Search:lo step

This is a concept record that reflects on events that have had a calculable effect on a generation:
‘’By 83 and 84, it felt that nuclear war was going to happen. Not could happen but was going to.’’
Stephen Brotherstone
"What would you do in the event of a Nuclear war?"
I remember having discussions about what we would do when we heard the four minute warning siren. We would raid the sweet shop. I was 8 or 9 years old. The absurdity of this vivid memory encapsulates the concept of the record. It would take at least four minutes to get to the shop!
The record starts with an early memory of circling a church on a Raleigh Budgie (the smaller lesser known iconic Chopper bicycle) in 1981 and ends with staring up at a clear sky on Oldham Lows in 1990.
The record identifies and plays with the effects of an underlying fear of oblivion on a generation of children, but also society as a whole: The pieces take in media and government propaganda. Machinery (nuclear submarines) and buildings (nuclear bunkers) but also everyday activities of the civilian population, activities such as shopping, clubbing and staring at the sky. Thematically, the record is made up of personal memories mixed with historical events.
Instruments are mainly from 1980s. DX7 and 808 feature predominantly. The pieces feature numerous melodic motifs that develop and intertwine underlying ideas of espionage and layers of secret messaging. It also mirrors the ways in which governments and civilians interact. Decisions being made in the name of defence whilst people go about their daily lives. I am exploring the everyday experiences of the masses whilst major political decisions are taking place. For example, shopping on a Saturday afternoon versus heated Cold War tensions in 1983.
Although taking place conceptually in the years 1979-1991, this record mirrors current events. History repeating. It also mirrors the helplessness or maybe some oblivious everyday normality state that we adopt as a community whilst major political decisions are being made.
The idea that life goes on oblivious to larger scale politics, or on the other hand, the idea that we are all very aware but in a state of unreal normality. Adam Curtis goes into great detail about such things in his film 'Hyper Normalisation'.

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

Mara TK, a golden voiced, Maori-Scottish world-wandering citizen of Aotearoa (New Zealand) announces his debut solo album 'Bad Meditation', released 7th May on Extra Soul Perception. Stepping out on his own, Mara TK is the former frontman of the acclaimed Kiwi future soul trio Electric Wire Hustle. Written and produced by Mara himself, 'Bad Meditation' is his 13 track opus, a deeply personal account of heritage, love, loss and healing.

An alumnus of Red Music Academy in Toronto, Mara TK's work beyond Electric Wire Hustle has seen him collaborate with critically lauded names including Om'Mas Keith of Sa-Ra Creative Partners, Detroit producer and J Dilla collaborator Waajeed, and Steve Spacek.

Extra Soul Perception is a collaboration and community music platform that started life between the UK, Kenya and Uganda but is now continuing to grow and connect independent musicians worldwide. Now with Mara TK added to the roster, Extra Soul Perception has released music by Lex Amor, K15, Maxwell Owin, Lynda Dawn, Hibotep, Karun, Labdi, Faizal Mostrixx and more.

*Nb: The solo version of 'Met At The River' is a digital exclusive only.

After making waves in the underground with their first release, psychedelic techno explorations from Winkles, A Sky Full Of Numbers head to the shoreline with a five tracker of misty electronica from Japan’s The Rituals, the new collaboration between Tasoko and DOLTZ. Across acclaimed releases on Explore, Bitta, and Delsin, the duo have separately explored deep techno, ambient, acid house and IDM, showcasing innovative sound design and spacious, understated grooves. For AFSON, the duo apply their unique point of view at a lower tempo, pulling away from the peak time to deliver a shadowy journey through dewy electronics.
Opening transmission 503M feels like tuning into a damaged frequency somewhere beyond the cloud line. Misty lead synths slither through blown circuitry while buzzing sequences and short-circuiting percussion crackle against purring bass pressure below.
There’s an eerie electricity in the atmosphere, as if the track’s been exposed to too much heat and left glowing softly in the dark. From the opening bars, The Rituals instantly establish their ability to make techno feel both mechanical and hallucinatory.
Ugan sees the duo descend deeper into the haze. Reverb-drenched synth motifs hover like distant lights through thick fog while a propulsive dub bassline locks into loose electro-funk rhythms beneath. There are echoes of hauntological electronics and early IDM experiments here, but The Rituals avoid nostalgia entirely, steering the track instead towards something crepuscular and alive.
Stepping out of the shadows, Broken Frog Lamp pushes forward on a rolling rhythmic framework as melodies slowly force their way through layers of sea mist and static interference. Atmospheric without losing momentum, the track balances submerged emotional weight with hypnotic forward motion.
The mood softens but never dissipates on Salty Air, a damp and dewy excursion into dubbed-out psychedelia. Rainfall ambience, skittering stone percussion and swelling pads fold around sliding sub bass and filtered stabs, while jazzy cymbals and syncopated hats gently pull the track forward, as the condensation clings to the hardware.
Closing cut “Night, Castle, Reflection” drifts into darker territories, where redlining drums and pulsing low-end pressure throb beneath thick layers of saturated texture. Woozy synth work smears against tightly controlled rhythms, creating an immersive and slightly uneasy atmosphere that closes the EP at its most introspective point.
Taken as a whole, the EP transports you into the midnight hour, when the comforting embrace of stillness can easily nudge you towards hallucination, dissolving the boundaries between dream state and dancefloor hypnosis.

You have to imagine that American ambient obsessive zake never actually steps away from his machines, let alone turns them off. He is one of the most prolific artists in any genre, and his Past Inside The Present label is where it all gets served up. Next up is a lovingly assembled picture disc with fitting artwork that represents the sounds inside: sorrowful but charming drones, long-held chords that pass at glacial speed like clouds on a windless day. There is just one piece per side, and both are signature meditations and mindfulness exercises that leave you feeling completely at peace with the world, no matter what was going on before you hit play.

One Oh Eight returns with two Lowslung hip house joints. Side A sees a classic nomadic riddim revisited with a surprise bpm transition. The B side is a smoothed out west coast classic with those stepper - four to the floor beats.

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

“an absolutely astounding album” 4.5/5 - DIY

“Romance Is Boring is a triumph.” - 8.3/10 - Pitchfork

“The fact that the seven-piece manage to make music that is as orchestrated and coherent as it is invigorating is only one of the few astonishing things about them.” - 9/10 Popmatters

“What primarily sets ‘Romance Is Boring’ up as a significant step forward is that it’s incredibly structurally cohesive, and yet blows anything they’ve previously released out of the water in terms of textural intricacy, technical prowess and general experimentation.” - 4/5 NME

American experimental composer Stephen O’Malley releases Avaeken, two sides of immense, immersive, self-annihilating music via Dais Records.

The record preserves site-specific work: O’Malley installed Avaeken as part of Wish You Were Here, the exhibition by renowned American artist Banks Violette, underscoring the tension between presence and absence, life and loss.

O’Malley and Violette have developed a distinct language of sound, space, and sculpture over the past two decades, reverberating through the walls of world-class institutions from The Guggenheim and Centre Pompidou to prominent galleries such as Maureen Paley in London, Gladstone Gallery in NYC, and Antwerp’s TICK TACK, the brutalist space where Wish You Were Here unfolded in early 2026.

Emerging now as an LP, Avaeken presents power and phenomena: low-frequency vibrations, deep oscillations, and phase cancellations that translate as innately effective in any environment. Violette’s visual expression — the impossibility of locating yourself within the loss of a friend and the broader decay of culture — now fills the LP sleeve and feels inextricable from O’Malley’s sound, both still without resolution.

“Natural harmonic tone coloured by the valves of the amplification is the one desired characteristic,” reads the initial notes.

“At first I asked, why would I write for another guitar player?” he says. “I realized how amazing it is to be a listener on the other side of the music; together we were able to try all these precisions with intonation, harmonics, specific microtonal ideas.”

The quartet performed Avaeken several times before O’Malley joined them for a recording session at Muziekcentrum De Bijloke, a 13th-century former hospital with modern acoustics in Ghent.

What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn't be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman's bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, "Dead End" which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin's sublime falsetto floating atop Tony and Eric's unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. "Breathe" showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony's father, Big Tone, an accomplished performer himself, steps in on "Peter Pan" to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on "Sorry", a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels' NYC aesthetic has proven to be an amazing combination. It's a debut record that pulls influences from so many genres seamlessly it's hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we've decided to call it BUCK.

In 2023 we began our hugely successful 80s 12” series on CD – a year-by-year journey through the greatest 12” singles from the decade, and in 2024 we presented a selection of tracks from 1980-1982 as the first volume in our collectible vinyl boxset series, followed by Volume Two celebrating 1983-1984 in 2025.

This year, Now Music is proud to announce the third instalment in this essential collection, NOW Presents…12" 80s: Volume Three: 1985-1986, as a stunning 5-LP boxset. A limited edition and numbered set with each of the 5-LPs pressed on a different colour vinyl – red, yellow, blue, hot pink and lime green – to be released on July 17th, 2026, and for many of these tracks this marks the first time back on vinyl since their original 12” release!

Opening with one of the decade’s most powerful rock anthems, Queen’s ‘One Vision’ appears in its Extended Version, ahead of Eurythmics’ euphoric ‘There Must Be An Angel (Playing With My Heart)’ in the Special Dance Mix and Dead Or Alive’s irresistible ‘You Spin Me Round (Like A Record)’. Side A closes with Frankie Goes To Hollywood and the epic ‘Welcome To The Pleasuredome (An Alternative To Reality)’. Flip the LP over for more iconic 12” versions from 1985, beginning with Tears For Fears and the UK Extended Version of ‘Shout’, alongside Go West’s ‘We Close Our Eyes (The Total Overhang Mix)’, the massive soundtrack hit ‘Don’t You (Forget About Me)’ from Simple Minds and Arcadia’s sophisticated ‘Election Day (Consensus Mix)’.

LP2 opens with four defining tracks that perfectly capture the electronic and cinematic sound of the mid-80s. Paul Hardcastle’s groundbreaking hit ‘19 (The Destruction Mix)’ leads into two instrumental classics: Harold Faltermeyer’s ‘Axel F’ and Jan Hammer’s ‘Miami Vice Theme’, both featured in their Extended Versions, before Propaganda’s peerless ‘Duel (Bitter-Sweet)’ closes the side. Side B showcases some of the era’s biggest dancefloor favourites, from Mel & Kim’s ‘Showing Out (Get Fresh At The Weekend)’ and Gwen Guthrie’s enduring club anthem ‘Ain’t Nothin’ Goin’ On But The Rent’, to Aretha Franklin’s ‘Who’s Zoomin’ Who?’ in its Dance Mix and the soul-pop brilliance of Loose Ends’ ‘Hangin’ On A String (Extended Dance Mix)’.

LP3 brings together some of the decade’s most beloved pop and rock crossover hits. Side A opens with the powerhouse pairing of Philip Bailey and Phil Collins on ‘Easy Lover (Extended Dance Remix)’, followed by Bonnie Tyler’s dramatic ‘Holding Out For A Hero (Club Mix)’ and Pat Benatar’s classic ‘Love Is A Battlefield (Extended Version)’. Stephen Duffy’s infectious ‘Kiss Me (Mixe Plural)’ precedes The Human League’s U.S. #1 ‘Human (Extended Version)’. Over on Side B, Duran Duran lead with the ‘Extended Mix’ of ‘Notorious’ before a run of timeless dance-pop including Sly Fox’s ‘Let’s Go All The Way’, Jellybean’s ‘Sidewalk Talk’ and Maria Vidal’s ‘Body Rock’, culminating with Ashford & Simpson’s club classic ear-worm ‘Solid (Special Club Mix)’.

LP4 opens with huge examples of sophisticated synth-pop and dance-floor innovation from 1986. Pet Shop Boys’ era-defining ‘West End Girls (Dance Mix)’ is joined by New Order’s influential ‘Bizarre Love Triangle (Extended Dance Mix)’. Up next, Red Box’s pure-pop of ‘For America (Bazooka Mix)’ and Nick Kamen’s breakthrough hit ‘Each Time You Break My Heart (Extended Version)’. The reverse side celebrates some of the biggest floor-fillers of 1986 – all in their 12” Versions, beginning with The Communards with Sarah Jane Morris and their unforgettable #1 version of ‘Don’t Leave Me This Way’, alongside Bronski Beat’s ‘Hit That Perfect Beat’, Bananarama’s global smash ‘Venus’ and Five Star’s ‘Can’t Wait Another Minute’ in its ‘M&M New York Remix’ form.

The final LP opens with a side packed with some of the most enduring dance-pop and of the era. Whitney Houston’s ‘How Will I Know (Dance Remix)’ is followed by Steve Winwood’s uplifting ‘Remix’ of his massive hit ‘Higher Love’, the celebrated ‘Shep Pettibone Remix’ of Level 42’s ‘Lessons In Love’ and Bryan Ferry’s elegant and atmospheric ‘Slave To Love (12" Remix)’, whilst over on the final side some of the years’ most distinctive and innovative sounds are showcased: Big Audio Dynamite’s genre-blending ‘E=MC2 (12 Inch Remix)’ and Furniture’s cult classic ‘Brilliant Mind (12" Mix)’ feature alongside Talk Talk’s majestic ‘Extended Mix’ of ‘Life’s What You Make It’, and to close this superb collection, the full ‘Extended Version’ of Spandau Ballet’s powerful ‘Through The Barricades’ provides a fitting finale, bringing together 42 essential 12” versions from 1985 and 1986 across five superb LPs.

Techno innovator Regent has already made his mark on Mutual Rytm with two previous outings highlighting his refined but powerful style. The Berlin-based artist joins the dots between bold percussive grooves and distinct cerebral layers, with his productions continuing to receive wide support from DJs and tastemakers across the globe. This return to SHDW's flourishing label features one of his most anticipated tracks to date - a truly timeless warehouse anthem that marks an exciting new chapter for both Regent and the label.

'Permean' is a raw but sophisticated piece of techno that merges powerful drums with hypnotic pads. It brims with surgical sound design. While the groove is fierce, a haunting melodic touch adds a soft and deeply emotional edge
as Regent explores the tension between permanence and decay, delivering a timeless and essential track.

The first remix comes from Steve Rachmad under his Sterac guise. This version channels the spirit of his early work - pure, stripped-back techno at its finest. Tightly programmed and deep, it features burrowing bass and impish synths dancing up top to occupy the mind while the body moves.

Next comes a remix from one of the most innovative producers of our time, Rene Pawlowitz, under his Head High alias, a project reserved for his more house leaning sounds. His 'Power Tool Mix' brings his signature loopy style with thudding kicks, raw hi-hats and twitchy synths - already shaping up to be a summer hit. Pawlowitz then steps out under his renowned techno alias Shed. His 'Forceful Pressure Mix' is a blistering and unrelenting weapon, with rusty textures and powerful bass locking you in its glitches, unresolved loops and booming low end.

For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms.

The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location proved crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.”

SUNN O))) have long welcomed collaborators into their self-contained world: past work has featured, Attila Csihar (Mayhem), composer Hildur Guðnadóttir, multi-instrumentalist Steve Moore, polymath Mark Deutrom, Silkworm’s Tim Midyett and legendary singer-songwriter Scott Walker. But on this album O’Malley and Anderson found fresh possibilities in the primal territory of the duo format, performing all the instrumentation themselves. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators has been really fresh and exciting,” says Anderson.

The compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Amidst howling feedback and glacial crunch, one finds surprisingly delicate moments: a field recording of water trickles beneath, piano interludes lend a hushed, solemn feel. All while the duo attains fresh heights of telepathic intensity as they shape music that breathes the bracing, earthy air of the Pacific Northwest.

Framing the album visually are two paintings by the late American artist Mark Rothko. Liner notes are by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the relationship between humanity and nature. Through the work of the band, Macfarlane, and Rothko, sound, word and visual combine into a fully immersive experience that is undeniably, completely SUNN O))).

2026 Repress

Techno mainstay Gary Beck drops hugely sought-after cut 'Hopper' on SHDW's Mutual Rytm sub-label Spectra, with remixes from KiNK.

Glasgow-born Gary Beck is a primary figure in techno and has been for well over a decade. Dropping seminal
underground classics and cultured full-lengths on an array of leading labels, as well as his own BEK Audio imprint,
he has also led the way as a revered DJ as his legacy continues to build. Now, adding to his standout 'Upside
Criminal' EP as well as his well-received track 'Fold' on the 'Federation Of Rytm III' VA, he returns with a record that
has often featured in both his and Mutual Rytm boss SHDW's sets, stepping out on the label's Spectra series with
a cut that has long been sought-after by those who know.

A spontaneous studio moment turned club weapon, the timeless 'Hopper' merges a syncopated disco bassline with
subtle nods to funk and classic dancefloor energy. It's one of those tracks that lingers in your head long after the
night ends - a pure embodiment of Beck's raw energy and production finesse built on an infectious groove full of
contrast and character.

Bulgarian synth wizard, hardware genius and tireless innovator KiNK delivered Spectra's inaugural release, so he
lands as the perfect person to remix. His first interpretation stays close to his roots with a house-leaning, slowed
down take that channels warmth and groove in equal measure. On the B2, however, he flips the script with a high
octane fusion of techno and UKG. It's a peak-time anthem engineered to ignite dancefloors and closes out a
standout EP with the third release in the Spectra catalogue.

Gary Beck 'Hopper' drops via Mutual Rytm Spectra on 20th June 2025.

2026 Repress

Portuguese techno force Lewis Fautzi debuts under his own name on Mutual Rytm with ‘Beneath The Surface’. Hailing from Barcelos, Portuguese maestro Lewis Fautzi has carved out a formidable reputation through a run of uncompromising releases and a sound rooted in tension, precision and raw power - exemplified by his recent outing on the agenda-setting Hayes Collective. He has previously established his fierce, potent sound on Soma, PoleGroup, Mord, and a number of other influential labels, while also heading up Faut Section. Having previously appeared on Mutual Rytm’s Federation Of Rytm III compilation under his Non Cyclic alias, he now steps out on SHDW’s label with a six-tracker busting full of impactful techno cuts. The heavily-requested ‘Beneath The Surface’ opens the EP with menacing low-end and tightly coiled pressure that's released through simmering valves and hissing synths. ‘The Hollow Cycle’ brings a loopy, tunnelling groove with a snaking lead and snaking metallic percussion, while ‘Inner Mechanism’ keeps things dark, deep and driving with a backlit glow that pulls you in. ‘Nonlinear Form’ is streamlined deep techno that fizzes with texture, spraying chords and a rumbling sub-bass, while closer ‘Anamorph’ rides meticulously designed broken beats with an ever-present sense of bass-driven foreboding. For digital purchasers, sparse and eerie bonus ‘Surface’ slams down with industrial weight and real warehouse grit, shaping up another weighty offering for the label.

5 x LP
60-page hardback book
Black vinyl
Printed labels
Printed inners
Slipcase
A2 poster
Slipmat

Originally released in 1990 by Happy Mondays, Pills ‘n’ Thrills and Bellyaches captured the chaotic, euphoric spirit of the Madchester movement, blending indie rock, acid house rhythms and funk grooves into a sound that helped reshape British alternative music. Featuring era-defining tracks such as “Step On” and “Kinky Afro,” the record became both a commercial breakthrough and a cultural snapshot of a generation fuelled by dance culture and Northern nightlife.

More than three decades later, its grooves, attitude and genre-blurring production still resonate strongly with contemporary audiences, influencing modern indie and electronic artists alike.

5LP Edition. All original audio remastered from Factory Records master tapes. Includes original album, Hallelujah + Madchester Rave On, Baby Big Head Bootleg Album (Live at Elland Road, 1991), classic and new remixes, 60-page hardback book with brand new essays from James Brown and Central Station designers, fold-out A2 tour poster and Madchester slipmat.

Originally released in 1990 by Happy Mondays, Pills ‘n’ Thrills and Bellyaches captured the chaotic, euphoric spirit of the Madchester movement, blending indie rock, acid house rhythms and funk grooves into a sound that helped reshape British alternative music. Featuring era-defining tracks such as “Step On” and “Kinky Afro,” the record became both a commercial breakthrough and a cultural snapshot of a generation fuelled by dance culture and Northern nightlife.

More than three decades later, its grooves, attitude and genre-blurring production still resonate strongly with contemporary audiences, influencing modern indie and electronic artists alike.

1LP Red Edition. All original audio remastered from Factory Records master tapes. Includes original album and brand new liner notes by James Brown.

With her new album Trespasser, Grace Potter introduces a beautifully unruly cast of characters who step into forbidden spaces with absolute abandon. As the spiritual sequel to 2023’s Mother Road, the four-time Grammy nominee’s seventh studio LP continues the kaleidoscopic storyline shaped by her many road trips from her Topanga Canyon home to her part-time residence in her native Vermont (a journey she’s made eight times in the last five years, usually on her own). But while Mother Road was born from a desperate need for solace in the midst of emotional freefall, Trespasser reveals an artist firmly anchored in her singular vision.

The latest chapter in a career marked by endless transformation and elite recognition—including sharing stages with rock & roll icons like the Rolling Stones & Robert Plant and earning praise from legends like Bob Dylan and Bonnie Raitt—Trespasser ultimately lights the way toward a more unbound and expansive means of moving through the world. Produced by her husband and frequent collaborator Eric Valentine (Queens of the Stone Age, Weezer, Slash) and recorded in a cross-country journey beginning at her home in Topanga with Benmont Tench, continuing in Nashville with Mother Road session players (members of Cage the Elephant, Kings of Leon, and Train), and completed in Vermont with members of her longtime live band, the album echoes its origins with a wayward sound that spans from stripped-bare soul to cosmic country to hellraising rock & roll—all while orbiting Potter’s force- of-nature voice and lavishly imagined storytelling. “We’ve always been taught that the trespassers are the bad guys, but to me it’s not about reckless rebellion,” says Potter. “It’s about exploring, physically and mentally and emotionally, and being willing to step outside the narratives we’ve accepted. Because in my experience, the places we’re told not to go are exactly the ones that show us who we really are.”

With her new album Trespasser, Grace Potter introduces a beautifully unruly cast of characters who step into forbidden spaces with absolute abandon. As the spiritual sequel to 2023’s Mother Road, the four-time Grammy nominee’s seventh studio LP continues the kaleidoscopic storyline shaped by her many road trips from her Topanga Canyon home to her part-time residence in her native Vermont (a journey she’s made eight times in the last five years, usually on her own).

But while Mother Road was born from a desperate need for solace in the midst of emotional freefall, Trespasser reveals an artist firmly anchored in her singular vision. The latest chapter in a career marked by endless transformation and elite recognition—including sharing stages with rock & roll icons like the Rolling Stones & Robert Plant and earning praise from legends like Bob Dylan and Bonnie Raitt—Trespasser ultimately lights the way toward a more unbound and expansive means of moving through the world. Produced by her husband and frequent collaborator Eric Valentine (Queens of the Stone Age, Weezer, Slash) and recorded in a cross-country journey beginning at her home in Topanga with Benmont Tench, continuing in Nashville with Mother Road session players (members of Cage the Elephant, Kings of Leon, and Train), and completed in Vermont with members of her longtime live band, the album echoes its origins with a wayward sound that spans from stripped-bare soul to cosmic country to hellraising rock & roll—all while orbiting Potter’s force- of-nature voice and lavishly imagined storytelling. “We’ve always been taught that the trespassers are the bad guys, but to me it’s not about reckless rebellion,” says Potter. “It’s about exploring, physically and mentally and emotionally, and being willing to step outside the narratives we’ve accepted. Because in my experience, the places we’re told not to go are exactly the ones that show us who we really are.”

This album remains a fan favorite for its intimate atmosphere, featuring Susan's trademark soulful and breathy vocals set against tasteful, uncluttered arrangements. The tracklist is a masterclass in light jazz and soft pop, featuring definitive covers of eleven classics such as "Close to You," "Stay Awhile," "Killing Me Softly With His Song," and "Love Will Keep Us Alive." Every performance is delivered with a natural, immersive presence that showcases her impeccable phrasing and emotional depth. An important release in Susan Wong's career, Close to You has been remastered and will be released on 180g One- step Pressing vinyl LP, MQA-CD and Stereo Hybrid SACD, with new liner notes.

Die auf orangefarbenem Vinyl erhältliche LP von Marcus 5 dokumentiert erstmals offiziell remasterte Archivaufnahmen einer slowenischen Band, deren Ursprung in den frühen Achtzigern liegt. Die LP versammelt neun Stücke, die zwischen 1982 und 1985 aufgenommen wurden und nun in 24-bit/48kHz-Downloads sowie als physische Pressung vorliegen. Die Veröffentlichung bringt frühe Demos und seltene Studioaufnahmen in eine kohärente Edition und richtet sich an Sammler und Freunde der regionalen Alternativszene. Musikalisch verbindet Marcus 5 alternative Funkelemente mit einem ausgeprägten Rhythmusfundament, zugleich sind Anklänge an New-Romantic- und Coldwave-Ästhetik spürbar. Charakteristisch für die Gruppe waren prägnante Basslinien, synkopierte Gitarren und eine ausgeprägte Bühnenpräsenz, die der Band in Ljubljana schnell lokale Aufmerksamkeit brachte. Diese stilistische Mischung sowie die knappen, melodisch orientierten Arrangements zeichnen den Sound aus und geben dem Material eine eigenständige Spur in der damaligen Szene. Die Credits nennen Vinci Vogue AnPlovar als Sänger, Borut KrPisnik und Zvone Kukec an den Gitarren, Jani Hace am Bass sowie Friderik Vargazon an Schlagzeug und Xylophon; sämtliche Stücke entstanden unter dem Bandnamen Marcus 5. Für die Neuauflage zeichnet Mastering-Ingenieur Simon Pensek (Studio Siska, 2025) verantwortlich; das Artwork stammt von Zvone Kukec, Fotografie von JoPe Suhadolnik. Die Edition erschien auf Matrix Music Arhiv und präsentiert damit ein wichtiges Dokument der slowenischen Alternativmusik aus den frühen Achtzigern. Orangen farbige Vinyl LP

Studio Barnhus presents Fold, the first full-length release on the label from Stockholm-born, Berlin-based DJ and producer MOLØ: a patiently unfolding album of club-adjacent lullabies, soft-focus breakbeats and open-window electronics. Following 2024’s Aqua Lull and 2025’s Don’t Change EP with Slackin Beats, MOLØ returns to Barnhusgatan with her most fully realised work yet – an album built like a night slowly finding its shape, starting somewhere quiet and letting the music grow and shift. The result is Fold: eight tracks moving freely between rooms and tempos, held together by MOLØ’s sense of atmosphere, melody and pace. There are pads with endless skies in them, field recordings whispering from the corners, melodies suddenly appearing, having been waiting patiently for the right light.
As often with Studio Barnhus, friends old and new are invited in. Swedish jazz pianist Albin Söderbäck leaves his mark on Cloud and Sväva, bringing a warm, searching musicality that nods gently towards MOLØ’s favourite jazz-fusion records. On Le, Diane Emerita’s fragile voice slips in between the breaks, making the track feel at once human and unreal. Off The Meds frontman Kamohelo keeps it cool as ever on the dynamic stepper Bump.
Then there is Malmö, featuring Norwegian songwriter and vocalist Ane Brun. MOLØ sent Brun the instrumental because she could already hear her voice inside the music – what came back felt so natural, it was as if the whole track had been written around it from the start.
Elsewhere, DJ favourite Fluff captures a different kind of magic: made in MOLØ’s Berlin apartment one spring evening, barely changed since its first draft, then road-tested immediately on a late-night walk through the city with the demo on repeat, strangers moving through the frame.
Fold is a record about trusting the long way round. In a time of shrinking attention spans and growing impatience, MOLØ chooses the scenic route, with curiosity, generosity and enough confidence to let the listener get a little lost

Aftersome refers to that suspended moment of wonder, when you realize you’ve been led here by a chain of unexpected events and small decisions — so improbable they almost feel preordained. Between chance and destiny, it is a fragile state where emotion and reflection intertwine.
This album by You Man embodies precisely that idea: each track is a step along this path, a resonance born of accidents and coincidences, ultimately shaping a coherent trajectory despite its improbability.
The work moves between techno, house and post-wave, infused with science-fiction and fantastical influences, constantly blurring the line between reality and imagination.
The experience is enriched by remarkable collaborations: Marc Almond (Soft Cell), Local Suicide, Jérôme Voisin, each bringing their own brilliance to this odyssey.

- After the collector 2024 Record Store Day 35th Anniversary edition & Special CD boxset of the seminal 1989 album, the album will be available again to everyone from July 31st , 2026 as 1CD & 1 LP Black new permanent editions.
- Produced by Stephen Street (The Smiths, Blur, The Cranberries, New Order).
- Vinyl mastered by Peter Beckmann at Technology Works

- July 31st also marks the long-awaited return of legendary Manchester outfit The Durutti Column, with "Renascent" their first new studio album in over fifteen years which already get a very strong response & support from key traditional media - with major features confirmed for Pitchfork, The Guardian, MOJO, Monocle and Record Collector to name a few.

- Many new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis).

After the wild Afro-jazz fusion of Trancedance (reissued as BT118) and the meditative solo Christer Bothén Donso n’goni (BT133), legendary Swedish multi-instrumentalist Christer Bothén returns to Black Truffle as part of a dream quartet completed by the three members of Ghosted: Oren Ambarchi (guitar), Johan Berthling (bass) and Andreas Werliin (drums). Recorded at a rustic studio built by Werliin and Hans Fredriksson in the sylvan surrounds of Hamburgsund, Sweden across a few days in September 2023, Serpentine offers up four generous slices of hypnotic repetition and shimmering resonance, cut through with wild bursts of Bothén’s bass clarinet.

The depth and ease of the quartet’s rapport is evident from the first moments of the opening title-track. Berthling’s resonant upright bass locks into a head-nodding ostinato that makes sensitive use of a prominent end-of-phrase rest, opening spaces through which Werliin’s continually shifting statements of the pulse shine through. Having worked together in various groups for many years, Berthling and Werliin are masters at playing subtle games of difference and repetition, creating a driving rhythmic flow animated by perpetually changing details: here, you can never step in the same groove twice. Weaving through it all is Ambarchi’s now-signature Leslie-cabinet guitar tone, sounding out long chords at times strikingly close to a Hammond, while also creating intricate cross-rhythms through the play of his tremolo modulations against the bass and drums. When Bothén enters five minutes in, the growl of his bass clarinet at first works deep in the collective brew, carving off brief staccato phrases and twisting them into fragmented melodies. As he moves into the instrument’s higher registers, Bothén’s playing becomes wilder, twinning with Ambarchi’s guitar in shimmering arcs like a 21st century update of the Garbarek-Rypdal pairing immortalised on Sart.

Each of the four pieces explore different possibilities of a shared language. On ‘Antigorite’, another hypnotic bass riff emerges gradually from an atmospheric haze, eventually developing into a frenetic rhythmic workout propelled by Werliin’s cowbell. Berthling sits out for ‘Lizardite’, while Bothén moves from bass clarinet to the Donso n’goni, the sacred Wassoulou hunter’s harp he has studied for half a century; the resulting performance streamlines the approach heard on other tracks into pure modal propulsion, sparkling with harp-like arpeggios from Ambarchi’s guitar. On the closing ‘Chrysotile’, the bottom drops out, leaving a swampy, churning mass of wavering organ-like chords, roaming bass runs, and distant toms, over which Bothén floats bass clarinet figures by turns bluesy and abstract, the whole thing landing somewhere between classic ECM and the most blasted freeform moments of early Amon Düül II. Bearing a delicate calligraphic abstraction by Bothén on its cover and beautiful documentation of the recording sessions on its inner sleeve, Serpentine is a powerful reminder of the magic that can happen when inventive musicians just get together and play.

Kacper Krupa is one of the most distinctive saxophonists of the younger generation, a key collaborator of Skalpel and Łona x Konieczny x Krupa (whose album Taxi was certified Gold in Poland), and leader of Siema Ziemia, with whom he has performed at prestigious European festivals and concert venues such as the London Jazz Festival, Jazz Jamboree, Le Périscope, and Bimhuis.
SEKWA marks another important step in Kacper Krupa’s artistic journey. The album was created at the intersection of jazz, improvised music, contemporary chamber music, electronics, and ambient, forming a diverse yet coherent whole.

Peppermint Jam Allstars Vol. 7 is here! Featuring some big names in the way of label boss Mousse T. & Birdee, NYC legend Matthias Heilbronn alongside Ibiza royalty DJ Pippi who collabs with Kiko Navarro & Willie Graff. Cassara rounds off the All-Star lineup for Vol 7.

A fresh Various Artists selection built for the dancefloor – bringing together longtime PJ family names and a new face stepping into the mix. Four cuts, one 12", all killer, no filler. House music the Peppermint Jam way.

Detroit-born, Toronto-based HONORÉ returns with "We're Still Making Love" – the third vinyl release on Soul Jones Records and the herald for her long-awaited debut album. Written by Honoré and recalling the sweet n' tender vintage of 70s southern soul, the full Detroit Soulchestra swells around houseband The Detroit Lovers – a groove that reminded Honoré of growing up in the Motor City, watching lovers stepping together in the ballrooms of Detroit. The vinyl also carries the recent "Gratitude Remix" of "Ain't No Substitute" (by Estonian maverick Martin Laksberg of Lexsoul Dancemachine) as a bonus on the flip.

Drone returns for his fourth release on his Evil Sky imprint with Normal Ways, a 4-track EP that further pushes the boundaries of bass-heavy music. The EP blends 2-step, breaks, and dubstep, showcasing Drone’s ever-evolving sound while staying true to his distinctive style.

Opening with Ralph’s Theme, a euphoric breaks-driven track, Drone explores a more melodic and emotional side of his production with soaring synths and vocal chops.

Blurred Vision follows, a bass-heavy 2-step anthem with powerful low-end and driving drums that capture Drone’s signature intensity.

Atom Bomb is a dubstep weapon, a club-focused track loaded with hard-hitting bass and all the weight you expect from Drone’s productions.

Closing out the EP is the title track, Normal Ways — a stripped-back, weighty cut with a deep sub, vocal chops, and grooving percussion, marking a return to a more minimalistic yet dynamic sound. Normal Ways sees Drone push forward into new sonic territories while maintaining his signature style, making this EP another standout release on Evil Sky.

MYKI enters the Neptune Discs orbit with a limited edition 12″, tracing the outer zones of house and techno through deep, dubwise pressure and a distinctly nineties haze. With previous outings on Kalahari Oyster Cult, Step Ball Chain, and more recently R.A.N.D. Muzik x Echocentric, MYKI also co-runs the Tofistock label alongside Olsvangèr.

A vivid display of his range as a producer, the EP moves with ease between direct techno, propulsive trance variants, dub-loaded house pressure, and atmospheric, chord-heavy cuts full of texture and detail. With this project, MYKI explores hauntological aspects of dance music — the space between memory, atmosphere, and club functionality.

25% of profits will be donated to support Doha, a 27-year-old architect from Gaza whose home was destroyed during the ongoing devastation in Gaza. Doha has been accepted to study architecture at Delft University of Technology, and funds raised will help cover the visa and relocation costs needed for her and her daughter to reach safety and continue her education.

The release comes housed with an outer sleeve sticker designed by theajm.

Fiat Lux return with Desire & Belief, their third album of new material this millennium, following their acclaimed comeback LPs Saved Symmetry and Twisted Culture. The trio—Steve Wright, Will Howard, and David P Crickmore—combine modern production with vintage synths and instruments rooted in their Polydor-era beginnings to craft ten tracks that span cinematic atmospheres, synth-pop anthems, and moody electronica. Tracks like "Clear Sky " and "Turn Me Around" offer hook-laden synth-pop, while "Summer Solstice " and "Am I Dreaming " delve into ambient and darker tones. Desire & Belief is a natural progression for Fiat Lux—retaining the spirit of their 1980s Northern roots in synth, goth, and indie, yet confidently stepping into new sonic territory for long-time fans and new listeners alike. RIYL: Blancmange, OMD, Scary Thieves, Tears For Fears

Maverick folk artist and touring veteran Rev Hammer has been writing and releasing music for over 40 years. He regards his music not so much as a passport to fame and fortune but as a ticket to ride and has enjoyed numerous tours, collaborations, and projects over his long and varied career. The Old Crow Folk Club album features 23 of his songs re-imagined by friends and artists including Justin Sullivan (New Model Army), Mark Chadwick (Levellers), Maddy Prior (Steeleye Span), Simon Friend (Levellers), Seth Lakeman, John Jones (Oysterband), Dan Donnelly & Jon Sevink (Levellers), Nick Harper, Kathryn Roberts & Sean Lakeman, Nick Parker,

There’s something quietly defiant about Melody Boy. Written and recorded in a tiny beach hut studio on the English coast, and notably know for his previous work with Paul Weller and The Moons, Andy Crofts’ debut solo album arrives without compromise or concession to trend. It’s a record built on melody above all else, songs that feel unearthed rather than manufactured, guided by instinct, memory, and a lifelong obsession with the craft of songwriting.

Crofts, long established as a songwriter and musician, steps forward here with a voice that feels both seasoned and strangely elusive. There’s no rush to explain, no attempt to overstate. Instead, Melody Boy unfolds with a natural confidence, hook laden, harmonically rich, and emotionally direct without ever losing its sense of mystery.
Drawing from a lineage of classic songwriting while remaining firmly his own, the album leans into warmth, analogue textures, and a sense of timelessness that resists the churn of the modern music cycle. It’s not chasing a moment, it’s creating its own space.
Lead single “Blue” introduced that world: melodic, reflective, quietly anthemic. Across the album, that same thread runs deep, songs that reveal themselves slowly, rewarding repeat listens rather than demanding immediate attention.
There’s a deliberate sense of distance in Melody Boy. Not coldness, but clarity. A refusal to overexplain. The result is a body of work that feels personal without being confessional, detailed without being crowded.

In a landscape built on constant output and fleeting attention, Andy Crofts offers something else entirely: a record that trusts the listener to meet it halfway.
"Blue is another song that I can't get enough of at the moment" - Gary Crowley (BBC London)

There’s something quietly defiant about Melody Boy. Written and recorded in a tiny beach hut studio on the English coast, and notably know for his previous work with Paul Weller and The Moons, Andy Crofts’ debut solo album arrives without compromise or concession to trend. It’s a record built on melody above all else, songs that feel unearthed rather than manufactured, guided by instinct, memory, and a lifelong obsession with the craft of songwriting.

Crofts, long established as a songwriter and musician, steps forward here with a voice that feels both seasoned and strangely elusive. There’s no rush to explain, no attempt to overstate. Instead, Melody Boy unfolds with a natural confidence, hook laden, harmonically rich, and emotionally direct without ever losing its sense of mystery.
Drawing from a lineage of classic songwriting while remaining firmly his own, the album leans into warmth, analogue textures, and a sense of timelessness that resists the churn of the modern music cycle. It’s not chasing a moment, it’s creating its own space.
Lead single “Blue” introduced that world: melodic, reflective, quietly anthemic. Across the album, that same thread runs deep, songs that reveal themselves slowly, rewarding repeat listens rather than demanding immediate attention.
There’s a deliberate sense of distance in Melody Boy. Not coldness, but clarity. A refusal to overexplain. The result is a body of work that feels personal without being confessional, detailed without being crowded.

In a landscape built on constant output and fleeting attention, Andy Crofts offers something else entirely: a record that trusts the listener to meet it halfway.
"Blue is another song that I can't get enough of at the moment" - Gary Crowley (BBC London)

A new chapter unfolds on Cécille Records as Naples-based duo Shokë step forward with their first full solo EP for the label.

Following a string of standout appearances on Cécille, Shokë now deliver the “Chiamami EP” – their most complete statement on the label to date.

Now firmly part of both the Cécille Records and Cécille Events roster, this EP feels long overdue. After consistently delivering every time, Shokë have more than earned their own full release on the label. Leading the EP is “After You”, a warm and uplifting house record with all the ingredients of a true Ibiza summer anthem. Built around an infectious groove and feel-good atmosphere, it’s one of those tracks that instantly creates memories of sunsets, terraces and open-air dancefloors. The rest of the EP follows suit, packed with the timeless house grooves and understated musicality that have become a trademark of the Shokë sound.

A strong release from two artists who continue to establish themselves as an important part of the ever-growing Cécille family.

In an era of excess and endless distraction, Margaret Glaspy rejects the noise in favor of something far more essential. Before setting to work on her fourth full-length album I Am Both, she stepped away from social media and soon discovered a clarity of mind she hadn't experienced in years, followed by a sustained burst of creative momentum. As she penned her lyrics in longhand and then polished them up on a typewriter, Glaspy assembled a selection of songs that span from fictional vignettes to unguarded self-revelation to empathetic observation of the troubled world around her. Produced by Joe Henry (the three-time Grammy-winning singer/songwriter/producer known for his work with luminaries like Aimee Mann and Joan Baez), I Am Both ultimately stands as a striking new statement from one of the modern music canon's most formidable songwriters.

GLITCH001 is the inaugural release from Glitch Festival. A various artists compilation celebrating ten years of the festival. Curated to mark the occasion, the release brings together thirteen exclusive tracks from artists who have played a defining role in the Glitch story. From long-standing collaborators to a new generation shaping today's dancefloors, the compilation reflects the sound that has evolved with the festival over the past decade. More than a commemorative release, GLITCH001 captures the artists, relationships, and musical vision that continue to define Glitch. Pressed as a limited-edition double vinyl and available digitally, the compilation features exclusive music from Alarico, ANNĒ, Human Safari, Chlär, Sera J, Yazmin, Thelma, Mac Declos, Kenji Hina, Benwal, Kyle Starkey, Entasia, and Pegassi.