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Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

“Tough love is a sonic dark romantic experience. Each song represents a different form of “Tough love”. A dark romance in Hollywood. Growing up in LA at the age of 17, now being 23 I’ve experienced a lot and learned so much about my self and love itself. All of these songs are written either about my own experiences, lessons and who I am today or inspired by a fantasy I’ve created in my mind and heart. These love songs tell the truth of what I desire and crave deeply, a love that is exciting and passionate and impossible to find in Hollywood, writing these songs are the closest I’ll ever get to living it. Words are spells. Songs are spells. I love writing about love because though it’s fleeting in those moments while I’m creating the record, its true. I live in it, feel it on my skin, close my eyes, taste it and make it real. Whether it’s something I want, something I had, something I’m missing, it is mine all the same. Tough love is about the darkest and toughest parts of love, songs for those themselves who are tough to love, and songs for love that’s tough to find.

Sonically I was inspired by, Massive attack, Portishead, Fleetwood Mac, Eagles, Alice in chains, nostalgic music from the 70s through the 90s and add my own dark twists. ” - Nessa Barrett

“Music for me, is rarely complete,” says GODFLESH mastermind Justin Broadrick, “but it has to reach a point where enough is enough. Creatively, there has to be self-discipline. One has to end it.” Broadrick is primarily referring to the nebulous process of writing and arranging songs into their various potential shapes, but he could just as easily be describing GODFLESH’s imminent conclusion. Just three years after the hypnotic crunch of Purge, 25 years after an uncertain hiatus that nearly scuttled the band, and 38 years since GODFLESH’s inception, Broadrick and bassist-at-arms Ben Green set out to mercilessly crush this cold world with their tenth and penultimate album, this year’s Decay. “Decay was born from the same sessions as Purge,” Broadrick declares of the new record’s six tracks. “It was one huge pool of songs. I picked what I felt was appropriate for what I wanted to achieve with Purge, with the intention of releasing the songs that didn't fit as a new album within a year of Purge being released. Unfortunately, two years passed whilst considering external labels, so that I didn't have to self-release GODFLESH anymore, but it took an awful lot of time to establish a comfortable home for me. The recordings were done, but as usual for me, I did change a lot of stuff once I came back to it.” Now, GODFLESH is ready to unleash an even bolder, bleaker series of sounds in Decay. These songs arrive shortly after Broadrick released a public statement about major abdominal surgery he underwent earlier this year.

Das siebte Studioalbum der Dropkick Murphys, ursprünglich 2011 veröffentlicht. Es war das bis dahin
erfolgreichste Album der Band und stieg auf Platz 6 der Billboard-200-Charts ein.
Zudem enthält das Album Gastbeiträge von Bruce Springsteen, Fat Mike (von NOFX), Chris Cheney (von
The Living End) sowie dem Schauspieler und Komiker Lenny Clarke.

Baltimore's End It is telling it like it is on their debut album, Wrong Side Of Heaven, set for release this summer. The hardcore band has built a reputation through being unapologetically outspoken, playing fast, ripping songs, and putting on an electrifying live show. Now they're ready to enter their next era. Formed in 2017, the band consists of vocalist Akil Godsey, drummer Chris Gonzalez, guitarist Ray Lee, and bassist Patrick Martin. Signed to Flatspot Records, End It came out strong with the release of their self-titled EP the same year they started, and followed it up with 2020's One Way Track EP. In the summer of 2022, the band took the hardcore world by storm with their Unpleasant Living EP, solidifying the Baltimore outfit as one of the most exciting acts in the genre. Following the release, End It embarked on a packed touring and festival schedule across North America and Europe, playing alongside No Warning, Terror, Cold World, Drain, Speed, Angel Du$t, Scowl, and many more. The band's reach goes even farther with breakout single "New Age Slavery" featured on the soundtrack for Tony Hawk's Pro Skater 3 + 4. No matter where they are and what they're doing, End It is true to keeping things authentically them and that shines through on the forthcoming Wrong Side Of Heaven. Entering Salad Days Studio with renowned producer Brian McTernan (Turnstile, Snapcase, Hot Water Music) the band came in with a few demos and wrote the majority of the album during the two month recording process in early 2025. Taking direction from classic hardcore, thrash, and soul music, End It has crafted a 15 song magnum opus centered on "Spreading awareness of the change that's coming to Americans, personal growth, and maintaining the ethics and integrity of hardcore."

Intentions, the debut of LA-via-Chicago beat maker, composer, and multi-instrumentalist megiapa, is a 40 minute master class in synth-heavy, jazz-informed Neo-soul.

megiapa's lush and emotionally layered album feels less like a collection of songs and more like a living archive of transformation. Across its warm synths, fluttering basslines, meditative voice notes and spiritual grooves, the Los Angeles-based producer, vocalist and composer maps the uncertain terrain between heartbreak, healing, fear, and surrender.

The album's title is genuine.

"The record is literally my intentions," she says. "It's a representation of my intentions, my dreams over the last five years or so."

Those years carried the weight of upheaval: the pandemic, the collapse of a long-term relationship, a move away from Chicago, and the disorientation that follows when the structure of your life suddenly disappears beneath you. But Intentions never sounds defeated. Instead, it radiates the quiet confidence of someone learning to trust herself in real time.

Intentions, the debut of LA-via-Chicago beat maker, composer, and multi-instrumentalist megiapa, is a 40 minute master class in synth-heavy, jazz-informed Neo-soul. megiapa"s lush and emotionally layered album, feels less like a collection of songs and more like a living archive of transformation. Across its warm synths, fluttering basslines, meditative voice notes and spiritual grooves, the Los Angeles based producer, vocalist and composer maps the uncertain terrain between heartbreak, healing, fear, and surrender. Featuring: Ahmad Muhammad (aka Kafari), Mekala Session, Blvck Spvde, Aankha Neal, Telemakus, Aisha Mars, 10.4 ROG

Rochester, NY's The Jet Black Berries existed at the strange and fertile intersection of post-punk restlessness, roots-rock mythology, psychedelic revival, and science-fiction dread. Emerging from the band’s earlier incarnation as New Math, the group refocused in the mid-1980s with a new name, a new vision, and a sound that moved beyond the limits of punk rock and new wave. What followed was darker, stranger, and more ambitious: country-rock ghosts, rockabilly swing, western balladry, psych-punk atmosphere, and beat-inspired storytelling fused into one singular vision. After feeling stymied in their previous form, the renewed band set its sights on breaking out to other countries and, conceptually, other planets.

Recorded in two days in August of 1984, Sundown on Venus was originally released by Enigma/Pink Dust after the newly reconfigured band signed with Enigma. The original 1985 release, however, arrived with complications. Enigma wanted additional material included, so the album was packaged with a bonus 12-inch featuring extra tracks, including a song written for the film The Return of the Living Dead, ill-chosen cover songs, and re-recordings of older New Math material.

Now, the Sundown on Venus Definitive Edition restores the album to what the band originally envisioned it in 1985. Released on CD for the first time with 12 songs newly remastered & re-presented with focus, this "Definitive Edition" brings attention back to the album’s dark narrative arc & unusual genre chemistry. Though the original album received press coverage on both sides of the Atlantic in outlets including Cash Box, Billboard, CMJ, Interview, and the UK’s SOUNDS, Sundown on Venus never found the commercial audience its ambition deserved. What once slipped through the cracks of underground rock history now stands as a missing link between cowpunk, psych revival, rockabilly, goth, post-punk, Americana, & cinematic sci-fi storytelling.

On this new album, the trio of Sanem Kalfa, George Dumitriu, and Joachim Badenhorst invites you on a poetic and sonic voyage. While their debut Black Sea Songs (2021) drew from traditional folk melodies, this work is a collection of original compositions and one improvisation, inspired by the rich cultures and emotions surrounding the Black Sea.

The music of this trio is elegant yet adventurous, blending jazz, improvisation, world traditions, and contemporary classical influences. Kalfa's distinctive voice and cello, Dumitriu's versatile viola and guitar, and Badenhorst's expressive clarinet and occasional vocals create a unique, dreamlike atmosphere. From the melancholic dance of "Denizi Özleyenler ?çin" (inspired by Orhan Veli Kan?k) to the hypnotic rhythms of "Intermezzo" and the narrative depth of "Fisherman" and "Black", each track breathes the freedom, longing, and interconnectedness that the Black Sea symbolizes.
This album is not just a collection of songs but a living story of travel, encounter, and belonging-whether evoking the ports of Istanbul, the shores of Bulgaria, or the emotional landscapes that connect us all. Black Sea Songs is a celebration of spontaneity, familiarity, and the universal language of music.

Sun Ra is better known to most as a musician than a poet, but he identified equally as both. My Words Are Music provides direct access to the sentiments of a poet who never called Earth home. The spoken word album hosts an inspired array of artists who personally chose their favorite Sun Ra poems to recite. Freed from the page, his poetry acquires an unexpected simplicity and poignance it possessed all along.

This all-star and intergenerational lineup of artists conjure wisdom from his words: spoken word elder Abiodun Oweyole of The Last Poets; rapper, and singer-songwriter Saul Williams; jazz experimentalist Melanie Charles; British-Trinidadian poet, novelist and musician Anthony Joseph; poet Mahogany L. Browne; poet, playwright, and conceptual artist Carl Hancock Rux; musician/digital composer L’Rain; singer, actor, and director Tunde Adibempe of TV on the Radio singer; British DJ and BBC radio host Zakia Sewell; ballistic hip-hop poet Jive Poetic; and longtime members of the Sun Ra Arkestra, Marshall Allen, Knoel Scott, and Tara Middleton.

Punctuated by impish electronic interludes composed and played by Marshall Allen, these voices bless Sun Ra’s poetry with new life My Words Are Music offers the opportunity to follow Sun Ra into a
better future. “Prepare for the journey,” he writes in his poem “The Cosmic Age”, “You have a rendezvous / With the living wisdom.” My Words Are Music is a project developed in conjunction with Living Sky, the all-instrumental Sun Ra Arkestra album released on Omni Sound in 2022

»Cosmogonical Ears« is Amosphère's first album for Hallow Ground. Following her contribution to the Swiss label’s »Epiphanies« compilation and her 2021 full-length debut »More Die of Heartbreak« on 33-33, it features three expansive pieces. The Paris-based composer and multidisciplinary artist delves deeper into themes of time, space, cosmology, human perception, and psycho-physical effects, crafting profound sonic meditations. Drawing on a minimalist approach while blending electronic and acoustic elements, Amosphère’s long-form compositions are living, breathing entities whose sonic richness and evocative power unfold gradually over time, putting »Cosmogonical Ears« in direct kinship with previous Hallow Ground releases by artists such as Kali Malone and FUJI|||||||||||TA.

The album opens with its longest piece, »Land of eternal delight,« composed for the Buddha10 exhibition at the Museo d'Arte Orientale in Turin. Written during three years of isolation—a period in which Amosphère explored meditation practices and diverse belief systems—it merges mythology with personal transcendental experiences, reflecting on a challenging time for humanity. »By blending Buddhist philosophy and sculpture with my own meditation practices, I sought to explore a way for people to transcend the boundaries of space and time—not as a believer, but as an observer,« she explains. Featuring handmade ceramic instruments and recorded by Thomas Lefevre, the piece combines Amosphère’s electronic organ with Marc Lochner’s flute contributions, creating a sound that is simultaneously minimalist and expansive.

The concept of teleportation and how it challenges traditional notions of time and space serves as the foundation for the second piece. »Recent advances in quantum physics suggest that teleportation might be possible through quantum entanglement,« Amosphère notes. »What if science fiction is becoming reality—or has already existed in ancient times?« Drawing inspiration from theories proposed by physicists such as Roger Penrose, Amosphère again worked together with flutist Lochner, this time using her VCS 3 synthesizer. »Teleportation« weaves single notes into intricate, non-linear patterns that defy conventional logic, creating a complex auditory tapestry. The last piece »Black hole in, white hole out« was recorded on Corsica and features Miao Zhao’s bass clarinet drones alongside Amosphère’s church organ. It imagines the possible sound of crossing a black hole while also suggesting the study of its theoretical exit and its potential applications for large-scale time and space travel.

The questions posed by »Cosmogonical Ears« do not yield straightforward answers. Instead, Amosphère’s restrained yet intricately layered compositions require full immersion and concentration from the listener. As expressed by the album’s title—which envisions the birth of a new universe through listening—»Cosmogonical Ears« offers an experimental approach to auditory perception as a tool for seeking truth, freedom, and harmony between the outer world and the inner self.

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

2026 repress of classic Alpha Steppa album.

Raise The Ark - The new album from Alpha Steppa, marking ten years of Steppas Records. This vocal-dub album defies convention and introduces the listener to a new world of soundsystem music. Raise The Ark evolves and expands the distinct avant-guard dub style of Alpha Steppa, exploring the realms of Hip Hop, Trap, Trad, Folk and Bass Music. True to the Steppas Records ethos, the music carries a deep and crucial message, covering current and timeless topics; from the climate crisis, sociopolitical issues, to roots, culture and spirituality. Working closely with known artists from the Steppas imprint and as we have come to expect, introducing us to new and emerging talent from across the globe. Raise The Ark features include; Pupa Jim of Stand High Patrol (France), Sista Awa (Italy/Senegal), Cian Finn (Ireland), Ras Tinny (Suriname), Nai-Jah (Nigeria), Tenor Youthman (Russia), Eva Keyes (Ireland) and Block Mameli (Italy/Ghana). The collection features 12 evocative and provocative vocal tracks and 10 thundering instrumental / dub mixes. Raise The Ark is a truly eclectic, profound and exciting album not to be missed.

In partnership with onetreeplanted.org we will plant a tree in Ethiopia for every record sold.

“One of the most prolific and inventive dub producers around” Wire

“A serious player in the soundsystem world” Mixmag

“Obliteratingly heavy bass” Q Mag

“Album of The Month” MIXMAG (March 2013 & October 2014)

Remastered limited edition double vinyl with double-sided screenprinted poster-cover (sleeve folds out to be one huge poster). A real collectors item!

When Off Off came out around June 1984, one couldn’t speak of an independent music scene in Portugal. Warm Records’ vague existence didn’t have any impact and Dansa do Som’s inaugural release appeared only in December. 10 years after the revolution, after two IMF interventions, a lot of political instability (not to say turmoil, in the first couple of years) and the natural excesses of a sudden burst of freedom, the Portuguese consumer had more choices but a generally poor standard of living. There was no entrepreneurial culture and serious second thoughts about investing private money in risky ventures.

After many complaints about the whole music scene (institutions, critics and record label executives, popular and classical music alike), something that would continue well beyond the end of the decade, Telectu decided to finance, record, produce, release and sell an album with complete independence from outside structures. Their karmic reward was profit. According to Vítor Rua, Off Off was the only album fully payed by the duo and the only one that really payed off. Not an easy accomplishment for a double LP housed in a large (also double-sided) screenprint with complicated cuts and folds. The artwork was conceived by António Palolo, a friend and multidisciplinary artist. It was based on a collage of heavily saturated and xeroxed polaroids framed in shocking pink and green. Palolo was considered the third member of Telectu, regularly producing slides, video and other visual support for their shows. The inspiration for the type of cover came from GRM’s Gramme series.

Off Off is divided in four distinct sides, each one corresponding to a “theme” or “function” related to Telectu’s manifold artistic interests and interactions. The titles are also gateways to influences and a small portion of Portuguese cultural life:

- Side 1 / “Diagonale” is dedicated to Egídio Álvaro, art critic and gallery director (he opened Diagonale in Paris). Performance art was arguably his main artistic concern over the years, so the music on this side is suggested for use by one or more performers in live or playback situations. The three tracks segue into each other, linked by a synth arpeggio much in the same way as Telectu’s previous “Belzebu” álbum (1983);

- Side 2 / “Anarké” is dedicated to the composer Filipe Pires, one of Jorge Lima Barreto’s recurring invocations when asked about worthwhile contemporary music in Portugal. It is subtitled “concert music”, proposing «a new form of listening». Three tracks also, and these are separated by “clap interludes”, which basically consisted in the following: JLB and VR each had a pair of headphones on, and they clapped their hands according to the rhythm of the music each one was listening. Both musicians were interacting with a different Steve Reich piece: Vítor with “Music for Mallet Instruments”, Jorge with “Six Pianos”. The result is disjointed clapping, an awkwardly deliberate celebration of their own music. Telectu applauded themselves.

- Side 3 / “Cornucópia” is subtitled “music for theatre” and dedicated to Luís Miguel Cintra and Luís Lima Barreto (JLB’s brother), both connected to the Cornucópia theatre company. The side consists of several short pieces previously used as interludes in the Cornucópia staging of “Mariana Espera Casamento” (1983). Field recordings, mood pieces, ambience and a numeric poem (“Soneto Soma 14x”, by E.M. de Melo e Castro) read by João Perry, a quite well-known stage actor. His voice is treated with a flanger effect;

- Side 4 / “Palolo” is “video music”. It’s a one-take mix recorded from cassette sources (Telectu studio experiences) and done live while watching António Palolo’s Om film (1978) projected on the living room wall. It’s a deep, immersive, quasi-mystical 20-minute piece perfectly suiting the meditative, abstract, fluid images created by Palolo by mixing paint and water inside a bathtub. One imagines the Cosmos, hardly suspecting the technique. The film is 90 minutes long, so the music on the LP is of course edited.

The six titles on sides 1 and 2 evoke demons, all of them with conflicting symbolism, since it varies from culture to culture, religion to religion. No explanation is given and Vítor Rua has no idea where this imagery comes from. During virtually the whole stretch of the 1980s, Jorge was the one in charge of titles and concepts, and Vítor didn’t bother too much even reading the liner notes :) In any case, when you synchronize the listening experience with the imagery, a powerful impression emerges, a feeling of being in the presence of these entities while placing yourself inside the sonic narrative.

Off Off is undoubtedly a seminal album in the history of electronic music, as much Heldon as Fripp & Eno, jazz and American minimalism, cosmic out-thereness, mantric miniatures. Telectu at the height of their powers, still very early on, delivering an album-manifesto advocating intermedia art and the fierce independence of Portuguese musicians «from the scum of capitalist music industry monopolies. It’s a path to follow, albeit one that requires enduring hardships and retaliation from music industry gangsters.» Despite a few journalists deemed «capable of being free», the media are «enslaved by the dominant and fascist imbecility of the speculators of light music.» Off Off is addressed to those journalists «and to an audience angry at the cultural misery imposed upon us ..., certain that this music will open new horizons of musical pleasure in the conception of Portuguese avant-garde music, and in the open consciousness of us all. OFF OFF repeats Freedom.»

Those two words are a direct lift from Alberto Arbasino’s 1968 book Off Off, the basis of which is a critical analysis of Theodor Adorno’s and Dwight MacDonald’s ideas concerning the stratification of culture in different levels (high, mid and low) and the pervasiveness of mass culture in the form of a culture industry. In very simplistic terms, and that is precisely the point that inspired Jorge, Arbasino argued that it was possible and desirable to effect a revolution from below, cultivating alternative circuits completely cut-off from what he termed the in-in reality. Telectu’s record was a deliberate demonstration that it could be done, displaying Freedom in the face of all the gatekeepers and other human obstacles.

fka boursin returns to Scissor & Thread with From Space Between, following his 2025 debut for the label, Listless Intertext. The Bristol producer continues to explore the more spacious edges of house music, drawing together dub, ambient detail and a loose rhythmic sensibility that has become increasingly characteristic of his work. From Space Between unfolds patiently with sounds appearing at the edges and gradually moving into focus. On the B-side Frank & Tony return with another Housebeat Dub, picking up the thread of their Listless Intertext rework. Francis Harris and Anthony Collins draw the original further into their own language of deep house, giving the rhythm more room and letting the dub elements stretch across the arrangement.
"A half-successful attempt at working with fewer elements in pursuit of a more minimalist approach," says Henry Murray aka fka boursin, "trying to find restraint and sit with gaps in the stereo image where previously I would have reflexively filled them with melodic content. Recorded whilst living alone in another country for a month, the track was borne out of meditations on living in and between unfamiliar places, seasons, languages, currencies, relationships, medications, economics, intentions, sanities, and spaces."

Brought together by Antoine Rajon through their shared love of modal and free jazz, the four musicians of KOMA embraced the high-wire act of a ""Jazz on the Moment,"" a hallmark of the KOMOS label's Analog Home Session series. These friends, both on and off stage, already play together in other groups, such as AMG for Keïta Janota and Anthony Jouravsky, and OLA TUNJI for Ornella Noulet and Anthony.


For this recording, the new group set up in the living room of a Burgundy home, equipped for the occasion with the finest vintage analog equipment by Christian Hierro, engineer at the ""Back To Mono"" studio in the Drôme region.

With no preparation other than the few hours before starting the tape recorder, KOMA recorded the tracks in the order they appear on the album. Two pure improvisations sit alongside a composition (in two versions) by Keïta Janota, and a composition by vibraphonist Martin Blouet, who was experiencing his first professional recording.


The iconic piece ‘John Coltrane’, composed by bassist Bill Lee, father of Spike Lee, is the only cover on the album. The quartet offers a surprising, almost ambient version, without the rhythm section and epic solos of other recordings. The musicians' love for the music of the ‘supreme saxophonist’ is nonetheless intense.

As a birth certificate on the very day of the group's formation, this ‘no-nonsense’ album allowed this unusual lineup (two saxophonists, a vibraphonist, and a bassist) to present its lyrical and meditative music on numerous stages.

Brazilian artist Rubel isn’t one to be pigeonholed and typecast into staying in one sound. Casas, the follow-up to his debut album Pearl from 2015, brought a bigger, more epic, and richer production quality to the table. Fusing the worlds of MPB and hip hop, Rubel’s sophomore LP built on the momentum of its predecessor, gaining a Latin-Grammy nomination along the way. Mr Bongo is proud to be giving Casas its first worldwide release on vinyl and CD outside of Brazil and Japan.

The cliché they say is that the second album is always the trickiest; however, Rubel doesn’t seem to have had any problems on Casas. It’s a fountain of creativity and originality, marking an artist in full flow.

Conceived after Rubel spent six months living in Los Angeles, Casas is MPB-leaning at its core but is also driven by a hip hop inspired pulse. There is a clear influence from hip hop’s aesthetic across the 2010s woven subtly but fundamentally throughout. Nods to Frank Ocean, Kendrick Lamar and Tyler, The Creator can be heard across an album full of playful edge and personality. Luscious string-led arrangements and tracks that explore the rich folkloric rhythms of Brazil, sit next to songs with low-fi drum machines and features from acclaimed Brazilian rappers.

One of the highlights of the album, ‘Mantra’, starts with a traditional Brazilian rhythm that morphs into a hazy hip hop beat. A sublime song with a hooky call and response chorus, it features a guest appearance and verse by the Brazilian MC Emicida. Another highlight is the epic ‘Colégio’ (College) which further showcases the melding of stripped back drum machine beats with cinematic, sweeping arrangements. Elsewhere, ‘Partilhar’ is a swaying, heartwarming hug. A tale of longing and love that has become a singalong fan favourite at Rubel’s concerts.

Casas also shines a light on a string of key players in Brazil’s new vanguard, such as Pedro Fonte, Gus Levy, and Brazilian rapper / poet Rincon Sapiência to name a handful. The record has pop sensibilities yet also feels underground. It beats with the heart of a singer-songwriter, a feeling that was felt so strongly on Pearl, yet this time is bolstered by a level of arrangement and richness of sound that take it to another dimension - soaring horn and string sections elevating the songs from home recording to stadium-ready anthems. Keeping that intrinsic beauty and simplicity of a well-constructed song yet reframing it within a pop context is the true gift of this album.

Casas cemented Rubel’s status as one of Brazil’s leading contemporary talents and a key figure enriching the country’s already effervescent scene.

Musique Domestique marks the debut full-length from French duo Adiciatz, a project that emerges from the shared musical curiosity of Manon Nogier and Guillaume Lespinasse. Living near Lyon and making music together since before the pandemic, the pair developed their sound during lockdown improvisations at home — a creative process that quickly revealed a unique musical chemistry rooted as much in folk tradition as in experimental exploration.

Drawing on a wide palette of influences — from Occitan poetry, delicate folk to drone and spontaneous sound exploration — Adiciatz makes music that feels both intimate and expansive. Nogier’s voice and amplified taisho koto weave through Lespinasse’s keyboards, machines and percussive touches, forming a sonic world where ritualistic soft folk melodies coexist with subtle electronic textures.

Their live performances, including an appearance at the Meakusma Festival, where their set blurred the line between concert and séance, have already shown how this blend comes to life in front of audiences, with hypnotic vocals, spiralling chords and slow, trance-like rhythms inviting listeners into a space that is both meditative and evocative.

On Musique Domestique, those live-rooted sensibilities are distilled into recorded form. The album moves fluidly between rich pastoral folk and instrumental meanderings. Musique Domestique announces Adiciatz as a compelling new voice at the intersection of folk, experimental and electronic music crafted with care and intuition.

IRON REAGAN's Relapse debut The Tyranny Of Will is a 24 song wrecking ball of hardcore-punk/thrash fury. Fronted by the venomously lyical Tony Foresta (Municipal Waste), on paper IRON REAGAN is a Richmond, VA supergroup (the band also features Phil Hall of Municipal Waste, Cannabis Corpse, etc as well as Ryan Parrish of Darkest Hour together with members of Mammoth Grinder). In practice IRON REAGAN are WAY more than just a supergroup project---they have toured the world several times over levelling audiences with their furious live show. This is a fully formed raging band that have delivered one of the heaviest hardcore records of the year that is guaranteed to be on the top of both metalheads' and punk rockers' year end lists.

Kaoru Watanabe veröffentlicht mit The Arch ein Soloalbum, das in Zusammenarbeit mit dem Produzenten William Brittelle und Executive Producer Shahzad Ismaily im Rahmen des Open-Residency-Programms von Figure 8 entstanden ist. Auf zehn Stücken verbindet Watanabe traditionelle japanische Instrumente wie Shinobue- und Ryuteki-Flöten, Taiko-Trommeln, Narimono-Percussion und Koto mit Jazzimprovisationen sowie akustischen und elektronischen Klangquellen. Neben den traditionellen Instrumenten kommen unter anderem Klavier, Synthesizer, Tenorsaxophon, Sopran- und Altflöten sowie Harfe zum Einsatz, die Watanabe selbst spielt. Das Album bewegt sich zwischen unterschiedlichen klanglichen und stilistischen Ansätzen und verbindet traditionelle Elemente mit zeitgenössischer Komposition und Improvisation.

Wraz. is a man on a mission.

Not only has the Montreal native cemented his place as one of the most talented producers in the dubstep scene, but his incredible work ethic, energy, and passion—matched by his undeniable talent—mean his ascension is quite simply inevitable.

DDD has been proud to play our part in his career journey, and things are taking another step forward with the phenomenal album Rites.

A tour de force of audio sorcery, savagery, and sacrilege, Rites subjects the listener to Wraz.’ trademark mix of filthy 140 dubstep, thumping trap flavours, and industrial grittiness.

This is expertly melded with stunning, captivating, suspense-filled interludes that provide counterpoints to the bass punishment in ways that are both tension-inducing, yet beautiful.

Featuring collaborations with label bossmen Truth and DDD favourite Hypho, Wraz.’ sonic understanding of his craft feels unparalleled throughout. Each track brings its own unique flavour, while sitting together as a body of work with remarkable cohesion.

Keep a lookout for this as the first DDD vinyl drop of 2026—alongside its full digital release—Rites marks a seismic moment for both Wraz. and the 140 scene.

Wraz. is putting the world to Rites, while we’re living in his universe.

For more than three decades, this Grammy-winning US bandleader and roots master has outrun genre, classification and comfort zone, journeying between the acclaimed solo work with his own name on the marquee, his storied jam-band Gov't Mule, and America's fabled rock 'n' roll institutions from the Allman Brothers Band to the Grateful Dead. To represent this lifetime of roots and branches in a single project, while tearing down and reimagining his songbook with bold orchestral arrangements, acknowledges Haynes, was a daunting prospect that nonetheless exerted an irresistible pull. Now, the resulting live album - Dreams & Songs, released September 18, 2026 - is a living document of 2019's one- of- a- kind concert at the Thomas Wolfe Auditorium, with a visceral mix by the legendary Bob Clearmountain capturing the thrilling collision between Haynes' lineup of seasoned rock 'n' roll improvisers and the 64- piece Asheville Symphony Orchestra.

Twisted Teens is a rockin’ roll band from New Orleans.
The Kinks living in a school bus with no wheels on it. The Rolling Stones of Jungian anarchism.
The Buzzcocks of the poisoned bogs of south Louisiana.
Punk inflected country music, or country inflected punk music idk.
Memetic warfare via earworms (it’s extremely catchy). Outperforms all other bands in every metric, drinks every night but still makes it to the gym.
Draws no contrast between the familiar and unfamiliar.

“An amazing new project…” Tony Minvielle, Jazz FM

“A lush, heatwave-friendly piece of dancefloor innovation…” Clash Magazine


First Word Records is delighted to bring you the debut EP from Ships of the Pharaohs.


Ships of the Pharaohs are a London-based collective led by producer Last Nubian, who’s had releases in his own right on labels like CoOp Presents, Eglo Records & Touching Bass. Blending jazz, soul, bossa nova, d&b and house-influenced grooves, the band also consists of vocalist Achanté, keys player Goldbar & bassist, Dougan.

The 7-track EP kicks off with the high-energy, vitamin D-saturated lead single ‘Sun is Rising’, featuring the guest vocals of brilliant Berlin-based singer Red Bird, who appears on three tracks on this project (‘For You’ and ‘Seasons’). ‘Can’t Quit’ follows on a smooth soulful house/bruk tempo, and invites in the thought-provoking spoken word prose of AKEEM. ‘Seasons’, ‘For You’ and recent single ‘Joys’ add another element to the band’s eclectic take on fusion, leaning heavily into the bossa side of the quartet’s influences. The latter track sees Achanté’s soulful harmonies gracefully float across a warm bed of keys, percussion, guitar picks & synth strings. We take a short jazzy breather on the ‘Interlude’ cut, featuring the resplendent sax of multi-talented Norwegian artist, Bror Havnes, who also features on the outro cut ‘One’ - this one seeing the crew ride out with a sonic salute to jungle/d&b, closing this first opus from the group with the energy levels remaining high.

Tre Wright (aka Last Nubian) explains “Our debut EP is a reflection of who we are, both individually and as a collective. Drawing inspiration from jazz, jungle, bossa nova, house, r&b and the music that's shaped us, we've explored our own interpretation of these sounds and how they come together in a way that feels true to us. It gave us the space to experiment without boundaries, trust our instincts, and create something that genuinely reflects where we are creatively right now.”


Originally conceived to perform Last Nubian material live for a Touching Bass showcase at We Out Here festival in 2023, the project soon took on a life of its own, as the group effort unleashed a unique chemistry & sound of its own merit. Thereafter followed numerous sessions in a studio-converted bedroom of a Brixton flat, developing this new sound. The finishing touches were taken care of at the infamous Total Refreshment Centre in North London, resulting in the formation of captivating new original material, which appears across this first extended release.

Ships of the Pharaohs have additionally performed live across London at Brick Lane Jazz Festival, House of KOKO, Jazz on Wick Festival, Peckham Levels, 91 Living Room & GROW in Hackney. Developing their powerful stage presence has gone hand in hand with the creation of their own material.

The initial singles from this project received praise & support from a variety of DJs, press outlets & tastemakers from the worlds of jazz, soul and clubland, including Shy One (NTS), Tony Minvielle (Jazz FM), Rohan Rakhit (Worldwide FM), Somewhere Soul & Clash Magazine to name a few.


With sonics somewhat reminiscent of Acid Jazz legends Incognito, merged with the class of Nuyorican Soul, and the dynamic fluidity of 4Hero, the 4-piece have cooked up a set of style & flavours uniquely their own, fresh for modern dances, incorporating organic improvisation with more contemporary club sounds.

The Ships of the Pharaohs are about to set sail for what is sure to be an exciting journey ahead.

‘Part 1’ will be released on 12” vinyl & all digital platforms on September 18th 2026.

Moving between lo-fi experimental songwriting, sparse post-punk textures and intimate recordings; Ukrainian artist Regina Collage’s new album ‘Horizont’ is a personal and honest document of rebuilding a life and creative voice in Bristol. The record holds space for themes of burnout, quiet shame, tenderness and the courage of staying emotionally open when the world feels unstable. Sung entirely in Ukrainian, ‘Horizont’ does not ask the listener to understand every word. Feeling carries the songs forward. Across bedroom recordings and borrowed studios, Regina moves between cloudy dissonance and stark minimal arrangements built around bass, fragments of guitar, and an exposed voice. The recordings hold onto their rough edges. Mistakes remain and imperfection becomes part of the story. “Music for me is about not being scared to be vulnerable,” Regina says. “Almost every song I have is about what it means to be open and emotional. I really do not think it is a weakness. I hope people can listen and feel welcome to take a break and just let their emotions exist.” The album takes its name from the Ukrainian word for “horizon,” that unreachable line where sky meets earth. For Regina, the horizon became a quiet metaphor for living with distance and uncertainty. Inspired by one of her collage artworks showing a figure lying in grass and staring toward that far line, the title track reflects a feeling of moving toward something that never quite comes closer. Even without understanding the lyrics, the song carries a slow sense of longing and suspended arrival. m‘Vpiznavaty’, by contrast, initially feels almost light. Beneath that surface is a candid portrait of burnout and depressive exhaustion. The song looks at those moments when even greeting friends feels overwhelming. It captures the quiet embarrassment of withdrawing from people you care about, and the slow recognition that sometimes stepping away is simply how you survive. Other songs reveal different sides of the same emotional landscape. ‘Weak’ strips everything back to bass, a hint of guitar, and a bare vocal. Written and recorded in a single instinctive session, the track circles around the idea that softness might be its own kind of strength. Repetitive and intentionally unpolished, it quietly sets the tone for the whole record. Running through ‘Horizont’ is the reality of Regina’s life between Ukraine and the UK. Her hometown Kharkiv continues to face attacks, and many of her friends remain on the front line.

Formed in Bahia in the late "60s, Novos Baianos became one of the most iconic groups in Brazilian music. Mixing samba, rock, choro, psychedelia, capoeira rhythms, and communal living, they embodied a new countercultural movement that reshaped MPB. Their albums, especially Acabou Chorare and Novos Baianos F.C., are now considered pillars of modern Brazilian music, inspiring generations of artists in Brazil and worldwide. Originally released in 1973, Novos Baianos F.C. captures the band"s communal lifestyle and fearless experimentation. After the success of Acabou Chorare, the group expanded their sound into a vibrant mix of samba, choro, folk, psychedelia, and electric street-soul. With the unmistakable chemistry of Baby Consuelo, Pepeu Gomes, Moraes Moreira, Paulinho Boca de Cantor,and Dadi, the album radiateswarmth and spontaneity. Recorded in the Baianos" legendary "football club" house, it stands as a joyful snapshot of Brazilian cultural freedom in the early "70s.

There is a pivotal scene in “August in the Water” (dir. Sōgo Ishii, 1995) where the surface of a pool turns into a stone wall. The water that gave the protagonist's life its meaning becomes a threat. As you fall through this stone wall, you appear in a set of underwater coral-reef corridors, and one of the most beautiful musical themes begins to play: Aquatic Ambience, composed by David Wise for Donkey Kong Country (1994). It's a theme that represents the weightless vibe of your new deep-sea life, where you go about your mundane errands, collecting bananas while driving on a swordfish, or, as HerzMayhem put it: "Poor monkey... always swimming, never going anywhere..."

Synthetic Water Music is the second of three compilations, following Synthetic Bird Music and timed to mappa's 10th anniversary. As with the birds, it gathers friends of the label, artists who have released with mappa or played our shows. Most of the music is new, made to measure for this compilation, much of it from Central and Eastern European hands. Birds and water mix well, so please feel invited to play them together, creating your own environments.

Where the birds were in one flock, water is dispersed across four chapters. You live your life as a droppity drop: vapour in the heavens, condensing in clouds, falling into a swamp, trickling into the deepest sea.

Tlālōcān (Cassette 1, Side A)
A place of eternal spring, of aquatic energy that nourishes everything and allows all things to bloom. Bubbly and splishy-sploshy, it is full of dripping sounds and moist caverns (“Emerald Pool” by Pauline Anna Strom), a landscape filled with living fountains (“Oh, to be a Fountain” by Eva Sajanová) and winding streams that flow through the area, forming part of its organic architecture. It is also a paradise reserved for those whose deaths were water-related, where the aquatic and terrestrial beings live in symbiosis and perspectives shift rapidly, from observing a single droplet (Shakali, Lau Nau) to dew (Feronia Wennborg & Lucy Duncombe) and on to flowing currents (Visible Cloaks) that gradually transform into river music (Ursula K. Le Guin & Todd Barton).

Nephelora (Cassette 1, Side B)
A celestial anti-gravity sound world made of evaporation, steam and the formation of clouds, as if looking at “The Sky At The Bottom of the Well” (by Natalia Beylis) or at “The Cloud That Never Rains” (by Henrique Vaz).

If a cloud never rains,
it is not a cloud at all, but a veil that parches the earth with its gaze.
It generates only its own shadow —
a looming mass of suspended longing,
a sky that hoards but never yields,
a reservoir that swallows every river and returns nothing but echoes.

The water in this world is often invisible but sometimes all the more present, as Bint Mbareh describes it: “Recently been obsessed with invisible waters because I come from a place where you have to imagine the water is there even though you cannot see a river, a sea, usually no rain, so water is in the air, the voice and the imaginal realm, drought is imagined to be negotiable.”

Žaboglach Zha-bo-glahch (Cassette 2, Side A)
A fusion of Scottish lochs and Slovak ponds: a misty, foul-smelling, swampy realm, the kind of place that swallowed Artax from The NeverEnding Story. Stagnant waters full of decay become a blooming habitat for sirens (“thereby losing the weightless delight of being swept along with it” by Adam Badí Donoval) and beings straddling the line between fauna and flora, inventing their own communication systems (“Water-lily phase” by Action Pyramid).

R'lyeh (Cassette 2, Side B)
A brooding sunken city at the bottom of the ocean. It’s a journey to get there. Let this chapter guide you, from the shore down to the depths, to the gates of an unexplored world that is inherently dark, unfathomable, and beyond the limits of human perception: starting with seasickness ("Seasick" by Nikolaienko), passing through a classic Poe-esque maelstrom ("Flurry at the Whirl-pull" by Atte Elias Kantonen), a gateway into the darkness and emptiness of the ocean floor, and finally traversing the city itself (“last waves of 2025” by Jules Reidy).
But what is pulling you to a place like this that only a few explore and even fewer leave? Maybe “the darkness that water can contain, the expanse of things we don't know and that can trigger fear instincts even as we try to rationalise them and think we are in control of the rest of nature” (“supercritical fluids” by Diane Barbé).

Dive in and surface wherever you like. Always swimming, never going anywhere. Just don’t forget to take water breaks.

P.S. Birds, then water, can you guess what comes next? Synthetic Soil Music, an elegy for insects and worms? Synthetic Glaciers, or maybe Pollinators? Which sounds would you miss the most if they disappeared? Or what if the third one never comes at all, and somebody, or something, makes Synthetic mappa Music instead. Don't you worry, with the right training data, it can all be replicated, better than the real thing.

Tapper Zuki's debut album 'Man Ah Warrior' was originally released in 1973.It's classic Dee Jay style has been copied by many but bettered by few. An album that more than most shows that raw talent with little resources can still be a great, great thing.
Tapper Zukie (b.1956,David Sinclair , Kingston, Jamaica) was raised in the rough and tough West Kingston area of Jamaica between the districts of Trench Town and Greenwich Farm.
Living pretty much on the streets from an early age the youth including the young Tapper had no choice but to fall into the hands of the political parties that controlled the various ghetto areas of the town.
Fear of landing in even more trouble, a plan was devised by Tapper's Mother ,Brother ,Reggae producer 'Blackbeard' and family friend Bunny 'Striker' Lee .The plan was to send the wayward Tapper to England to cool his ways.
A UK tour with the number 1 Reggae Dee Jay U-Roy was already arranged on his arrival, Bunny Lee got the young Tapper to toast over a Slim Smith rhythm, the London crowd loved it
He also caught the eye of producer Larry Lawrence who took Tapper on and cut his first single 'Jump and Twist'
Nine further tracks were recorded for producer Clement Bushey that would result in this album 'man ah Warrior.
We hope this introduction to Tapper Zukie's music inspires you to look further into his catalogue of great music.
An artist ahead of his time, whose music has influenced many........
as Patti Smith stated 'Music of the Most High'............

If you’re as obsessed with unfairly unheralded bands as we are, bringing out a proper, well-deserved official re-release to change that course is always an honor. Case in point, Jackpot Records proudly announce GANDALF’s 1969 self-titled release as one of our proudest moments. Working alongside band member Peter Sando from the original master tapes, it is time for the rest of the uninitiated to catch up with this beautifully crafted haunting psych-pop record (fans of THE LEFT BANKE, KALEIDOSCOPE, THE MILLENNIUM, and THE ZOMBIES, take note!). Recorded at Century Sound in Manhattan with Grammy-winning producer Brooks Arthur (who engineered Neil Diamond’s “Sweet Caroline” and Van Morrison’s “Brown Eyed Girl”), the production of the album was created on the spot in the studio with arrangements being thrown about and the incredibly haunted vocals being recorded directly from the band’s PA using a Binson Echorec to make this innovative sound (Pink Floyd later used the same echo unit to great effect). Add to that sitars, vibes, B3 organs, harpsichord, minor tragic guitar chords, and bass drones aplenty, and you’ve got the recipe for an album that bears listening to with eyes closed, music cranked, mind open. So get in on the beauty of this record, and as Sando says on the liner notes: “Put the needle in the groove, sit back, and take the trip with GANDALF.” Enough said.

STEELOVER is a Belgian Melodic Rock / Metal band. The band was formed in the early 80's by three friends living in Liege, Belgium, the guitarists Pat Freson & Mel Presti and the bassist Nick Gardi. In search of a drummer, they threw their sights on Rudy Lenners (Scorpions) upon his return from Germany, having left the famous German band Scorpions. Rudy proposed to contact Vince Cardillo, a singer who had already on the one hand good experience and on the other hand he already recorded an album in London, “It will fit perfectly” explained Rudy. They all felt the magic during the first rehearsal. In no time, Steelover recorded their first album "Glove Me” which was released under the Mausoleum label. This album sold over more than 400.000 copies of which more than 76,000 in Poland. They followed with a tour across different countries like The Netherlands, Germany, France and Belgium including Forest National opening for Bon Jovi and KISS. Vince decided to leave the band. Replaced by Dani Klein, the second album was recorded but never released. Dani left the band after a short time with Mel Presti to start a new band under the name Vaya Con Dios.
The band came back in 2017 with a new E.P. (including single "Wild and Free") mixed by the legendary producer and and mixing engineer Tommy Hansen.
In 2019, Rudy Lenners greeted the audience one last time before retiring from his musical career. Vince had returned to the band at this point…after the show Vince, Pat & Nick decided to continue the Steelover adventure and in 2022 released the album “Stainless” on the Escape music label (ESM368). This was a great metal album and fans old and new longed to hear more. It’s now 2026 and Steelover are back with a brand-new recording featuring 11 tracks of hard rock / heavy metal. The band are very much in the style of that 80’s metal sound, a sort of mixture of Scorpions and Saxon if you like. These new songs all hit the mark making “Devil’s Highway” an album that needs to be checked out…

Der zweite Teil von Chapter Musics gefeierter australischer Post-Punk-Compilation-Reihe ,Can't Stop It!" erscheint erstmals auf Vinyl als Deluxe-Doppelalbum. Die Compilation wurde ursprünglich 2007 auf CD veröffentlicht und präsentiert eine unglaubliche Auswahl an innovativer und oft bisher unveröffentlichter Musik aus den Jahren 1979 bis 1984. Nun aktualisiert Chapter Music die Compilation mit sechs bisher unveröffentlichten Bonustracks sowie neuen Liner Notes, Fotos und einem neuen Layout. Dies ist eine unglaublich reichhaltige und dynamische Zeit in der australischen Musikgeschichte, eine Zeit, in der Australien aus dem Schatten ausländischer Einflüsse trat und vielleicht zum ersten Mal seine eigene musikalische Identität behauptete. ,Can't Stop It! II" enthält Titel, die mittlerweile zu Meilensteinen der australischen Post-Punk-Geschichte geworden sind, darunter ,Lamborghini" von Severed Heads und den Proto-Oz-Rap-Klassiker ,Do the Job" von Use No Hooks sowie frühe Werke von Künstlern wie Lisa Gerrard von Dead Can Dance und Mark Seymour von Hunters & Collectors. Zu den Bonustracks gehören das verblüffende ,How" von This Five Minutes aus Brisbane, das ,Fool's Gold" von The Stone Roses um mindestens fünf Jahre vorwegnimmt, sowie Tasmaniens eigener Performance-Punk Chainmale mit seinem ausgeflippten ,Freakout". ,Diese Ära der australischen Musik wurde nicht durch einen Sound oder ein Instrument definiert, sondern durch eine anarchische Kreativität" - Stephen Deusner, Uncut

The deluxe 10th anniversary edition of case/lang/veirs features the new track "Accidental Tattoo" and twelve never-before-released live recordings alongside the original studio album from supergroup of singer-songwriters Neko Case, kd lang and Laura Veirs. Released in 2016, case/lang/veirs is a true collaboration between three phenomenal, self-driven artists: "the strongest voices in their field - lang the full-voiced seductress, Case the hurricane, and Veirs the wry storyteller" (Pitchfork). The women wrote all 14 songs and shared lead vocals equally, sometimes even within the same track. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. "There"s a generosity of spirit to case/lang/veirs," NPR praised upon the album"s release, "a worthy extension of three tremendous catalogs, in which three great singer-songwriters sound enhanced and invigorated by the challenge of living up to each other"s legacies." They worked over two and a half years in Portland, Oregon, where lang and Veirs both live, sometimes in lang"s loft with a view of Mount St. Helens, others in Veirs" dining room or backyard studio. The album was written from the ground up without any real plan beyond a desire to make music together and a faith that it would reveal itself. They produced the album with Tucker Martine, at his Portland studio in November 2015.

The deluxe 10th anniversary edition of case/lang/veirs features the new track "Accidental Tattoo" and twelve never-before-released live recordings alongside the original studio album from supergroup of singer-songwriters Neko Case, kd lang and Laura Veirs. Released in 2016, case/lang/veirs is a true collaboration between three phenomenal, self-driven artists: "the strongest voices in their field - lang the full-voiced seductress, Case the hurricane, and Veirs the wry storyteller" (Pitchfork). The women wrote all 14 songs and shared lead vocals equally, sometimes even within the same track. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. "There"s a generosity of spirit to case/lang/veirs," NPR praised upon the album"s release, "a worthy extension of three tremendous catalogs, in which three great singer-songwriters sound enhanced and invigorated by the challenge of living up to each other"s legacies." They worked over two and a half years in Portland, Oregon, where lang and Veirs both live, sometimes in lang"s loft with a view of Mount St. Helens, others in Veirs" dining room or backyard studio. The album was written from the ground up without any real plan beyond a desire to make music together and a faith that it would reveal itself. They produced the album with Tucker Martine, at his Portland studio in November 2015.