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DYING VICTIMS PRODUCTIONS is proud to present the much-needed reissue of WITCHING HOUR’S debut album, Rise of the Desecrated, on vinyl LP format. This marks the beginning of vinyl reissues of all of the band’s albums, under license from Evil Spell Records. Originally released in 2009, as well as on tape through Dying Victims in 2011, this album has not lost any of its juvenile enthusiasm for raw and evil thrash metal. While the band developed a more complex style of blackened heavy thrash throughout the years, this debut album is pure and straightforward black thrashing madness. Clocking in at just over half an hour, the album perfectly represents the Teutonic (black) thrash revival of the mid-2000s

DYING VICTIMS PRODUCTIONS is proud to present MIDYRASI’S KULT’s highly anticipated debut album, Italian Dark Sound, on CD and vinyl LP formats. MIDRYASI'S KULT are revolutionary and uncompromised. Featuring veterans from such Italian doom stalwarts as Doomsword, Midryasi, Agarthi, and Fiurach, their unique blend of elements from the NWOBHM, doom metal, and early black metal – all fused in their distinctive national dark-sound tradition, which includes such cult legends as Black Hole and Death SS – results in an obscure, hypnotic, and exciting formula. In March 2025, after just one week on Bandcamp, MIDYRASI’S KULT were intercepted by Caligari Records, who released on cassette their debut demo, Mountain Devil. Featuring three songs in a concise 15 minutes, this demo reaped international acclaim for its originality and attitude. But that was but a foretaste of darker delights to come. Witness the first full-length of MIDRYASI’S KULT, Italian Dark Sound.

Truly titled, Italian Dark Sound is an intoxicating spelunk into catacombs both idiosyncratic and indefinable. Totaling 32 time-/mind-expanding minutes, the eight primary tracks here – the outro is titled “The Lost Son of Sylvester Anfang,” which should offer an obvious clue to the black-metal-minded out there – each offer something different from the next, and yet all add up into a shadowy experience that’s both rocking and atmospheric. In fact, if one were to single out an aspect between the demo and album, it’s that MIDYRASI’S KULT exude more energy on this full-length without sacrificing any of their occult aura. But, just like that demo, Italian Dark Sound features supremely pro production – gritty, earthy, and yet kaleidoscopic in texture – under the guidance of Gabry "The Way" Strada, head of RDF Studio and who’s now collaborating on the upcoming Doomsword new album. In the vein of an open artistic project, all the artwork is made by vocalist / bassist Geilt himself, and up to 11 musicians have been involved in these recordings

DYING VICTIMS PRODUCTIONS is proud to present AGGRESSIVE PERFECTOR’s highly anticipated second album, Come Creeping Fiends, on CD and vinyl LP formats. Released in 2019 via DYING VICTIMS, AGGRESSIVE PERFECTOR’s Havoc at the Midnight Hour debut album introduced this British power-trio with no small amount of sleazy, Satanic fanfare. While their background may jointly lie in black metal, the three un-gentlemen of AGGRESSIVE PERFECTOR held high heavy metal done the ancient way: classic Tank, early Raven, Warfare, and of course the almighty Venom as well as modern torchbearers like Midnight, Whipstriker, and Power From Hell. Unsurprisingly, the album garnered international acclaim. Eclipsing that feat is the band’s second album, Come Creeping Fiends.

Truly titled once again, Come Creeping Fiends comprises nine tracks of heavy metal for the insane, forged in the Manchester morgue. Raging like a ravenous beast, summoning ancient ones, and agonizing with morbid doom, AGGRESSIVE PERFECTOR cover a lot of ground here, but like the rotting undead that inspired it, this second album somehow holds together. The same black magic that made Havoc at the Midnight Hour a highlight six(-six-six) years ago is here again, only this time with a higher kill count and hit rate. Cleaner and crisper in execution but somehow darker and dirtier in its content, Come Creeping Fiends offers highlights at every crooked turn; tunes like “Strange Companion,” “Fiend in You,” and lead track “Dead Undead” will have all the witches dancing. Needless to say, fans of maniacal, EVIL heavy metal music and horror movies will find a lot to love. The wait for AGGRESSIVE PERFECTOR’s second album might have been long, but Come Creeping Fiends will prove to be worth it…

Boutique-pressed 7" vinyls A-side: "Wonderin'" / B-side: "Dream"

Drawing influence from the likes of CAN, Faust, Mahavishnu Orchestra, and David Vorkhaus, Shakti Soundsystem traverses the borderlands of psychedelic rock, Krautrock, jazz fusion, and ritual improvisation. But this isn't a retro trip—this is future folklore.

Each track is a trance in motion, built on hypnotic basslines, spiraling melodies, and moments of ecstatic dissonance. The instrumentation is as unconventional as the process: Bulbul Tarang, modular synths, guitars, drums, and vocals that oscillate between invocation and surrender.



Their first singles have already made waves across tastemaker blogs and listener-curated Spotify playlists, includingNeo-Psychedelia, Psych Rock Melting Pot, Rock for when 26 King Gizzard albums aren't enoug and Psychedelic & Space Rock.

"Wonderin',"described by Analogue Trash (UK) as "an absorbing, psychedelic jam that thrives on hypnotic repetition and a raw, live energy,"introduced their trance-infused sound to a wider audience.
"Silver," hailed by RMAS (Mexico) as"a hypnotic journey between Krautrock and spoken word... a sonic delirium that recalls CAN and the free spirit of the European underground," cements their place in the modern psych scene.

Celebrating the 30th anniversary of Enlace Funk magazine, they present the world's first Flamenco-Jazz compilation, featuring 16 tracks from between 1978 to 2025, released on vinyl for the first time. A musical dialogue between Flamenco and Jazz, unique in the world, a journey through some of the most important artists of this style, starting with the seminal work of the group Dolores in 1978, and continuing to examples of the current sound of this exciting fusion. Includes tracks never before released on vinyl by artists such as Jorge Pardo, Chano Dominguez, Pedro Ojesto, and Marc Miralta. The first volume of Flamenco-Jazz aims to showcase this unique style that has proven to be a bridge of communication and dialogue between flamenco and jazz musicians, creating an inimitable sound that is constantly evolving and transcending barriers. We take as our starting point a 1978 recording by Dolores, featuring Paco de Lucía, which later led to the formation of her legendary sextet with musicians who had participated in this recording. Of course, this first volume wouldn't be complete without other masters like Josemi Carmona, Pedro Ojesto, and Marc Miralta. And of course, a new generation of names that have elevated the genre to its current status, such as flautists Trinidad Jiménez and Sergio De Lope, Juanfe Pérez and Juan Pérez Rodríguez from Huelva, Pablo Martín Caminero from Vitoria, and Miquel Alvarez from Valencia. Not forgetting innovators like Antonio Lizana and Enriquito, who are crossing borders and sharing their unique style. Ltd ed.classic black vinyl double LP in gatefold sleeve

c 3 I'm Lost (You're Dead) feat. Jamie Webster



[c] 3 I'm Lost (You're Dead) [feat. Jamie Webster]



[c] 3 I'm Lost (You're Dead) [feat. Jamie Webster]

On her new album, Two Whole Summers, Half A Life, Lisa Bassenge is once again accompanied by her trusted fellow musicians, pianist Jacob Karlzon and bassist Andreas Lang, with whom she has already realised numerous projects. Typical of Bassenge, the repertoire comprises a seemingly wild yet harmoniously connected mix of pop, singer-songwriter and jazz elements. The spectrum ranges from Elliott Smith to Duran Duran, from Billie Holiday to Björk. ‘It's always about the expressiveness of the songs – that's the common thread for us,’ emphasises the Berlin-based artist. The album features a track by Hank Williams as well as Madonna's ‘Frozen’ and “Catch” by The Cure. Two original compositions are also part of the recording: the title track ‘Two Whole Summers, Half a Life,’ a tribute to the power of friendship and youth, and the neo-folk ballad ‘I'm Getting Old.’ Both works impressively underline Lisa Bassenge's own artistic signature. For over two decades, Lisa Bassenge has stood for stylistic openness and a characteristic voice that lends new nuances to every song. Despite all the diversity, jazz remains the tonal basis. The Scandinavian-style relaxed sound of Karlzon and Lang lends the interpretations a soft, atmospheric depth.

Dudley Perkins, aka Declaime, is a visionary wordsmith and sonic architect who has been a pivotal figure in the underground hip-hop scene since the mid-90s. Renowned for his introspective lyricism, intricate rhyme patterns, and innovative production techniques, he has consistently pushed the boundaries of the genre. Declaime's music is a fusion of soulful samples, jazzy undertones, and raw, unfiltered emotion.

His ability to seamlessly blend intricate beats with thought-provoking verses has earned him a dedicated following and critical acclaim. Throughout his career, Declaime has collaborated with a diverse range of artists, including Madlib, Oh No, Georgia Anne Muldrow, Flying Lotus, knxwledge, Aloe Blacc, Kankick, Saul Williams, Latoya Williams, Hudson Mohawk, Casual and many other notable names. His solo projects and collaborative efforts have left an enduring impact on the hip-hop landscape, inspiring countless artists and shaping the sound of future generations.Dudley has unveiled his latest 9-track album titled "Flatulent," set to be released on the esteemed Urbnet label. The album, produced by German beat maker and producer Der Brxwnsxn, highlights Declaime's signature blend of intricate rhythms, haunting samples, and ethereal melodies.

Jeb Loy Nichols is at it again with a brand new 7” that pairs two sides of his soulful storytelling. On the A-side, the exclusive cut “Do The Get Together” makes its debut – a slow-burning southern soul dancer that gently calls people closer, both on the dancefloor and beyond it. With warmth, patience, and a steady groove, Nichols invites connection without force, offering a quiet reminder that togetherness can still feel natural and unpretentious.

Driven by Cold Diamond & Mink’s deep-pocket rhythm and understated analog textures, “Do The Get Together” unfolds with ease. The groove never rushes, allowing Jeb’s voice to guide the message with soft authority and lived-in wisdom. It’s a song that feels tailor-made for late-night spins, where movement and meaning find common ground.
On the flip, “First Night Away From Home” brings listeners back to the opening chapter of Nichols’ latest album This House is Empty Without You. Warm, melodic, and intimate, the track captures that mix of vulnerability and quiet resolve that defines Jeb’s songwriting. Together, these two sides form a perfect 7” pairing, pressed for those who value soul that speaks gently but stays with you

As collaborative projects often do, 33 has in time found a more fixed form, a kind of structure that turned it from a loose collection of collaborators gravitating around founders Bill John Bultheel and Alexander Iezzi into something resembling more of a traditional band. Not that there is anything conventional in their creative process tho, nor in the music itself… Nontheless Tripolar - their second album and first for Haunter - seems to take them closer to song territory than ever before.

The (progressive) graduation of multi-instrumentalist Cem Dukkha and vocalist/clarinet player Ivan Cheng from collaborators to full-time members has brought 33 to a more refined awareness of their possibilities as a creative unit, although their compositional process has retained a high level of spontaneity and musical madness. Tripolar was in fact assembled by editing hours of improvisation that Bultheel, Iezzi and Dukkah recorded with no specific endgame in mind. The sessions saw them exchange a variety of acoustic, electronic and electric musical instruments: percussions, guitars, strings, piano, hurdy gurdy, synthesizers and even CDJs as a tool of live sampling manipulation.

By molding the pieces into what they are now, the band managed to concoct some beautiful vignettes of contradictory mental and emotional states, as sonically playful as a renaissance fair happening within a broken timestream. Cheng’s lyrical and vocal contributions helped them coalesce even further into proper songs, adding a melodic presence that’s at once seductive and uncanny. But vocal duties are often ceded to guests, namely Danish pop-neoclassicist Astrid Sonne, Kenyan metal guru Lord Spikeheart, Irish goth raconteur Olan Monk and Japanese body-poet Golin.The amount of different sounds arranged into each of the tracks produces a unique sense of awe and bewilderment, a testament to the incredible talent and craft the musicians have employed into putting together such a broad range of influences and approaches into a coherent and extremely effective musical journey.

An equally erratic thematic thread seems to run through all the tracks, one ultimately preoccupied with mental health and its ramifications. Without turning the project into a concept album, 33 and their collaborators have sprinkled it with references to personality disorders and mental conditions that are all too relevant to the contemporary age, reflecting on the lineage of human inner life. A wide display of lyrical and musical tools is employed to explore these themes, ranging from Sonne’s expressionist depiction of ADHD in the opener, to Cheng’s queer-themed reinvention of an Irish murder ballad in closing track ‘Babymusicc’. Tracing lateral trajectories for introspection, Tripolar is not only highly captivating, but it ultimately sounds esoteric in the best possible way: progressively revealing layer after layer of incredible aural magic, its true meaning living in the form and in its manic scope of energies.

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

Hagridden' is the second full-length from Scottish sisters Bratakus. Fiercely political and unapologetic, the duo made up of siblings Brèagha Cuinn (guitar and vocals) and Onnagh Cuinn (bass and vocals) deliver ten songs that combine garage rock and feminist punk with the same deft poise as forerunners The Distillers, The Donnas, Bikini Kill and X-Ray Spex.
In 2019, a BBC news report called Bratakus "the UK's most remote punk band". Formed in 2015 outside a small whiskey village called Tomintoul in the Scottish Highlands, the sisters (then 14 and 8 years old) have maintained a DIY ethos in everything they've done. Recording at home, self-releasing music, booking their own tours and with no drummer available locally, the duo turned their limitation into a statement, performing live with a drum machine and cementing their reputation as an uncompromising force within the punk scene.
'Hagridden' marks a new beginning for the two sisters, introducing real drums to the recording process (including a guest appearance from Chris Dangerous of Swedish rock band The Hives) plus a more focused approach to songwriting. The message and music are just as loud, but the execution is now deadlier than ever.

As Selofan's fifth studio album, Vitrioli, from 2018, is a testament to the tragedy of life. The Greek duo, Joanna Pavlidou and Dimitris Pavlidis, who recorded the album in the Fabrika Records home studio, continue on in their poetic, but heartbreaking, music set to a dance beat. Between languages (Greek, English, German, and Spanish), Selofan feels on the brink of mania with Vitroli. However, the madness is controlled, the songs are restrained hysterics that culminate into the alchemic perfection of the band's specific moody sound.
From synthpop to synthpunk elements, the twelve-track LP leads listeners through dark corridors and into haunted, empty beds. There is a resignation to a doomed destiny with Vitroli—a trait that connects all Selofan releases—as a bitter pain and loneliness that cannot, or will not, subside.

The album begins with "Give Me a Reason" whose lyrics feel universal in this day and age: Give me a reason, to get out of bed / I could just watch the ceiling instead. Its heartbreak is profound as bells and voice pads echo under Joanna's voice. The adjacent music video for the song was directed by Dimitris Chaz Lee, and the band describes the video as "depicting the fragile nature, conflicts, emotional demands, and vulnerability of each person in a relationship."
"Billie Was a Vampire" is a story about an undead creature who works at a nightclub followed by the urgency of "Black Box." Brass sounds moan against the fast beat and suggest a frenzied need to escape.

"I'm Addicted" became the second single for the LP. I am addicted, you are mine, Joanna demands of the lover. The music video, also directed by Dimitris Chaz Lee, depicts a clean, white photoshoot primed for the most beautiful creatures of the Athenian wave scene. Alex Macharias, from the legendary Greek band In Trance 95, acts as the photographer for the session, as the models pose and flail under the bright bulbs. The director states: "Addiction is a mental state, something inside all of us. It altered our perception and created a parallel world of avant-garde beings and flashy lights making us part of this everlasting bond."

As Selofan's fifth studio album, Vitrioli, from 2018, is a testament to the tragedy of life. The Greek duo, Joanna Pavlidou and Dimitris Pavlidis, who recorded the album in the Fabrika Records home studio, continue on in their poetic, but heartbreaking, music set to a dance beat. Between languages (Greek, English, German, and Spanish), Selofan feels on the brink of mania with Vitroli. However, the madness is controlled, the songs are restrained hysterics that culminate into the alchemic perfection of the band's specific moody sound.
From synthpop to synthpunk elements, the twelve-track LP leads listeners through dark corridors and into haunted, empty beds. There is a resignation to a doomed destiny with Vitroli—a trait that connects all Selofan releases—as a bitter pain and loneliness that cannot, or will not, subside.

The album begins with "Give Me a Reason" whose lyrics feel universal in this day and age: Give me a reason, to get out of bed / I could just watch the ceiling instead. Its heartbreak is profound as bells and voice pads echo under Joanna's voice. The adjacent music video for the song was directed by Dimitris Chaz Lee, and the band describes the video as "depicting the fragile nature, conflicts, emotional demands, and vulnerability of each person in a relationship."
"Billie Was a Vampire" is a story about an undead creature who works at a nightclub followed by the urgency of "Black Box." Brass sounds moan against the fast beat and suggest a frenzied need to escape.

"I'm Addicted" became the second single for the LP. I am addicted, you are mine, Joanna demands of the lover. The music video, also directed by Dimitris Chaz Lee, depicts a clean, white photoshoot primed for the most beautiful creatures of the Athenian wave scene. Alex Macharias, from the legendary Greek band In Trance 95, acts as the photographer for the session, as the models pose and flail under the bright bulbs. The director states: "Addiction is a mental state, something inside all of us. It altered our perception and created a parallel world of avant-garde beings and flashy lights making us part of this everlasting bond."

While many have tried to emulate the ancient German (black)thrash sound, CRUEL FORCE brimmed with an authenticity that could not be denied, as well as songwriting that added to that noble tradition rather than lazily picking at its corpse. Their two successive albums, 2010's The Rise of Satanic Might and 2011's Under the Sign of the Moon, made CRUEL FORCE a certifiably CULT name in the international metal underground. Sadly, the band fell into a hiatus following that second album, but returned reinvigorated with the comeback 7" EP Across the Styx in 2022 and, a year later, the glorious full- length Dawn of the Axe at the hands of new label home SHADOW KINGDOM. Continuing to make up for lost time, CRUEL FORCE storm back with swords gleaming high on their fourth full- length, Haneda.

Where a line could be drawn between the band's "first era" of The Rise of Satanic Might / Under the Sign of the Moon, so continues this Second Era that began with Dawn of the Axe - one that harkens to the "Jurassic period" of heavy metal, when everything was rawer, less polished, and more energetic and powerful. As displayed by that pivotal predecessor, Haneda further proves that CRUEL FORCE are more so an old-style speed metal band, largely bereft of that blackened edge during their First Era. The tradeoff is that there's a prominent mysticism coursing through that speed, and the blue-collared aspect of Dawn of the Axe is now spit-shined to a lethal slickness that makes Haneda hit that much harder.

However, it must be stressed that, while it follows logically from Dawn of the Axe, Haneda is very much its own headspace, its own continuation of a still-vital aesthetic. At times more epic, exuding both more and different atmospheres, CRUEL FORCE here take the listener on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond; indeed, the whole record is like a journey through mystical realms. Although no concept album, Haneda is very conceptual in its aesthetics, even down to its production: BIG and naturaltoned, from the guitars to especially the drums, everything here is as '80s and authentic as possible, underlining

Originally released in 2023 and available exclusively on vinyl, Godzilla Was Too Drunk To Destroy Tokyo unleash a raw blast of sludge, stoner and warped psychedelia where fuzz, feedback and cosmic madness collide. Drawing from L7, Melvins, Electric Wizard, Acid King and Monster Magnet, the band deliver dirty sci- fi visions, heavy grooves and hallucinatory blues.

Their debut album, Why Trains Crash was released in June of that year to rave reviews. In 2023 they released their follow-up LP, A Company Sleeve, solidifying their reputation with critics and fans alike for all- killer/ no- filler indie rock. Their third LP, Never Felt Bitter, will be released on March 27, 2026. The music on Never Felt Bitter -- the quartet's first release for Chicago- based Forge Again Records--is the result of playing together on hundreds of nights in innumerable bars and clubs across Southern California and beyond. Over the years the band has honed a fearsome melding of pop melodicism and raw physicality. Their knack for crafting catchy anthems for outsiders and underdogs has made them one of the most respected underground bands in L.A.

Step back into the irresistible world of Dutch pop legends Gruppo Sportivo with Vinylly! (Selected Songs '78-'91). a vibrant, limitededition celebration of the band's most iconic tracks. This double LP is the ultimate collector's item for fans of clever pop, quirky humor, and timeless hooks.

Featuring standout songs like ''Beep Beep Love,'' ''My Old Cortina,'' ''Up to Date,'' and cult favorites from The Buddy Odor Stop, Vinylly! captures the band's golden era with crisp remastered sound and a beautifully designed sleeve and 4-page booklet. A complete overview of a group that defined an era with their playful lyrics, sharp arrangements, and unmistakable charm.

The band is touring throughout 2026 to celebrate the 50th birthday of Gruppo Sportivo.