is the definitive document of the very early and very wild years of the band as they begin to take form, fulminating against whatever was on offer.
“Between September 2013 and September 2014 we rehearsed and recorded 3 very crude demo cassettes; although sub-par in many musical and performance-wise aspects, the passion seeping through those recordings were evidently very real.”

Bristol's Tara Clerkin Trio return to World of Echo and the EP format for a five song collection of quixotic, emotional redolence. But do not mistake their absence for inertia. If their musical output has been a little sparse during those in-between years, limited to a few solo ventures and an astonishing ten minute long piece as a trio, their time has otherwise been richly spent: continuous writing and recording, extensive live performances across Europe and Japan, a cultivation of local and more far-flung artistic connections (musical and otherwise), and a monthly NTS show that, through the voice of others, speaks most obviously to their own unorthodox interests. It's the conflux of that winding activity that leads indirectly to On The Turning Ground, 26 minutes of probing, thoughtful composition that draws from no one specific source. Their inspirations might be centreless, but the trio still possess a very obvious anchor in the form of their hometown. Bristol stands as a city of multitudes, heterogenous and vibrant in such a way as to allow it to renew and remake time and again. Tara Clerkin Trio drink from that same well, duly reflecting a rich musical heritage built on fwd-facing electronic subcultures and experimental urges.

As such, On The Turning Ground finds them subject to their own subtle internal evolution, the pervasive sense that you've caught them mid-bloom, on their way to becoming but never anything but themselves. The two instrumental pieces that bookend the EP stand as a perfect case in point, displaying an increasing mastery of compositional space. Pensive and restrained, 'Brigstow' and 'Once Around' both emanate an interstitial quality that's not so much after- as in-between-hours, miniature dub-folk symphonies held together by the kind of tacit understanding that remains the preserve of only the closest of family units. If those two tracks are shaped by a sense of shifting temporality, then the three vocal-led pieces that comprise the record's core feel like a gentle ossifying of aesthetic into something approaching their own unique form of avant-pop. 'Pop' is, of course, a broadly subjective concept, but there's no avoiding the overt sparkling melodicism of songs like 'Marble Walls' and 'The Turning Ground', undeniable re-directions of that late 90s impulse to bend pop sensibilities into off-centre terrain, to render the familiar new again. This is what Tara Clerkin Trio do, gently pulling the ground from under your feet, turning you to face something you'd not quite seen before. To view the world as they do: sideways, sometimes, all of the time.

The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club.

It seems almost inevitable that at some stage Blue Matter and The Green Ray would be working together, and we’re delighted to say that this is now about to happen. When Blue Matter co-boss, Nick Saloman, was living in Walthamstow, he sat in with The Green Ray many times at the late-lamented Plough Inn on Wood Street (now a mini-supermarket). In more recent times Nick’s band, The Bevis Frond has played live with them on several occasions, and without wishing to disrespect any former members, the current Green Ray line-up sounds as good as they’ve ever sounded, if not, dare we say, even better than before. The Green Ray was originally assembled in the mid-90s by Ken Whaley & Richard Treece, two key members of Walthamstow legends, Help Yourself. During the last 30 years or so, they have released 7 albums and one 12” single.

Sadly, the line-up has changed quite frequently due to the passing of several of their number. Ken & Richard passed away some years ago, and more recently bassist Jeff Gibbs departed this world. However, now under the all-seeing eye of guitarist Simon Whaley, the current line-up is continuing to fly the East London freak flag high. Not long ago Simon asked us if Blue Matter would like to issue their latest offering, and we came back with a resounding “yes please”. ‘Orchard House’ is a superb album, full of great playing and great songs. There are shades of Mighty Baby and Help Yourself (at their trippiest), plus a West Coast atmosphere which put us in mind of Quicksilver and The Grateful Dead. It’s taken some time to happen, but at last Blue Matter & The Green Ray have come together to issue an unmissable album. So don’t miss it.

Orange Vinyl with exclusive illustrated notes/lyric insert ltd to 300 w/w.“Zimmerman conjures up a kind of Arcadian folk surrealism that is utterly his own” MOJO Never released before collection featuring Ian A Anderson & Maggie Holland recorded 72-80 is among Tucker’s finest - Free-ranging, Playful, Intimate - his Songpoet imagination unbound and in full bloom now on colour Vinyl for first time with (exclusive to this version) illustrated lyric insert with notes from Tucker.Recorded between 1972-80 this is the first ever release for ‘I Wonder If I’ll Ever Come True’ a stunningly beautiful, homegrown collection by Songpoet Tucker Zimmerman and friends. The range and depth is astonishing. From the heady surreal journey of ‘It All Depends’ Upon the Pleasure Man’, to the uplifting Gene Clark-esque 'So It Goes’, to some of his most beautiful & touching love songs in ‘Let’s Start Over Again’ & ‘Song’. Only one song has seen the the light of day before now - ‘Taoist Tale’ from his 1984 album ‘Word Games’. This recording from a decade earlier loses no power in its folkier stripped down style driven by Tucker’s strong narrative.

While living in bucolic seclusion in Belgium with Marie-Claire, Tucker invited visiting musicians (Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, Ian Anderson) into his home studio to play and live tape whatever songs he had at hand. Maggie Holland and Ian A Anderson feature, while Tucker found a freeing simplicity in just guitar, ’70s organ, bass and piano. We are so grateful to Ian A Anderson, who carefully kept and curated these recordings from 50 years ago. “Every time I would leave, Tucker would hand me another tape full of songs”. Ian worked with Tucker and ourselves to present this wonderful album. The collection is among Tucker’s finest - free-ranging, playful, intimate - his Songpoet imagination unbound and in full bloom. The ethos, the playing, the freedom, feels like Ronnie Lane’s time in the Welsh Borders. Unhurried, liberated, down-home and cosmic. Extraordinary music made among friends.
"Startling collection of intimate, home-recorded songs from the cult singer-songwriter adored by David Bowie and Big Thief alike.

When I first interviewed Tucker Zimmerman back in 2015 neither of us had any idea that, a decade later, he would be venerated by a new coterie of young fans, touring with maximal folk-rockers Big Thief and recipient of a concerted reissue campaign by the wonderful Big Potato Records. Last year I eulogised the “Arcadian folk surrealism” of his 1974 LP *Over Here In Europe but, if anything, this informal collection of intimate home-studio recordings is even better. Recorded between 1973 and 76 whilst living in Belgium and hosting such visiting folk musicians as Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, and Ian A. Anderson this is the kind of assured, organic freewheeling folk music that has the mellow, introspective rough-edged feel of some lost private-press LP, the kind rightly revered by Endless Boogie’s Paul Majors as “real people” music. A true find.” Andrew Male MOJO 4/5
“Here's a charming oddity: an unreleased album dating from the mid-Seventies by an American-born songwriter beloved of David Bowie and, more recently, Adrianne Lenker of the folk-rock band Big Thief. Zimmerman's a bohemian type who eschewed the big time for a life of gigging around Europe. He, his wife, Marie-Claire, and a handful of friends recorded these songs in seclusion in the Belgian countryside, and what songs they are. Slide On could have come from the Byrds when they discovered country music, Let's Start Over Again captures the dreamlike experience of being in love with unsettling clarity. This is a real unearthed gem.” 4/5 The Times