Pop & Rock Vinyl New Releases - News

Belgian label De:tuned celebrates its 60th release and 17 years of existence with a majestic 2-track EP, Infinion Regress, by Dopplereffekt.

Drawing on more than three decades of experimentation and sonic exploration, Dopplereffekt continues to evolve its unique signature. Non-rhythmic in nature, Infinion Regress delves into the atmospheric depths of sound, enhanced by the angelic presence of the human voice. A cinematic journey into an immersive world, uniquely crafted by Dopplereffekt.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created the artwork, with mastering by Mike Grinser at Manmade Mastering. Available on 180g vinyl, with a separate digital release through all the usual platforms.

He's back once again is Monsieur Van Pratt with more of his so-wrong-they're-right disco edits. This fight volume has two edits reshaping source material with the usual deft touch. His opener 'Linda' runs on clipped drums, tight bass loops and bright string stabs then 'Oye Un Momento' keeps its original vocal but reinforces the groove with heavier kicks and 'El Ritmo Que Te Atrap' has a kitsch Europe feel. On the flip, Disco 86 shifts towards something classier with 'Crees Que Soy Sexy' riding lush chords and plenty of glistening melodies drawn from the Rod Stewart original and 'Tu Amor' is packed with electric vocals and retro future keys for a full send finish.

Another slice of disco house goodness from the cheeky chopper, re-editing some bonafide dancefloor classics - limited to only 200 copies!

Introducing the first in a series of reworks on GAMM from Macedonia's finest curator of urban music, DJ Goce...

Deeply rooted in hip-hop, Goce has a worldwide rep for exploring all things funky, soulful, and jazzy, releasing tracks on labels like Dusty Donuts and Baller Beats.

For his GAMM debut, he tackles a classic Beatnuts anthem, complete with a wild intro using the original sample source.
On the B, Goce keeps the momentum going with a rework of an Al Hirt rare groove classic, famously sampled by De La Soul and The Roots.

Keep an eye out - there is plenty more to come from DJ Goce on GAMM !

Belgian label De:tuned celebrates its 60th release and 17 years of existence with a majestic 2-track EP, Infinion Regress, by Dopplereffekt.

Drawing on more than three decades of experimentation and sonic exploration, Dopplereffekt continues to evolve its unique signature. Non-rhythmic in nature, Infinion Regress delves into the atmospheric depths of sound, enhanced by the angelic presence of the human voice. A cinematic journey into an immersive world, uniquely crafted by Dopplereffekt.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created the artwork, with mastering by Mike Grinser at Manmade Mastering. Available on 180g vinyl, with a separate digital release through all the usual platforms.

Repress!

Finally, almost three years after the well-received Orange Wine EP, and three international tours, Okvsho is back with their fourth project “A place between us”. Georg and Christoph Kiss, the two brothers behind Okvsho, are showcasing a project that is more intimate and bolder than ever, offering an insight into their thoughts, feelings, and experiences during the last two years. The unique style Okvsho has become known for in recent years has once again evolved, combining organic and electronic elements with beautiful harmonies and expressive rhythms.


Okvsho’s second LP will also be the first full-length project to be released on the newly founded Zurich-based label Current Moves, with which the Okvsho-brothers aim to shape the young European jazz scene they are inspired by and also an established part of.


“A place between us is the frst step into a new era for us – We’re very grateful for the love and support we received during the past six years and we’ll continue to strive for the better. Thanks for becoming part of our journey.”

Adrianne Lenkers drittes Soloalbum entstand nach einem zweiwöchigen Roadtrip durch den Südwesten der USA. Gemeinsam mit ihrem langjährigen Freund Luke Temple ging sie anschließend ins Studio, wo die beiden eine Woche lang Musik aufnahmen. Für diese Sammlung wurden die Songs ausgewählt, die im Aufnahmeraum am lebendigsten wirkten. Es handelt sich dabei weder um aussortierte Stücke noch um B-Seiten. Einige dieser Lieder existierten bereits seit Jahren, andere waren erst wenige Tage vor den Aufnahmen entstanden. Das verbindende Element dieser Songs lässt sich nur schwer in Worte fassen. Intuition hält diese Lieder zusammen. Sie sind ein Dokument ihrer Zeit. Mit abysskiss machte Lenker einem breiteren Publikum noch deutlicher, was Menschen aus ihrem engen Umfeld längst wussten: Sie ist eine Songwriterin von außergewöhnlichem Rang. Mit bemerkenswerter Offenheit und Klarheit folgt sie ihrer eigenen Stimme ebenso wie den größeren Stimmen, die durch sie hindurchklingen und denen sie Ausdruck verleiht.

Reissue of this italo disco classic from 1987.

Recently unearthed, rare recordings from Bianca Scout's early years of 2013-2014.

All tracks written, produced, recorded, performed and mixed by Bianca Scout. Mastered by the infamous Rupert Clerveux.

Bianca Scout is a producer, composer and multidisciplinary artist with a background in contemporary and classical dance whose intimate performances combine movement and storytelling within a distorted landscape of displacement, yearning and the undead. Scout’s work blends a mysterious mix of demure post-grunge and medieval composition, creating music made through loops and collages from a highly seductive field. Her music is haunted without being hauntological, fractured but whole; her work sits within a gothic landscape, steering you into the abyss while also acting as the compass that guides your way back out.

Her albums include Pattern Damage (2024), The Heart of the Anchoress (2023), Our Hearts (2022), Karaoke at the Slagheap (2022) and Dis-lexia (2017). Alongside her solo work, Scout is part of the industrial synth-pop duo Marina Zispin, whose debut album Now You See Me, Now You Don’t was released in 2025, as well as being part of the multi-disciplinary collective ‘life is beautiful’, and a collaborative project with Lauren Duffus, 2k88 & Rainy Miller, which saw the release of the 2026 album ‘Everything Always Changes, For We’re Truly Here’.

Scout has created film scores including Arctic Diva (BFI Short Film Festival, 2025) and Shagbands (Film4 Shorts, 2020).

Scout has performed in venues such as: EartH Theatre London (2026), Lion Arts Factory Adelaide (2026), Unsound Poland (2026), Lafayette Anticipations Paris (2025), She Makes Noise Oihuka (2025), San Sebastian (2025), Handel Festival: Arias Reimagined, London (2025), Luminate, Kings Place London (2024), Unsound Festival Kraków (2024), EEXXOO – Bianca Scout Does Some Pattern Damage, Volksbühne, Berlin (2024), Serpentine Gallery, London (2017), The London South Bank Centre (2022), The Royal Academy, London (2017).

Scout has collaborated with artists such as Klein, Coby Sey, Lauren Duffus, Ben Vince, Space Afrika, Elena Isolini, Solomon Garcon & various members (+ affiliates) of the multi-disciplinary collective ‘life is beautiful’ that she is a part of. Scout has also performed live with Mica Levi, Alice Glass & CURL, as well as many others.

Dark Entries is ecstatic to announce Terminal Fascination, a retrospective release of the music of Camille O’Grady, subversive artist, leather witch, punk poet, and gender saboteur. O’Grady cut her teeth in New York’s burgeoning punk scene at clubs like CBGB’s, where her band Leather Secrets would share the stage with acts like Television. She became one of the few women to be welcomed into the Mineshaft, Wally Wallace’s legendary Manhattan gay BDSM club. Towards the end of the 70s, she would trek west to San Francisco to be with her partner, performance artist and gallerist Robert Opel, who was tragically killed in 1979. O’Grady would pass away from COVID in 2020, with her voluminous works across various media - text, image, and sound - having been unpublished during her lifetime.

Working with O’Grady’s estate, Dark Entries has assembled thirteen of her finest recordings, including instant classics like “James Dean to the Rescue,” “Tourniquet,” and, of course, “Toilet Kiss.” Two songs, “Angel with a Key” and “Love Comes Like a Cutthroat,” were recorded at a studio in Los Angeles for a 7” release that never materialized, while the rest of the material was recorded live in 1979 at The Ambush, a San Francisco leather club. O’Grady’s songs, often written from the perspective of a gay man, explode like a genderfuck version of Patti Smith, like Buffy St. Marie in leather, like the hedonic utopianism of the 1960s dragged (blissfully) through the broken glass of the 1970s. The release of Terminal Fascination coincides with the publication of ‘A Cross-Worlds Angel,’ a 300-page book of O’Grady’s work by Phillip Zimmerman. The record includes an insert featuring liner notes, lyrics, and photographs. Celebrate Camille O’Grady, the artist Jack Fritscher described as an “earth mother, a leather lioness of the arts.”

Thanks to his brilliant debut “Night of the Living Dead” (1968), director and screenwriter George Romero is considered the creator of the “modern zombie”, a metaphor for a deeply consumerist society that is depicted even more vividly in his follow-up “Dawn of the Dead” (1978), released in Italy as “Zombi,” featuring a different cut by Dario Argento and a soundtrack once again composed by the legendary Goblin.

“Zombi” is a very diverse album, in which the electric guitars, the stars of the hard-rock track “Zaratozom”, give way to keyboards, synthesizers, and percussive elements of every kind. The true masterpiece of the album remains the opening track of “L’Alba dei Morti Viventi,” with its sinister, relentless pace that evokes a slow and unstoppable zombie march from which there is no escape.

To mark the 20th anniversary of New York Comic Con, Cinevox Record and AMS Records are presenting an edition with special artwork. Conceived by Marco Bixio and created under his artistic direction by Jj Farfante Artlab, the artwork pays tribute to one of the most iconic locations not only in the film but in all of “zombie” cinema.

Goblin fans will recognize that, for the first time ever, the film’s original title, “Dawn of the Dead,” is being used for the release of the corresponding original soundtrack by Goblin.

2026 Repress
Oh yes! First ever official reissue of the positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.

Due to it's super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.

The LP opens with Kimiko's highly desirable version of "I Thought It Was You", an elegant take on Herbie's own anthem. Other superb re-workings include the delicately soulful "Butterfly", jazzy groover "Sunlight", the smooth and sexy "Tell Me A Bedtime Story" and the beautiful ballads "Maiden Voyage" and "Harvest Time". A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn't be missed, the set closes with a jaw-dropping version of Stevie Wonder's "As".

This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket - complete with OBI strip and sumptuous
4 page folded insert - has been faithfully restored. Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Essential.

2026 Repress
Originally released in South Africa in 1983, In The Music......The Village Never Ends is one of those holy-grail African records that barely needs any introduction. Featuring the enormous 'Nomalizo', it's a record that aficionados around the world have been waiting many years for. Now, Be With Records proudly presents the hugely anticipated vinyl reissue of this bonafied classic.

This release is officially licensed and has been lovingly mastered for vinyl by Simon Francis (Claremont 56 mastering engineer) It has been pressed on audiophile 180gram vinyl for the first time and features the original, rarely seen artwork.

South African singer Letta Mbulu possesses one of the most beautiful voices the world has ever known. Her immaculate voice emits a sweetness that radiates from deep within, brimming with a joy of life and inspiring a spirit of hope and happiness. On this album, her voice soars over a strident musical force that veers between disco, soul and pop music of the most incredible kind. The gleaming guitars recall disco's finest hours while the thump of the beats anticipate 80s British soul.

News of this limited reissue has already been causing a significant stir amongst those in the know so do not sleep on this - you have been warned!

Mit"Forest of Tranquility" präsentiert der japanische Vibraphonist und Komponist Masayoshi Fujita ein atmosphärisches Ambient-Album, das ursprünglich aus einem Kompositionsauftrag für die Expo 2025 in Osaka hervorging. Inspiriert von einer weitläufigen Naturinstallation mit tausenden Bäumen und Wasserlandschaften entwickelte Fujita eine Klangwelt, die Ruhe, Achtsamkeit und die Verbindung zwischen Mensch und Natur in den Mittelpunkt stellt. Aus Marimba, Vibraphon, Percussion, subtilen elektronischen Flächen sowie Naturaufnahmen von Vögeln und Fröschen entstehen sieben fein abgestimmte Kompositionen, die den Tagesverlauf von der Morgendämmerung bis in die Nacht musikalisch nachzeichnen. In der Tradition des japanischen Kankyo Ongaku verbindet Fujita organische Instrumente mit minimalistischen Klanglandschaften und schafft ein immersives Hörerlebnis voller Offenheit und Tiefe. Ein außergewöhnliches Werk zwischen Ambient, Neoklassik und Umweltmusik.

On Last Night At Marienbad's latest, the imprint brings together three of the brightest souls found within the realms of Jazz, namely Mauricesax, 9ick and Milan93, with their collective talents synergising effortlessly on 'A Garden Between Us', alongside a stellar cast of remixers who add even further delight between the grooves….

As a genre, Jazz has perhaps lent itself the most to other musical universes, in that its curious heart, endlessly experimental nature, and parameter-defying spirit have wrapped itself deep within the core of countless albums, scenes, and music makers. It's a genre that welcomes reinvention, consistently defying its contents and always reaching out to find new methods of expressionism. Electronic music, in its many forms, has truly embraced Jazz perhaps like no other movement of music has, with a truly astonishing array of records surfacing in the past 40 years which have blended Jazz's unique motifs with grooves, chords, and emotive excellence. From 90s Jazz house and UR Techno, through to Future Jazz, downtempo, and Hip Hop, and around many other suns, there remains such an intrinsic and symbiotic relationship between the two musical realms that caters to those who wish to live music both within and out with themselves.

As practitioners of blending electronica and Jazz, few do it like the trio of Mauricesax, 9ick, and Milan93. All three are known for their distinctive soundscapes, yet share commonalities in terms of musical language, feel, and sense of progression. Bringing them together allows for overlaps in their sounds to emerge, and just like Jazz itself, this is where the intrinsicness of sound begins to blossom. 9ick brings his softly evolving vibe to the table, one which was so prevalent and celebrated on his 2025 album 'SMIL'; Milan93 draws from his focal point of exploring fill-laden grooves and a myriad of emotive sensibilities; and Mauricesax draws up his extensive musicality that exists at the corner of jazz, electronic, and experimental music, along with running musical workshops all over the globe.

'A Garden Between Us' represents the trio's core tenets, with this immediately obvious from the record's opener, 'Rhodora'. A gentle solo piano quickly evolves into a series of powerful rhythmic pulses, with brass lines bringing vitality and feel to proceedings. The track shifts gears with purpose, transitioning between musical vignettes of the highest order, with the synth work doing much to bind the transitions together. 'Tulip' emerges slightly differently, with glossy Rhodes tones and an unravelling rhythmic undercurrent setting an enthralling stage. The track flourishes amongst sweeping textures, coming up for air amongst a deeply hypnotic rhythmic section that holds on and never lets up. 'Honeysuckle' lands next, which sees the trio emerge with a boundless, dynamic soundscape. The drums shift within the undertones, as keys, chords, horns and hip-hop vocal samples dance around the pulse, capturing the imagination with their narrative-like placement. Wrapping up the A side comes 'Camellia'. A dazzling array of harmonic sounds converges around the transfixing rhythm section, which emerges from deep below to lavishly roll out over the midsection, with the delicateness of the instrumentation a real highlight here.

The B side features two exquisite remixes, with Pacific Coliseum's version of 'Tulip' landing first. Beginning with a signature four to the floor to get things going, his careful handling of the source material is seen in the tactful introduction of the blissful elements that made the original cut so impactful, with great focus placed on emotive fidelity. The result is a summer-bound house number that reimagines the original in all the right ways, flipping it into a euphoria-driven jazz-laden pacer that reaches for the heavens as much as it drives right into the heart. Teuteu then showcases their take on 'Honeysuckle', and at 9 minutes long, represents the longest cut on the record - and the experience is all the richer for it. Leaning heavily into dance music flavours, Teuteu shifts perspective totally into the realm of the club, with the walls beating hard to the kicks. The sax lines that drift ethereally up top keep eyes closed and souls full, as the dance shifts into the next phase.

An experience that drifts from the daydreaming, to soul-warming through to the club shaking - what else is left to experience, except for 'A Garden Between Us' and how it will brighten up life itself….

Milky Chance erzielten mit ihrem Debütalbum "Sadnecessary" einen bemerkenswerten Erfolg, der sie zu internationaler Anerkennung katapultierte. Der 2013 veröffentlichte Hit "Stolen Dance" wurde zu einem globalen Phänomen und zeigte ihre einzigartige Mischung aus Folk, Elektronik und Reggae-Einflüssen. Das Album war bei Kritikern und den frisch gebackenen Fans ein Erfolg, erreichte in mehreren Ländern Platinstatus und festigte den Status von Milky Chance als bahnbrechenden Act. Auch 10 Jahre später wirkt die Fähigkeit des Albums, eingängige Melodien, poetische Texte und innovative Produktionstechniken nahtlos miteinander zu verbinden, so frisch wie eh und je und macht deutlich, warum Milky Chance seither ein fester Bestandteil der Charts geblieben ist.

For the label's latest, Oath is proud to present 'Honey Tangerine', the newest mini-album from producer extortionaire Olsvangèr, who serves up his signature blend of hyper-kinetic, ever-shifting dance music.

Olsvangèr's sound and musical journey are forever rooted in the liminal spaces that make up the broad-reaching and ever-shifting electronic music landscape, with his records consistently channeling that in-betweenness that imprints lasting impressions. A classically trained musician with a profound passion for house and techno, Olsvangèr's sonic palette is one of both broad and delicate brush strokes, applying an array of compelling motifs within amorphous arrangements that blend and blur perspectives. His records seek out the faraway fringes as much as focusing on the intensity found in the detail, creating cavernous soundscapes that are impeccably tuned and effortlessly free-flowing. Seemingly genreless, his records are anchored in all that is known and loved, yet due to the music's perspective situated at the intersectionality of electronica, a beautiful anticipation resides within every stanza of his tracks at what may come next. His musical language has found him releasing on the likes of Kalahari Oyster Cult, Hooj Choons and Craigie Knowes, and follows through within his imprint Tofistock, which has been pushing some of the most forward-thinking dance music of recent times.

'Honey Tangerine' touches upon the classic motifs of Olsvangèr's sound, and as always, the room for growth within the record's parameters remains truly endless. Over six tracks, Olsvangèr lays bare the directions of travel, with paths unravelling that feel well trodden yet with some that branch out towards new horizons. 'Source of Thought' opens up proceedings with a captivating ambience, where twinkling hues and lively tones paint the parameters of sound. The chuggy breaks that land deep within the mix drop in and out of view, allowing a deft balance between pure ambiance and rhythm to exchange dialogue between one another. 'In a Nutshell' shifts gears in atmosphere and energy, with all eyes placed upon the club. The shifting rhythm section lifts the acidic melodic features up above, with driving bass notes and a euphoric vocal like lead linking the depths to the heavens. 'Tulpa Nine' swings into heads-down territory, where the drums swing slow and the throbbing bass hits heavy. The auto-tune vocal line up above creates an atmosphere of hazy, smoke-filled rooms, where the party yearns for downtime in anticipation of the next shift in energy.

'Sunrise on the Lips' gives over further chill out room vibrations, where the lights remain low, and smiles reside all around. The enriching drums provide the basis for sitars and glossy keys to glide across the top ends, with the mind invited to dip deep within this enthralling ensemble. 'Zoom It Out' provides the release into the room, with the ante upped. A breaky house leaning number, this cut grooves through its chiming melodic section and groove-laden bass line, with the polyrhythmic drumming pattern doing much to keep the energy residing very high indeed. The record is wrapped up with 'Some Air', which gives over one final jaunt through the airy, slowed-down slipstreams. A wondrous beat is complemented by melodic elements that chime, absorb and quiver, glowing through the night with such charm and feel. An engrossing composition that demonstrates what Olsvangèr is all about - a crafter of sound, where adventure is sought and found, never wavering but curating new connections, feelings, and tones, with an eye on what might come next.

Whether softly undulating or boundlessly expressive, Olsvangèr's music remains a beautiful enigma that serves up both the glorious knowns and the captivating unknowns - 'Honey Tangerine' is yet another chapter in his glorious discography.

On his first solo album, 1981's Face Value, Genesis drummer-singer Phil Collins showed that he wasn't about to be left behind in the mire of classical-rock sludge. That LP boasted shorter songs and demonstrated that Collins had a true pop sensibility. Hello, I Must Be Going! continues that trend, with some familiar patterns emerging, wrote Rolling Stone's John Milward.

"First, there are the dramatic rock dirges that use drums as a lead instrument; 'I Don't Care Anymore,' with Collins' one-man band playing alongside Daryl Stuermer's atmospheric guitars, wins in this category. Then there are the buttery ballads, of which "Don't Let Him Steal Your Heart Away" is the best by virtue of a Beatles-like melody that buoys Collins' anonymously sweet voice. Both of these styles were already Genesis staples; it was Collins' uptempo soul tunes on Face Value and Genesis' Abacab that surprised old fans and found new ones. 'I Cannot Believe It's True,' with Earth, Wind and Fire's Phoenix Horns casting out clean lines, clobbers the other soul contenders on Hello, I Must Be Going!, especially his remake of the Supremes' 'You Can't Hurry Love.' Collins took the golden-oldie route on that song and the result isn't soulful, it's superfluous. Despite its trend-bucking boast of an 8-track recording, the album's rich luster is of the old classical-rock school. In fact, the LP sounds like stripped-down Genesis, ornamental but not too ostentatious. — John Milward, Rolling Stone (3 Stars)."

This Analogue Productions (Atlantic Series) reissue of Hello, I Must Be Going! has the essential elements that make it a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Hello, I Must Be Going! was a triple-platinum-selling hit in the U.S. for Collins in the 1980s and it stayed on the U.K. album charts for more than a year, peaking at No. 2. For the fans it is a drummer's album, a record that expresses rage and desperation as well as loneliness and longing. Not an album for every day, but one that really speaks to you when you need it, wrote Martin Klinkhardt.

Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Both Sides will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues.

Entirely curated and compiled by Collins himself, his idea for this release is to examine how his songs have evolved over time, with the majority of the additional content throughout these releases focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio.

Originally released in December 1989, '...But Seriously' features many of Collins' biggest hits and was one of its era's biggest selling albums. In the UK, it spent a total of 15 weeks at #1 during an extended run of almost a year in the Top 10 en route to becoming the biggest selling album of 1990. The album campaign culminated with his fourth and fifth BRIT Awards for British Single ('Another Day in Paradise') and British Male.

Sprawling body of demos, rarities and outtakes that offers a window into his lesser-seen working processes. This anthology pulled together studio sketches, alternate versions and previously unreleased ideas stretching across various phases of his career. It maps out the incredible range and obsessive pace of the Minneapolis artist's studio life, revealing side roads he swerved away from, and others that evolved into major statements.

The last chapter of Sunju Hargun's solo album for Siamese Twins carries the rite past its signature sounds and into a wider spectrum of psyched-out dub: an excavation of lost Siamese kingdoms, where old world chants and ceremonial percussion are re-imagined through circuitry. Built on the label's founding belief that the deepest trips are taken in company, "Doi Wao" holds the whole of the A side and appears in two forms. The stretched-out Zen Version meanders through jungle hills covered with foggy temple ruins at dawn. Its answer, made with Dazion, clears the fog with a 4x4 percussive head-trip at full throttle, gaining momentum. The B side opens with "Mok," a polyrhythmic half-timer that grooves and floats on jungle rhythms. "The Seven Spires" follows with head-on psychedelic waves, seven towers of a sonic city. "Crossing Salween," with Tokyo-based Haruka, takes its name from the river cutting through the wider Golden Triangle. Like the river, the track is the final passage: a dub stream that breaks down borders. Two sides, one act of personal world-building. A kingdom mapped in sound, pointing back to Siam and forward past it.

The Chemical Brothers' critically acclaimed eighth album 'Born In The Echoes’ is back by popular demand - on limited edition 2LP 180g White Marble 12” vinyl. The GRAMMY Award-winning album includes the classic track “Go” (featuring Q-Tip), which became a recent global phenomenon, including a new UK chart peak of No. 4 this year, following its prominent feature in the hit Netflix film ‘Apex’. Also includes fan favourites "Wide Open" (featuring Beck), “Sometimes I Feel So Deserted”, "EML Ritual” & “Under Neon Lights” (featuring St.Vincent). Over a career spanning more than 30 years, The Chemical Brothers have cemented their status as one of electronic music's most influential and enduring acts, with a catalogue that continues to resonate with fans across the world. This limited-edition coloured vinyl celebrates one of the duo's best loved albums in a premium collector's format.

This double gatefold LP captures the energy and spirit of Brussels Jazz Vanguard. Recorded live during Lotto Brussels Jazz Weekend 2026, these performances reflect a city in motion - open, vibrant, and full of creative possibility.

Brussels Jazz Vanguard supports emerging talent and helps shape the future of jazz by creating unique opportunities for young artists to develop, experiment,and make their voices heard.

This release would not have been possible without the expertise, energy, and trust of our partners and supporters.

Active Systems returns with The Blue EP, a four-track release that pushes further into experimental, leftfield electronic music. Blending stark electro, fractured machine rhythms and industrial textures with distorted melodies and atmospheric warmth, the EP balances machine-driven intensity with abstract, emotionally ambiguous soundscapes, shaped through a hands-on approach to hardware-led production. Released independently through Split Lip Records, The Blue EP continues to establish Active Systems’ distinctive sonic identity, balancing mechanical precision with a more elusive, human and unpredictable edge.

Adam Freeland’s return continues with the relaunch of Marine Parade and the release of the Twister EP, marking his first solo material since 2007.

“Twister” draws on Freeland’s love of psych rock, drone, leftfield techno and breakbeat, combining raw bass, polyrhythmic grooves and cavernous dub hits before building into a hypnotic drone-driven climax and cinematic guitar finish. On the flip, “Kiligurl” pairs pulsing drone and broken rhythms with spring reverb for an organic dub feel.

The EP follows Transhuman, Freeland’s collaboration with Spooky’s Duncan Forbes, and marks the next chapter for Marine Parade, the influential label that helped pioneer the edgier side of breakbeat in the 2000s. After closing in 2009, the label’s return follows Freeland’s decade living off-grid in California’s Mojave Desert and his work with The Acid alongside Ry X.

Kampana brings you two reworks from Aroop Roy's essential DJ Weapons series, on 7" for the first time. 'Cross the Tracks' brings a bumping house groove to the funk classic.
'Spooky' reimagines the soul hit with brand new bass, guitar and rolling drums, creating a magical dancefloor moment.

The Lost Hotsound Release… 40 Years in the Making

Some records are forgotten. Others become legends before they even get released. Back in 1985, two pioneers of the Dutch electronic dance scene, Michiel van der Kuy and Peter Slaghuis, joined forces to create Space Dream during the sessions for the now-cult Hot Dance Party compilation. The track was destined for its own 12-inch release on Hotsound Records, even receiving a catalogue number, 850122. But somehow, the record never happened. The music remained an unfinished demo, locked away for over four decades. Until now!

More than 40 years later, Space Dream finally gets the vinyl release it always deserved. A.P. Mono has carefully completed the original recording, preserving its authentic 1985 sound and bringing this long-lost piece of Dutch electronic history back to life. But the story doesn’t end there. When Michiel van der Kuy heard about the project, he decided to jump back into the spaceship himself, producing a brand-new, contemporary interpretation of his own creation. Joining forces with A.P. Mono and Orbital Force, the result is a four-track journey through the universe of spacesynth: the original version that arrived over 40 years late, plus three fresh, high-voltage reworks.

For the die-hard Hotsound collectors, the Laserdance devotees, the admirers of Michiel van der Kuy and those who still cherish the legacy of Peter Slaghuis, this is something special. A missing chapter of Dutch electronic dance music finally finds its way onto wax. Four cuts packed with cosmic synth lines, driving electronic rhythms and that unmistakable 80s DNA. Made for vinyl junkies, Italo-wave selectors and DJs who love their dancefloors somewhere between vintage space disco and modern electro. 1985 called. The future finally answered. Space Dream has landed. Forty years late. Right on time.

‘Finally’, the forthcoming new record from Catz ’n Dogz, belongs to the latter.

There are albums you listen to, and there are albums you live with. ‘Finally’, the forthcoming new record from Catz ’n Dogz, belongs to the latter.

Across sixteen tracks, Voitek and Greg have created their most creatively ambitious and emotionally open work to date. An album about relationships, friendship and the people and places that shape us. At its heart is a simple idea: music should make you feel something, and sometimes the most meaningful moments are the quiet ones when you finally have time to yourself.

Finally is rooted in the emotional contradictions that make memories so powerful. Inspired by classic American Folk and Soul, its songs are happy and nostalgic; hopeful without pretending that the past doesn’t exist. There is melancholy inside the euphoria and warmth inside the sadness, a constant interplay between looking back and moving forward.

The album begins with the soulful breakbeat glow of 'We’re Gonna Be Alright' featuring Ajii, before moving through the smoky jazz and piano-led intimacy of 'Dance For You' with Miller Blue and the bass-driven energy of 'Sun Goes Down' featuring Charlotte Haining. Closing with the reflective 'Miss You' featuring Mateusz Krautwurst, the record takes in a rich cast of vocalists, musicians and producers, alongside a series of deeply personal Catz ’n Dogz solo productions.

Those collaborations are central to Finally. The album is, in many ways, a celebration of the creative friendships Voitek and Greg have built throughout their journey. Relationships that have allowed them to step outside their comfort zone and rethink what their music can be.

Written and recorded between Madrid, New York, Warsaw and the road, the album finds the duo placing renewed emphasis on songwriting, chord progressions and musical craft. Rather than simply chasing the next track, they took the time to learn, experiment and create something with a sense of permanence.

This is an album for driving without a destination. For watching the sun go down. For remembering somebody you haven’t thought about in years. For those rare stretches of time when there is nowhere else you need to be.

Waves 1 is the rst release of Curd Duca since the legendary Elevator series (1998-2000). Waves is an album trilogy. Waves 2 and 3 will be released on Magazine in 2021.

If we think of Curd Duca’s Waves in terms of sound, rather than in terms of form, each track on Waves is actually like the large, illuminated, richly decorated initial letter that introduces the narrative of so many medieval manuscripts. It is as if Duca was collecting extraordinary letters, opening up an alphabet of sounds, and developing a musical phonetics between adjacent terms. From gong to gone; bell to bells minus drone; dome to father.

The real beauty of Curd Duca’s cycle lies in the fact that it opens up differently from so many perspectives. That we can understand it as a collection of treasures, as a commentary on our acoustic environment, as an attempt to dissect the world and stylize its parts. Much like a printer's typesetting box, Duca proposes an inventory of everything that sounds. Some of the pieces are exaggerations. Some allusions. Others abstractions, parodies, and trans gurations. It is often not even clear whether the music is based on a recording or a synthetic sound. Is the nightjar real or is it a synthetic imitation? Did Duca really use brass and zither sounds or simulate them on the computer? The hermaphroditic nature between reality and arti ciality is a central aspect of Duca’s sound world.

There is only one thing you must not do with this music: trivialize it or underestimate it. With Waves, Duca is exploring the very essence of sound, and its possible meanings and contradictions.

Straight from Rio de Janeiro, Dippin' Records introduces the studio album 'ASA', by the sizzling hot modern Brazilian Multi-instrumentalist/Producer Fabio Santanna. Flyest modern Brazilian tropical disco-boogie you'll find in the market! Following up on his most recent collaborations with JKriv and Joutro Mundo, Fabio modernizes the MPB vibes of Joao Donato, Marcos Valle, Ed Motta for the current dance music lovers.

ASA: Dia (Day) evokes a sunny Balearic boogie 'day time' feels just in time for the Brazilian summer skies opening up. So sit back, put on your shades and sip on your tropical drinks and press play to vibe with the fabulous Fabio sounds.

Imagine having a song go viral for 17 years - without even knowing it. That's exactly what happened to the German 1980s band FEX. And this isn't just any song - it's The Most Mysterious Song on the Internet, a track that puzzled music detectives for decades before finally being identified in November 2024. Now, it has been officially released - twice.

The Story in Brief:
Sometime around 1984, a song was broadcasted on NDR Radio. The name of the song was Subways Of Your Mind - only found out 40 years later in November 2024. Back then, a listener recorded the NDR show on cassette, a common practice at the time. Decades later, the tape resurfaced, but while most songs from the recording were identified, one remained an enigma. On March 18, 2007, the track was uploaded to the internet in an attempt to uncover its origins. Due to its now-iconic opening lyric, it was tentatively titled Like The Wind. Over time, the mystery deepened, and the song was given a nickname: The Most Mysterious Song - or simply TMMS.

Starting in 2019, a dedicated Reddit group, TheMysteriousSong, now boasting over 63,000 members, took up the search. They meticulously documented every lead, hoping to solve the riddle of the song's origins. Then, in 2024, the breakthrough: Reddit user marjin1412 reached out to musician Michael Hädrich after discovering a reference to his band FEX in an old newspaper article. Hädrich, FEX's keyboardist, provided a recording from an old demo cassette which included an alternative version of the song. On November 4, 2024, the mystery was officially solved: FEX was the band, Subways Of Your Mind was the title.

What Happened Next:
Since then, FEX has released two singles - both featuring Subways Of Your Mind - through the Berlin-based independent label The Outer Edge. First, the demo cassette version was pressed onto vinyl, as the original NDR radio recording remained lost (see EDGE-028). The Remastered Demo Mix single instantly topped Bandcamp's global charts, holding the #1 spot for several days. By then, it was clear: this was more than just an internet curiosity. A real fanbase had formed. Enthusiastic comments on the sales page ranged from "best post-punk song to ever exist" to "FEX themselves (are) perhaps the most underrated musicians of all time."

But the story didn't end there. A higher-quality version of the NDR radio recording was rediscovered in late december, remastered, and now sent for a second vinyl pressing: the TMMS Version. This new vinyl 7" is backed with Talking Hands another great and unissued song that was found on the demo cassette.

Fame Comes with a Price
Suddenly, time isn't standing still for FEX. The band had to come to terms with the fact that they had become Lostwave super stars. A FEX fan club quickly formed on Reddit, fan-hosted FEX parties are popping up, and the internet is demanding more - an album, merchandise, live performances. But how does a band prepare for a comeback after a 40-year hiatus?

For now, FEX is carefully considering their next steps. Their demo cassette contains six songs - and a few other recordings have resurfaced which probably could be restored and compiled. But foremost, a brand new re-recording of Subways Of Your Mind is in progress.

One thing is certain: The Most Mysterious Song will continue its unstoppable journey around the world. Don't miss this (second) chance to own a piece of music history!

Sewn together seamlessly from eerie garbled vocals, skeletal rhythms and faded cabaret instrumentation, 'Heart of the Total Eclipse' is Justin Tripp's way of folding trip-hop in on itself, creating an uncanny tapestry of the eerily familiar and uneasily alien. Best known as one half of New York City-based operatives Georgia, who have released a slew of genre-dissolving plates on cult imprints like YOUTH and EM, Tripp is a prolific producer whose archives are notoriously vast. On top of his solo excursions for Plaque, Haunter and Sagome, he debuts a bounty of unheard material each month on NTS's "All Kind Music" hour. Still, 'Heart of the Total Eclipse' covers new ground; a suite of slow-motion fantasies, it's led by a chorus of artificial hooks that sound far too memorable to be computer generated.

On 'Hill Climbing', dusty, rattling drum hits propel Tripp's arsenal of tempered feedback squeals and Radiophonic oscillations. And if you didn't know better, you might assume you were hearing a decades-old vocal performance, sourced from a lost, bottom-of-the-basement jazz or R&B record. Listen closer though and the words don't quite make sense; there aren't any words at all, in fact. It's less obvious on 'Infrastructure of Meaninglessness', when the reverberating voices hum and float over Tripp's gossamer piano vamps, touching the same euphoric spaces as classic dream pop. And the digitally-enhanced performance is front and center on 'Fraction of Successes', leading with a Lynchian level of absurdity and shuttling listeners into an illusory space filled with contradictions.

Enigmatic and unsettling, 'Heart of the Total Eclipse' is a neo noir soundtrack for troubled times. Not pegged to nostalgia, it wonders instead how reliable our memory even is.

The first A.V.N Edits release comes from the Florida based duo Luv Glissant. A.V.N Edits is an offshoot of new imprint Audio Visual Nootropics ran by luvcreatexplore. Cut at 45 RPM so the sound is nice and loud for the deejays. On the A side, "Bella" is a disco floor burner with some live vocals dubbed over the groove. On the B side, "Nariño Joe" is a late-80s salsa cut about getting knocked down and getting back up. Edited with love and already proven on the floor.

200 copies. Hand stamped. Vinyl only 12".

The first in a new collaborative series between Theo Parrish & Prime Direct Distribution unearthing some of Theo’s most sought-after edits, backed with the fully licensed original, both remastered and cut loud on either side of a 12 inch. Kicking things off we have one of Theo’s most treasured cuts, his ‘Ugly Edit’ of Made In USA - Never Gonna Let You Go, bootlegged endlessly in the past and racking up prices of up to £144 on Discogs it’s a high time an official reissue came around.

As iconic an edit as they get, ‘Never Gonna Let You Go’ encompasses everything great about Theo’s energy behind the decks - extending grooves for longer than anyone else even dare, working the EQ’s like a god and throwing in a bit of that raw magic that only he knows how. Taking the original’s sumptuous breakdown, Theo works it into a spirited, high energy disco workout looped into a near 10-minute stomper, big on the bass and brass fire whilst keeping the vocals to short and sweet snippets.

On the B side the original ’77 Made In USA version is laid out in all it’s glory. Funk powered, horn-laden disco goodness with breath-taking vocals from the Stateside troupe.

Das Aufeinandertreffen zweier Pop-Ikonen: Madonna und Kylie Minogue veröffentlichen mit "Love Sensation" eine gemeinsame Nu-Disco-Hymne. Die Kollaboration erscheint als limitierte 7"-Single auf Coloured Vinyl und kombiniert pulsierende Synth-Basslines mit glamourösen Vocals. Neben der Main Version auf der A-Seite enthält das Release einen Extended Club Mix auf der B-Seite und kommt in einem veredelten Sleeve mit exklusivem Artwork auf den Markt.

Never Sleep charity tape series reissues one of the most heralded mix CDs of the early 2000s.

Enterprising miscreants Modeselektor antagonise vitality with a boundary breaking multi genre approach. Fast paced mixing, cut up acapellas, pop lubed alchemy, orchestrated cacophony and sounding like the best squat party you have ever been to.

Originally released in 2004 on the limited edition Boomkat 'Selected' series and is renowned for being a lesson in giving less fucks about mathematical syncopated mixing and instead pushing the envelope with sugary slowed down RnB, mesmerising Disco edits, crunked up Hip-Hop, eski cold IDM and freeform sub bass ideologies. Modeselektor rejuvenates the mould and showcases an audio love letter to having fun in the club whilst encompassing astute Electronic(a) integrity.

Boomkat have been pioneering music in the North of England for almost 25yrs and are highly considered trendsetters and tastemakers.

All proceeds go to Sea - Eye who help with sea rescue across the mediterranean and provide care for people in danger crossing the ocean.

At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.

More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world


Album Background

The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.

Der Klassiker „Bastards“ von Motörhead jetzt wieder veröffentlicht als Vinyl. Kompromissloser Rock, druckvolle Gitarren und Lemmy Kilmisters unverwechselbare Stimme. Die zwölf Songs reichen von kurzen, treibenden Nummern bis hin zu etwas schwereren und düstereren Momenten.

Als besonderes Extra liegt dieser Ausgabe zusätzlich ein Motörhead-Bandana bei

THE ENTERPRISE – Celebrating 60 Years of Star Trek

Zum 60. Geburtstag von Star Trek folgt diese besondere Vinyl-Compilation der musikalischen Spur eines ganz besonderen Raumschiffs: der Enterprise.

Ihr Gesicht hat sich über die Jahrzehnte gewandelt – von Captain Kirks NCC-1701 über die Enterprise-B und Enterprise-C sowie die legendäre Enterprise-D bis hin zur Enterprise-E in ihrem Kampf gegen die Borg. Doch ganz
gleich, in welcher Form sie erscheint: Diese musikalische Hommage unterstreicht, was Fans überall auf der Welt schon lange wissen – die Geschichte wird einen Namen niemals vergessen.

Mit Musik von Dennis McCarthy, Jerry Goldsmith, Ron Jones, Sol Kaplan, Gerald Fried und Alexander Courage.

Für Filmmusik- und Star-Trek-Fans

LP im Gatefold. Schwarzes Vinyl. Inkl. 2 Bonustracks, die digital erst später veröffentlicht werden. Kommt mit Booklet im LP Format und Downloadcode. Außerdem gibt es Artwork, Lyrics und Bonusfotos aus der Session des Covermotivs als Download. Die Zeiten werden härter - und Pascow machen auf: Der hochmelodische, politische Punkrock des saarländischen Quartetts klingt auf dem achten Album "Und wir so" auch mal luftiger, emotionaler, experimenteller. Dabei stemmt sich die Band weiterhin gegen Klimakollaps, Raubtier-Kapitalismus und den Aufstieg der Faschisten. Im Gepäck hat sie Einflüsse von The Smiths bis Propagandhi, 8-Bit-Sounds und Moog-Synthesizer sowie stimmgewaltige Unterstützung durch die Sängerinnen von N.T.Ä. und The Pill. Das ergibt wehrhafte Underdog-Poesie, Punkrock in den Wunden der Nation, mitreißend produziert von Kurt Ebelhäuser. - Dennis Drögemüller

LP im Gatefold. Schwarzes Vinyl. Inkl. 2 Bonustracks, die digital erst später veröffentlicht werden. Kommt mit Booklet im LP Format und Downloadcode. Außerdem gibt es Artwork, Lyrics und Bonusfotos aus der Session des Covermotivs als Download. Die Zeiten werden härter - und Pascow machen auf: Der hochmelodische, politische Punkrock des saarländischen Quartetts klingt auf dem achten Album "Und wir so" auch mal luftiger, emotionaler, experimenteller. Dabei stemmt sich die Band weiterhin gegen Klimakollaps, Raubtier-Kapitalismus und den Aufstieg der Faschisten. Im Gepäck hat sie Einflüsse von The Smiths bis Propagandhi, 8-Bit-Sounds und Moog-Synthesizer sowie stimmgewaltige Unterstützung durch die Sängerinnen von N.T.Ä. und The Pill. Das ergibt wehrhafte Underdog-Poesie, Punkrock in den Wunden der Nation, mitreißend produziert von Kurt Ebelhäuser. - Dennis Drögemüller

Tape in der Sonderfarbe Glitter. Komm im clear case. 5-seitiges Cover. Limitiert auf 300 Stück. Die Zeiten werden härter - und Pascow machen auf: Der hochmelodische, politische Punkrock des saarländischen Quartetts klingt auf dem achten Album "Und wir so" auch mal luftiger, emotionaler, experimenteller. Dabei stemmt sich die Band weiterhin gegen Klimakollaps, Raubtier-Kapitalismus und den Aufstieg der Faschisten. Im Gepäck hat sie Einflüsse von The Smiths bis Propagandhi, 8-Bit-Sounds und Moog-Synthesizer sowie stimmgewaltige Unterstützung durch die Sängerinnen von N.T.Ä. und The Pill. Das ergibt wehrhafte Underdog-Poesie, Punkrock in den Wunden der Nation, mitreißend produziert von Kurt Ebelhäuser. - Dennis Drögemüller

“Clinging on to the one you hate.“

‘The late 70s, early 80s, that fierce period of time was all about wearing one mask after another, as we experimented, evolved. After the riot of Punk Rock back in ’76 /’77, which certainly taught us all a lesson, so many of us lurched back to Bowie, Roxy Music, Kraftwerk, at London’s one-nighters for the new breed of arbiters of taste, where the soundscape of early synth was such a contrast to what was on offer on the gay scene back then. Clubland was becoming a hive, substance with style. Dressed head to toe in PX, glittering like a score of Blackpool drag queens, accessorised with diamante, we danced like showroom dummies, future commuters in the metropolis.

The dance floor of Steve Strange’s Bowie Night at Billy’s on Meard Street, with DJ Rusty Egan at the decks, then Blitz, Hell, Club For Heroes, all held a weird sense of melancholy and narcissism. We were all monitoring with CCTV eyes, seeing our selves anew, reflected in slatted mirrors, as cameras went crazy for i-D, The Face, New Styles / New Sounds. FlashFlashFlash. White light. Seductive white light. The cameras of Graham Smith, Derek Ridgers, Nicola Tyson, Herbie Yamaguchi and Peter Paul Hartnett, pretty much strobing the assortment of fags and slags, high on poppers. Those photographers, armed with all manner of camera, shooting 35mm that would document every last detail for consumption. Over there, a teenaged Michael Clark from The Royal Ballet, surprising with moves rarely seen in a Soho dive. Over there, Gene October (John O’Hara) of the band Chelsea and film director Derek Jarman, lurking in the shadows.

Recording ‘Addiction’ (Music: Sam Dodson. Words: Christopher George, with improvisations from Peter Paul Hartnett in the final moments) at Gooseberry Studios in South London, remixed at Airport in Cambridge, catering to the needs of the emerging DIY electronic scene, with a splash of specific one-nighters in need, back in 1981. Another time, another world. The track was released as a two-mix 7″ of just maybe two fifty copies, as I recall. Yes, that scarce. Now, carefully remastered, reissued on delicious white vinyl as a 12″, with Steve Lippert working his design magic for the cover photograph by Andy The Furniture Maker back in the day, this is a gem of emotional and often improvised raw style, real style.’
– Peter Paul Hartnett, October 2026

Limited to approx. 200 copies, white vinyl, sleeve gloss lamination, polylined innersleeves, four double-sided hand-numbered postcards, download code.

Prohibition Prohibition pull from post-punk’s sharper corners, but filtered their record “Good Place To Stay” through something colder, louder, and more wired into the weight of history. Like a crack in the concrete, the past and present are pulling apart, and the narrator is using all his strength to keep the structure from collapsing

Tracklisting:

SFS World proudly presents Cytissorus, the debut solo album by SIL and also the first release from SFS World. Across eight tracks-Atlanta, Seine, False Promises, Osina, Purism, XL, Gerta, and Hader-the album explores immersive breakbeats woven with ambient textures, balancing rhythm, space, and emotion.
Rather than following typical club structures, Cytissorus unfolds as a continuous listening experience. Each track opens a different landscape, shifting fluidly between moments of tension and stillness, while maintaining a distinct sonic identity.
With Cytissorus, SIL delivers a deeply personal work-an intimate, cinematic journey that marks the start of his solo artistic voice and our label, SFS World.


Mastered:
Anton Zap

Written, produced and mixed by SIL
Artwork by Grigory Koloskov
Released by SFS World

SPOILD is a London-based project built around the collision of heavy, abrasive melodies and raw vocals. Glass House moves beyond a single genre, combining atmospheric synths, distorted guitars and industrial electronics with elements of Dark/Cold Wave, Trip-Hop and Metal.

A dark and intense album where electronic textures meet the weight of guitars and uncompromising vocals.

Edition only of 200 copies.

Die größten Hits des Freestyle-Künstlers auf Vinyl!

Mit „Hit Collection Vol. 2“ präsentiert Stevie B eine Auswahl seiner beliebtesten Songs und lässt die große Zeit des Freestyle-Sounds wieder aufleben. Der US-amerikanische Sänger, Songwriter und Produzent steht wie kaum ein anderer für gefühlvolle Melodien, eingängige Beats und romantische Dance-Hits.

Die LP enthält unter anderem den Welthit „Because I Love You (The Postman Song)“ sowie weitere beliebte Titel wie „I‘ll Be By Your Side“ und „Children of Tomorrow“.

Ob für eingefleischte Stevie-B-Fans, Liebhaber des klassischen Freestyle oder Vinyl-Sammler. „Hit Collection Vol. 2“ bietet nostalgischen 80er-/90erJahre-Sound und jede Menge musikalische Erinnerungen auf schwarzem Vinyl

Here’s a brand new label from Test Pressing, going by the name Test Pressing Arts. TP Arts is a home for the more esoteric side of things — whether that’s a soul sound or solo piano. We’re excited to launch with this fantastic release from San Francisco’s Sulah Jordan. Originally a Bandcamp-only release, it was quickly jumped on by those in the know. It’s a beautiful EP you can simply put on and drift away to. I mean if it sounds your thing just press play. More soon…

Mit Horses In The Sky veröffentlichte Thee Silver Mt. Zion 2005 jenes Album, das von vielen Fans bis heute als kreativer Höhepunkt der Band angesehen wird und ihre Entwicklung zu einer eigenständigen, kaum kategorisierbaren Stimme zwischen Punk, Emo, Post-Classical, Klezmer und Folk eindrucksvoll festhielt. Mehr als zwei Jahrzehnte später erscheint das Werk nun als 21st-Anniversary-Vinyl-Neuauflage mit erweitertem Artwork, Gatefold-Cover, gestalteten Innenhüllen sowie dem restaurierten 12-seitigen Booklet und der originalen Vinyl-Gravur auf Seite vier. Die sechs Stücke verbinden Protestmusik mit emotionaler Dringlichkeit und reichen von zarten Momenten bis zu epischen, vielschichtigen Kompositionen. Besonders God Bless Our Dead Marines und Mountains Made Of Steam zählen bis heute zu den beliebtesten und intensivsten Songs des Ensembles und waren über Jahre hinweg zentrale Bestandteile ihrer Live-Shows. Mit seiner einzigartigen Mischung aus Hoffnung, Verzweiflung, Schönheit und Widerstandskraft überschreitet Horses In The Sky die Grenzen des Post-Rock und bleibt ein Schlüsselwerk im Katalog von Thee Silver Mt. Zion. Die Neuauflage würdigt ein Album, dessen künstlerische Kraft und politische Dringlichkeit auch heute nichts von ihrer Wirkung verloren haben.

"Beirut City Pop" vereint zehn Aufnahmen aus der libanesischen Privatpress-Kassettenszene der späten 1970er und 1980er Jahre. Diese Songs, die von kurzlebigen Bands und Studioprojekten entstanden sind, bewegen sich zwischen Disco, Pop, Soul, Jazz, Bossa, Rock und AOR. Viele davon wurden während des libanesischen Bürgerkriegs produziert, zu Hause kopiert und nur im Freundeskreis und in lokalen Gemeinschaften verbreitet, wobei einige ausschließlich auf handkopierten Kassetten erhalten geblieben sind. Viele der Musiker waren über Ziad Rahbanis "Bypass Studio" miteinander verbunden, arbeiteten projektübergreifend zusammen und teilten eine gemeinsame musikalische Sprache. Inspiriert von der Genremischung des japanischen City Pop spiegelt der Titel sowohl den Klang als auch den Geist dieser Aufnahmen wider. Mit Künstlern wie Stephanie Stephanou, Force, Games, Andromeda und Walid Itayim dokumentiert "Beirut City Pop" eine eng verbundene Musikszene, deren Kreativität und musikalische Kameradschaft trotz außergewöhnlicher Umstände Bestand hatten.

Take a look at the sonic landscape of club culture today and Colleen ‘Cosmo’ Murphy stands out as one of the pioneers on many fronts. Whether she’s dropping Cosmedelica remixes on her Love Dancin’ sound system at We Out Here festival, hosting listening sessions for her hugely influential Classic Album Sundays, or telling Turntable Tales for BBC’s Radio 4, she has created new avenues for experiencing music and thinking deeply about how it affects us and our communities.

· So here we are at ‘Volume 5’ of this series that once again captures Colleen’s unique take on Balearic. “Anger is Divisive,” runs the spoken word sample weaved into the pastoral ambience of ‘Quiet Storm’ from Sewell and The Gong’s ‘Patron Saint Of Elsewhere’ on Chris Coco’s DSPPR label from 2025. It’s a fitting opening to a collection put together with and for love.

· Born from the same lockdown isolation as ‘Balearic Breakfast’, ‘Fruits of Life’ from Sakura Murakami’s 2020 album ‘Hot Liquor’ offers a Tiki flavoured cocktail of tropical psychedelia.

· Digging deeper into her crates, Colleen then uncovers Flayer’s ‘Wanna Get Back Your Love’, a slow and sleazy piece of cosmic soul from Italy in 1983.

· Richard Earnshaw’s ‘Rise’, featuring Roy Ayers and spoken word artist Ursula Rucker, was hidden away on his only album from 2019.This slow jazz infused groover proves to be the perfect segue record as the collection hits the dancefloor with the Spiritual Life style deepness of ‘Ore Yeye O’ by Moroccan house producer Cee El Assaad and vocalist QVLN (Quetzal Guerrero).

· We then return to spoken word with Joshua Idehen’s diasporic club anthem ‘Everything Everywhere All At Once’. You’re in it deep now, head down next to the speakers as The Seven Ups bring you ‘A Cosmic Scale’, a heavy slab of psych rock meets Afrobeat by way of Melbourne. We then take a trip over to Sheffield where Richard Barratt under his Crooked Man alias reunites with his dance music subverters All Seeing I for a wonderfully skewed mutant disco classic.

· Bringing things down gently with the sun kissed 1980s soul of Lovetempo ft Wattison’s ‘Wanna Be With You’ (ft. Mattison) out of Brooklyn, Colleen eases into the perfect exit to her eclectic journey with Santana drummer Michael Shrieve joined by Kevin Shrieve and the great Klaus Schulze for the Berlin new age cosmic epic from 1984, Transfer Station Blue’. Music for the head and feet brought to you with love by one of our masters of sonics and selection.

Unreleased 80” Italo Disco Tapes.

While strolling a flea market on the lake Garda, Belabouche found a 4 track cassettes and 8 tracks reel to reel recorder that came with a bunch of old tapes. Frank Agrario was given the machines as gift but one day after years of use on his productions a tape shortage forced him to put on one of the original tapes, the tape contained unknown Italo disco/house productions that the duo decided to restore and release. Some of the tapes where so badly preserved that some of the parts had to be replayed with machines that could have be used in the era. A psychedelic voyage into Italo disco and House, full of Rolland drum machines, korg synthesizers, crappy spring reverbs and digital echos.

Peerless man-machine outfit goat(jp) return with a brittle contemporary dance soundtrack that locks into the pointillist rhythmic micro-precision of the now classic "Joy In Fear". Directing an IRL physical performance, the band totter between rhythmelodic, ritualistic minimalism and intricate, pneumatic beat music - if you need a link between Daniel Schmidt, Autechre, "On The Corner"-era Miles and Midori Takada, this is it.

2024 repress!

Masters at Work member Kenny “Dope” Gonzalez is the genius behind The Bucketheads – The Bomb! (These Sounds Fall Into My Mind). An established History of House hall of famer’, The Bomb’ is a 90’s house, party soundtrack essential that mixies electro, hip-hop and 4/4 house it features samples from Chicago’s ‘Street Player’ & Green Velvet’s ‘The Preacher Man’ fused into a disco-funk and house groove with edgy, funky, rough and ready beats and subtle latino flavour. It easy to see why its ranked in the 100 Greatest Dance Singles of All Time! Portuguese house producer Massivedrum is on remix duties. He has remixed dance royalty from Bob Sinclar, Axwell, Mory Kantè, Alexandra Stan, DJ Chus, Kentphonik, Yolanda B Cool among many others. He lends his house sensibilities and ear for the floor to enhance ‘The Bomb’ to new levels for an unforgettable experience. Besides the Massivedrum remix and it’s dub, also the full 14’51” minutes original version is available on this double A sided release! The Massivedrum remix is taken from the album “High Fashion Dance Music 5 – Mixed by Ben Liebrand”, which is available on LP/CD/MC and DCC.

The Sound Of Soulfuric Vol. 3 continues the label’s commitment to vocal-led, soulful house music, bringing together four standout cuts that balance classic songwriting with contemporary club production.

This is another DJ-focused selection built for the dancefloor, moving between uplifting vocal house, deep grooves and energetic remixes. From the driving Romeo Louisa rework of Urban Blues Project’s ‘Testify’ to Souldynamic’s take on The Lab Rats’ ‘Music Is My Way Of Life’, each track brings its own character while keeping the Soulfuric sound firmly in focus.

Featuring vocals from Jay Williams, Lisa Millett, Michelle Weeks and Kelli Sae, with remixes from Romeo Louisa, Souldynamic, Fouk and D’Ambrosio & Tappert, Vol. 3 brings together some of the scene’s strongest vocal talent and production names across four highly playable house cuts.

DjRUM"s DJ-Kicks mix brings together his work as a DJ, producer and composer. Built around four new original compositions and exclusive contributions, "Flip" by Skee Mask and "Clonk Dual" by Clark, the release was developed from live vinyl mixes that were subsequently edited, collaged and expanded with overdubs. The mix moves between ambient, breakcore, classical music, punk, acid and experimental electronic sounds, combining a wide range of styles into a continuous sound collage.

Yes, yes funky people, another super sexy, soul, classic dancer makes it onto the DYNAMITE CUTS 7” series. This all-time soul gem “That what friends are for” by the amazing Madeline Bell and Alan Parker. This version is taken from her solo album, uplifting, with a touch of Latin hip movement, is the fresh, must-have 45 everyone is waiting for. On the flip “That’s the way I like it” is a banging version club mover. When you get the best British Library musicians with one of the hottest American soul singers, the magic happens. The band is made up of some of the biggest library legends; Alan Parker, Alan Hawkshaw, Chris Karan and Duncan Lamont to name a few.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

DJ Support: Dj Harvey, Bicep, TEED, Sarah Story, Joe Goddard, Make A Dance, Dj Subaru, Demi Requismo, Horsemeat Disco, Greg Wilson, Crazy P, Justin Strauss, Sean Johnston (ALFOS), Masilmiliano Pagliara, Red Rack’em Jordan Nocturne , Gina Breeze, Heidi Lawden, Eugene Whang, Neil Diablo, Gina Breeze, Marcel Vogel.

After a mysterious hiatus, one of The essential edit labels of the 2010’s has returned just as inexplicably as it disappeared..

The previous 4 volumes now change hands with private collectors for $$ .. These limited run edits will no doubt sell out in similar fashion..

The A side see’s the most dance floor oriented but often over looked track from Bjork’s album Debut receive the DJ edit it always needed . A2 a unique rework of a very rare nrg record that started out like as Aerobics accompaniment album..

On the Flip B1 take Turn toward the Funk , PBR giving the heavy dub treatment to one of The Whispers most criminally ignored tracks. Rounding things off the B2 drifts into the work of wonky, sleazy Italo.. Magari uses the little understood “wrong speed” technique to sublime effect, combined with some extra synth work it delivers a an entirely different track…one for the heads..