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Rare 1983 Dub masterpiece reissued

"Originally released in 1979 on Sly & Robbie's Taxi label, this album was Black Uhuru's second LP. Recorded at Channel One it set forth a new sound in recorded music technology. The songs blend into dub versions and the mixing is simply stunning. The track Shine Eye Gal also features guitarist Keith Richards"
(but hey, nobody's perfect).

"Hear the meticulous song writing of Michael Rose, joined by Puma Jones & Duckie Simpson, to complete the vocal line-up.

Sly & Robbie and the Taxi Gang created a sublime sonic masterpiece at Channel One studio in Jamaica. They were at their absolute peak of their powers, before being launched as global superstars with Grace Jones.

Black Uhuru went on to be an extremely popular live outfit, touring endlessly around the world, breaking down barriers and making new inroads to territories previously unknown to Jamaican artists.

This Classic reissue is a must for all reggae collectors."

The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.

The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?

The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.


Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.

Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.

Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.





Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.

This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.

2026 Repress

Portugal's Dextro returns for second EP of stylish deep techno on Mutual Rytm with ‘Planets And Stars’. Dextro’s tunes have long been a staple of Mutual Rytm label head SHDW's sets, with the esteemed veteran previously landing on the label with his ‘Covil Dos Abutres’ EP last year. His return with ‘Planets And Stars’ features a selection of his most requested IDs from recent times, with the Portuguese DJ/producers featuring as a longstanding favourite within the European underground since the 90s through his stripped-back, economical sound that is rooted in masterful design and intuitive grooves. He is a true studio craftsman, whether going deep or more destructive, and that range is on show here as he makes a splash for his sophomore outing. SHDW notes, “‘Planets And Stars’ feels like his most refined and focused work to date. It also further strengthens our relationship, rooted in a shared vision and values around music and how it should be presented.” The EP kicks off with the heavyweight ‘1000 Places’, a track that will rattle walls as eerie synth whispers and sonar blips snake through the mix. ‘Industria Acéfala’ is just as hypnotic with a deep blend of rolling bass and rooted kicks, while unsettling tension comes in the one-note synth loops and scratchy texture. ‘Planets and Stars’ provides an intergalactic trip with cosmic dust, conscious spoken words and an infinite horizon that has you gazing off into the distance. The all-consuming ‘Perpendicular’ is shadowy with impish motifs darting about the mix as watery droplets fall into cavernous kicks. ‘Winter Letter’ is the final 12”cut and is perfectly deep, linear techno with gorgeous ambient details that turn your thoughts inwards. Three digital bonuses expand the trip: ‘Torresmos com Pão’ is unsettling and sparse, ‘Historia da Vida’ ramps up the tension with oversized hi-hats and rising synth turbulence and finally ‘Ghost Particles’ has shimmering bell sounds evoking a spooky moon-lit church in the dead of night.

Archimboldos have clawed their way out of the starcaves of their primordial past and into the tranquil light of a coral garden on their third full length album, Crusta Arcana, a gumbo stewpot of transcendent electronica suffused with tribal rhythms and liquid ambience. Across a stereo field smeared with tolling bells, post-industrial folk percussion, and tinkling keys, Archimboldos soundtrack a science fictional journey, not into the depths of space, but deep beneath the waves.

In the past the Chilean duo of Nicolás Carcavilla and Felipe Crocco have described their music as “liminal shrimp folk.” Here they continue this strange exploration when they visit the court of the prawns, producing stately electronic chamber orchestrations. Perhaps these are the frequencies used for ritual dream initiation into the mystery schools of drowned Atlantis. Weaving an ancient sacred science, Archimboldos take listeners on a mystic vovage into their singular crustacean mythology, the crusta of their hidden arcana.

Archimbolodos are masters of conjoining cyclonic and centrifugal lines of electricity into spellbinding incantations. These deep-sea transmissions envelope the listener into aquamarine forcefields that are as hallucinatory as they are hypnotic. Navigating these strange fantasias could lead one to getting lost at sea, but the work is buoyed by the somnolent melodies of lonely harpsichords and swelling synth pads whose sustained tones reach towards distant shores. Sailing across a vast expanse of oceanic harmonies and percolating percussion, these pieces are as precise as the hand of a sailor on the rudder, moving with the tide.

Casting their net wide across eight pieces, Archimboldos have made a big catch. From the emotive electronic counterpoint found on “Bursting Armor” to the blocks of seaweed tangled sonic sculpture trawled up from the ocean floor on “Aphelion IX.” Other songs are like samples of biological ambience collected from luminous tide pools: resplendent tones placed into a Petri dish of sound, swirled, cultured and fermented until it undulates with the rhythmic movement of microscopic lifeforms. Alternating between rippling minimalist sonority and pounding, progressive, synth-heavy entrancement, Crusta Arcana charts its own idiosyncratic itinerary of instrumental invention.

All the while light is down streaming from the heavens to pierce the waters, here calm, there choppy. The intrepid musical captains commanding Archimboldos have laid a course for new archipelagos of the imagination, guided by heavenly constellations.

-Justin Patrick Moore, author of The Radio Phonics Laboratory, Telecommunications, Speech Synthesis and the Birth of Electronic Music

Das Audio von „Breakfast In America“ wurde in den Abbey Road Studios von Miles Showell übertragen und
vom Co-Produzenten des Albums, Peter Henderson, überwacht, wo sie das 1/2-Speed-Master schnitten,
das für die Pressung des Vinyls verwendet wurde. Die LP ist auf 180 g schwerem schwarzem Vinyl gepresst.
Es handelt sich um das sechste Studioalbum der Gruppe, das 1979 veröffentlicht wurde.

As has been the case with a number of releases on Punctuality so far, Echo Chambered has already gained notoriety as a sleeper hit for those in the know. Fans of Evan Baggs and Rey Colino’s Radar stream from Dekmantel 2025 will instantly recognise Carousel, pulled from a white-label dubplate about half an hour into the set. Fast forward nine months and a flood of track ID requests later and PNCT011 is finally here: five expertly crafted rollers from a modern master of the craft, Bliss Inc.

It’s easy to see why there has been so much demand for Carousel. Its earworm vocal, delicate percussion programming, undulating low end and spacey sound design land it squarely in the sweet spot between the minimal, progressive and contemporary tech house that so many
diggers are seeking out.

While the A1 is an undeniable hit, each track truly sounds like a hard-to-find early 2000s gem—the kind of record a Discogs shark will flip for extortionate rates. Why? Maybe it’s the rolling basslines, the understated grooves, the organic but club-ready percussion, the vocal samples or the cerebral FX.

Maybe it’s the mature, floor-focused arrangements, or the way Bliss Inc. nods to different corners of the dance music spectrum while maintaining a distinct signature. Or more simply, perhaps it’s because each track is an expertly constructed club tool —built for DJs, but just as rewarding for listeners.

However you want to hear it, Echo Chambered has all the markings of a Punctuality classic. With all five tracks doing damage in equal measures, you know what to do…

Come Over Reshapes works because it never tries to smooth JdB's debut into something safe. It features seven artists from LA and the Midwest all taking his source material somewhere different as brooding, minimal jungle rubs up against dubbed-out weight and drifting psychedelic ambient. Despite the variety, the whole thing plays like a continuous narrative rather than a scattered remix comp. Some cuts are clearly built for the floor, others for the comedown room, and the sequencing respects both. Steffan Betke's mastering keeps everything sounding cohesive and like a thoughtful tribute record that expands on the original rather than just repackaging it.

Never Sleep charity tape series makes its way to the beautiful North for a celebration of community, art and 20yrs of hard work.

EBM maven Krysko explores customary Mancuinian joy with a lost mix at one of the UK's most important club series Warehouse Project for a 20yr anniversary celebration. Staggered 'Jackin' impetus, expansive rhythmic curveballs and long blend fader oscillation alongside effervescent pacing is at the heart of this live recording.

Recorded some time in 2007/8 from the original Store Street site and is a masterclass in Dance music comprehension slow building with vinyl only white labels, lost edits and rotary syncopated dub pressure. Krysko shows the restraint it takes to make a club feel intimately monumental. The Warehouse Project is a long standing hub in the North's ever growing ambitions for the UK's dance continuum. Flawlessly curating two decades of ground breaking music and heralding a return
to silo rave architecture.

All proceeds go to Papryus UK who help with suicide prevention across the country for 50yrs

UK underground heavyweight Ploy unleashes his second release on Dekmantel with a brand new four track EP. The release sees the dynamic producer continue to push the envelope with his own flavour of driving, sexy, Ploy house. Putting every ounce of his production prowess on show while proving yet again that Ploy is a force to be reckoned with both in the studio alike. Making tracks for DJs has always been the source of inspiration for Ploy and this is no different with each offering carrying its weight and then some. Straight up, no frills house music that oozes quality by doing the simple things well.

Kicking off the record is title track 'Glizzy', an arpeggiated tech house tool built for the hours that you lose yourself on the dancefloor. From the off Ploy puts his ear for percussive dynamism on show with the understated subtleties of this opener. Thematic sampling, nuanced arrangement and odd ball melodies combine to set Glizzy apart with a gentle nod to hot dog lovers worldwide.

The EP follows suit with A2 'Global Underground'. A contemporary progressive house roller, which rips through the atmosphere with melodic blasts, unrelenting groove, and a powerful bassline.

Offering an equally effective double B-side, B1 is 'Yesterday Now Tomorrow', which sees Ploy lean on his production mastery with entangled percussion and expertly dosed sampling. The result is a swinging heavy house burner that is truly greater than the sum of its parts.

Lastly on the EP is ‘SlowanDip’. A heavily swung, percussive chugger to warm up a dancefloor, paired with a bassline to test the system, this B2 closes out a stellar second showing on Dekmantel for Ploy.

The record arrives at the crest of festival season and is primed to soundtrack dancefloors around the world under the glistening Summer sun. Ploy has quickly carved out a reputation for his unmistakable, drum driven take on house music, and Glizzy only sharpens that identity further. Focused, effective and built with DJs firmly in mind, the EP captures an artist operating with total confidence, delivering four tracks that prove Ploy isn’t just part of the conversation, he’s pushing it forward.

First official vinyl repress of Franco Moiraghi's cult 1995 Italian house anthem. A timeless masterpiece that perfectly captures the peak era of Mediterranean club music. Essential for every record bag.

“I like to work with a variety of instruments and set ups,” says Mark Van Hoen, sometimes known as Locust or Autocreation but here working under his own name on the excellent Plan For A Miracle, his first physical release of solo music since 2018’s Invisible Threads. ”Sometimes it’s literally in my studio, with all the hardware electronics available. Sometimes the laptop, using software instruments. Some of the tracks on this record were recorded in the desert (Joshua Tree) using a 4-track tape machine and small modular synthesiser set up. Each track was recorded in different location using different instruments, which accounts for the distinction between each piece. It’s also about my own reaction to my environment, and what’s going on in my life at the time.”

The Croydon-born Van Hoen started musical life in the early 1990s, signing for R&S records in 1993 but developing his own, myriad and distinctive style across a range of releases on Touch, Editions Mego and other labels, using a battery of instruments, including analogue synthesizers and taking a number of different approaches to recording, rather than ploughing a single sonic furrow. He has worked on a number of collaborations, including with Nick Holton and Neil Halstead of Slowdive, under the moniker of Black Hearted Brother - their Stars Are Our Home was released in 2013. “I have known Neil Halstead since 1992,” says Van Hoen. “He shared a house with me for a couple of years, and the music I was making and listening to along with clubs I was attending had an influence particularly on Pygmalion, the final Slowdive album on Creation.”

Each track on Plan For A Miracle does indeed sound like a world unto itself, a mini-environment, a weather condition, an ecosystem created for the moment. It’s a collection of tracks recorded over the past few years, released on Bandcamp - despite his apparent absence, Van Hoen works constantly. Opener “Climates”, in its exquisite limpidity, feels like a homage to Brian Eno, one of his most formative influences in his teen years, commencing with Music For Films, which he bought in 1979. “This Is For Them”, feels like a ghostlike throwback to early drum & bass or electronica, reminiscent of his own, earliest outings. “There have been a number of requests from labels to make some more music like my very early releases on R&S,” says Van Hoen. “This is part of ‘letting go’ and realising that there’s nothing less creative about going back to those styles again.”

“Pencil Of Spheres” is something else again, a magnificent, imaginary glass structure, shimmering, refracting, without visible means of suspension, a thing of impossible beauty. “Electric Lights” evokes an abandoned fairground, its lights still pulsating, its music lingering. “The Underpass”, meanwhile, insofar as it reminds of anything at all, is faintly reminiscent of Cluster or Neu’s! West German ambience, the urban mundane rendered magical, the sodium lights, the whitewashed walls. The reverberant, faintly oriental chimes of “Insight” transport us yet again, burgeoning and intensifying.

The landscapes, the skyscapes rendered on Plan For A Miracle feel unpopulated as a rule - but when he does introduce vocal elements, Van Hoen has a history of doing so to spectacular effect - think of “Real Love” from 1998’s Playing With Time, the seductive intonation of its title recurring throughout like a series of massive holograms, echoing, stuttering, breaking up, surging. Here, there are just the faintest of vocals, barely distinct, disquieting. “There’s been a bit of a game changer in recent times,” explains Van Hoen. “AI software that enables you to extract vocals and instrument parts from virtually any recording. That means sampling individual parts from existing sources is no longer limited to the original mix exposing certain parts soloed. The vocal parts I use are from multiple sources and often pitch shifted altered rhythmically and melodically.“ There’s further vocal chatter on “I Really Do”, proceeding at a faster pace as if giving chase, or being pursued - distant, enigmatic. “The Music”, meanwhile, its beat tolling, lost in its own fog of static, features a curious intonation, like the ghost of a lost Walker Brother.

Sadly, the album’s title is in reference to a personal tragedy on Van Hoen’s part - the loss of his wife. Titles such as “I Won’t Give Up”, which faintly reminds of another Eno masterpiece, Another Green World, in its nautical hurly-bury, or the pastoral strains of “Mrs Who”, heavily clouded with sadness, seem to allude to this. “In fact the record was recorded entirely before she passed away,” says Van Hoen, “most of it before she even became very ill. The title was given to the album when it started to look like she wasn’t going to make it beyond a few months. It was something Osho said - “plan for a miracle” - so it was a statement of hope. Unfortunately it was not to be.” Although the album is non-thematic, non-specific in its atmospheres, sound paintings, elegant structures it most certainly stands as a magnificent monument to Osho’s memory.

-David Stubbs.

Deaf Star is a shoegaze / noise-pop / electronic project founded in San Francisco and now based in Barcelona, Spain. Rooted in melancholy-driven personal songwriting, the project drags those intimate impulses through blown-out textures, crude production, bass-heavy electronics, and walls of distortion, arriving at a sound that feels both fragile and annihilating.
Drawing from the jet-engine narcotic haze of Astrobrite, damaged intimacy of Sebadoh, nocturnal drift of Bowery Electric, dubwise productions of Andy Stott and The Bug, Deaf Star occupies a space where beauty is constantly on the verge of collapse, where “the nightmares were rehearsals”.

The album was mastered by Simon Scott (Slowdive) and features a collaboration with Dania.

All music by Ivan Zoloto, except 4 (with Dania Shihab). Voice message on 8 by Danielle Lefczik. Recorded and mixed in San Francisco, Belmont, and Barcelona. Mastered by Simon Scott. Photography by Nina Rathbone.

Wewantsounds is delighted to announce the first-ever international release of the legendary collaboration between Abdullah Ibrahim (Dollar Brand) and Don Cherry, featuring Carlos Ward. Recorded live in 1972 at Jazzhus Montmartre in Copenhagen, this highly sought-after album was originally released exclusively in Japan in 1974 on the cult jazz label Trio Records via its revered Nadja imprint. An essential chapter in the musicians" discographies, the performance masterfully blends jazz with rich South African rhythms and global influences. This long-awaited edition features fully remastered audio, the original Japanese artwork, and a 4-page booklet with new bilingual liner notes (English/French) by Jacques Denis.

Iris is back! This time with a brand-new long-player under the name Irisplus with many featured guests.

Lazy, stumbling slacker songs with multilingual vocals, expanding the melodic, riff-driven sound of previous Iris releases like “Surrender”. Watch out for the full-band live version!

Flute by Falyakon: Music/Ghost
Vox by TRii: Fog, Spoof, EG Land
Extra guitar/percussion by TRii: Deeds
Vox by Falyakon: يا ليل ,قرش و عتيق
Vox by Employee: Fernando, Crossings
Vox by Mo Chan: 今日も明日も

All songs written, produced, mixed and recorded by Iris. Mastered by The Bastard and Maximilian Schweizer. Graphics by Non-CN. Pressed by Disk Media Service.

Diese Neuauflagen enthalten neu remastertes Audiomaterial: Toningenieur Kevin Vanbergen hat sich erneut die ursprünglichen analogen Bänder der Band vorgenommen, um atemberaubende neue Master zu erstellen, die auf spannende Art und Weise weitere Facetten dieser absoluten Klassiker der Musikgeschichte offenbaren. "Bossanova" ist das dritte Album der Pixies. Die Band arbeitete weiterhin mit Gil Norton zusammen, nachdem die Zusammenarbeit an ihrem mit Platin ausgezeichneten zweiten Album "Doolittle" so erfolgreich verlaufen war. Als ihr drittes Album in ebenso vielen Jahren war das Jahr 1990 eine besonders fruchtbare Zeit für die Band, da Kim Deal auch mit The Breeders Erfolg hatte, die ihr Debütalbum "Pod" nur wenige Monate zuvor veröffentlicht hatten. Mit den Singles "Allison" (eine Hommage an den Jazz- und Blues-Pianisten Mose Allison), "Dig For Fire" und "Velouria" sowie dem ersten Cover-Song auf einem ihrer Alben, "Cecilia Ann" (im Original von The Surftones), zeigte "Bossanova" eine weniger ursprüngliche Seite der Band, wobei Surf- und Space-Rock in den Vordergrund traten. Textlich ist Black Francis noch rätselhafter, mit einem wiederkehrenden Science-Fiction-Thema, das sich durch das gesamte Album zieht und wiederum Vaughan Olivers klassisches Planetendesign für das Cover beeinflusste.

Diese Neuauflagen enthalten neu remastertes Audiomaterial: Toningenieur Kevin Vanbergen hat sich erneut die ursprünglichen analogen Bänder der Band vorgenommen, um atemberaubende neue Master zu erstellen, die auf spannende Art und Weise weitere Facetten dieser absoluten Klassiker der Musikgeschichte offenbaren. "Trompe le Monde" bildete den Abschluss einer goldenen Serie bahnbrechender Alben, die in rascher Folge erschienen und die Pixies als eine der besten Bands ihrer Generation etablierten. Der Titel "Trompe le Monde" bedeutet auf Französisch so viel wie "die Welt täuschen" und zeigte, dass die Band nach wie vor unermüdlich daran arbeitete, ihren Sound weiterzuentwickeln. Mit Produzent Gil Norton erneut am Ruder ist ihr viertes Album wohl ihr verspieltestes, mit Black Francis" Texten über UFOs und Verschwörungstheorien sorgen für eine schräge Atmosphäre, während sich Power-Pop einschleicht, um den auf dem Vorgängeralbum "Bossanova" etablierten Space-Rock zu verstärken. "Trompe le Monde" mit seinen 15 Tracks, ist eine 40-minütige Salve an Indierock, das heute zu den Klassikern des Genres gehört. Es erwies sich als das Ende des ersten Akts für die Band, die sich über ein Jahrzehnt Zeit nahm, bevor sie gemeinsam auf die Bühne zurückkehrte.

MEMPHIS, TN — Fat Possum Records and Hi Records are proud to announce the first vinyl pressing in half a century of Ann Peebles' 1975 album Tellin' It, fully remastered and recovered from the Hi Records vault, where it had sat untouched for decades. Available on vinyl in stores September 11, 2026 and can be pre-ordered now and also available streaming everywhere now. 
Peebles was at the height of her career when she recorded Tellin' It — coming off her biggest hit, "I Can't Stand the Rain," the year before. Produced by Willie Mitchell at Royal Studios in Memphis, with the grooves that defined the label's sound, backed by Howard Grimes' drumming and the Memphis Horns. 

"Peebles and Mitchell don't just recast "Rain" 10 different times—instead, they lean into the supple support laid down by the Hi Rhythm Section, who have plenty more uptempo grooves to offer." Andy Beta, Bandcamp
The original master tapes were sent to John Nicholson at Nashville Tape Transfer for their first listen in fifty years. From there, the project stayed close to home: remastered by Clay Jones in Taylor, MS, then back to Memphis for lacquers cuts by Jeff Powell (Take Out Vinyl), and was pressed & plated at Memphis Record Pressing.

Finnish Prog legend Wigwam's fourth album Being reissued on vinyl in September Finland´s Wigwam definitely belongs to the honorable circle of the pioneers of early progressive rock. Considered by many as their most ambitious work, Being was originally released in 1974. This reissue contains the album's partially remixed and remastered version from 2001, which the group’s mastermind behind the album concept Jukka Gustavson considers superior compared to the original mix. Being is a progressive rock masterpiece. Dark and satirical lyrics of social and political critique blended with complex jazz-rock, driven by the superb keyboard work by Gustavson who's joined by the band in its prime; Pekka Pohjola, Jim Pembroke, and Ronnie Österberg. Being is cited as one of the best albums from the 1970s Scandinavian Prog scene. Housed in a gatefold sleeve and containing a booklet, Being is out on vinyl and CD on September 11th, 2026.

Finnish Prog legend Wigwam's fourth album Being reissued on vinyl in September Finland´s Wigwam definitely belongs to the honorable circle of the pioneers of early progressive rock. Considered by many as their most ambitious work, Being was originally released in 1974. This reissue contains the album's partially remixed and remastered version from 2001, which the group’s mastermind behind the album concept Jukka Gustavson considers superior compared to the original mix. Being is a progressive rock masterpiece. Dark and satirical lyrics of social and political critique blended with complex jazz-rock, driven by the superb keyboard work by Gustavson who's joined by the band in its prime; Pekka Pohjola, Jim Pembroke, and Ronnie Österberg. Being is cited as one of the best albums from the 1970s Scandinavian Prog scene. Housed in a gatefold sleeve and containing a booklet, Being is out on vinyl and CD on September 11th, 2026.

Finnish prog-psych masterpiece Harvest Time by Elonkorjuu reissued in September The original pressing of Elonkorjuu's debut album Harvest Time is among the most valuable collector’s items in Finnish rock; its average price in 2026 is over 1200 euros, and even 1500 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Harvest Time is a best kept secret for many Scandinavian Prog aficionados. Inspired by groups like Cream and Free with a more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them unique and ahead of their time. Drawing influences initially from the schools of bands like Sabbath and Colosseum but expanding them with soulful church organ and cutting guitar from bandleader Jukka Syrenius, Harvest Time is entirely worth its reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over with great vocals sung in English, which is rare for a Finnish band of this era. After the sold out 2017 and 2021 reissues by Svart and due to a constant high demand, Harvest Time will be available on wax and CD again in September. If you have a place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably Harvest Time for you!

Finnish prog-psych masterpiece Harvest Time by Elonkorjuu reissued in September The original pressing of Elonkorjuu's debut album Harvest Time is among the most valuable collector’s items in Finnish rock; its average price in 2026 is over 1200 euros, and even 1500 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Harvest Time is a best kept secret for many Scandinavian Prog aficionados. Inspired by groups like Cream and Free with a more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them unique and ahead of their time. Drawing influences initially from the schools of bands like Sabbath and Colosseum but expanding them with soulful church organ and cutting guitar from bandleader Jukka Syrenius, Harvest Time is entirely worth its reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over with great vocals sung in English, which is rare for a Finnish band of this era. After the sold out 2017 and 2021 reissues by Svart and due to a constant high demand, Harvest Time will be available on wax and CD again in September. If you have a place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably Harvest Time for you!

Petrozavodsk is a heavy drone trio based in Porto and Barcelona. They add dub, experimental and improvisational elements to a crushing, drone metal sound.
“Forest Fire” is the band’s vinyl debut, and is a more concentrated, expansive, and heavy offering following their debut tape “Winter War”.
Side A kicks off with “Forest I”, a collaboration with electronic artist Container AKA Ren Schofield (US/UK). The noise/rave veteran remixes the band’s guitars into a hot bubbling swampy mess that feels very alive, propulsive, punishing, yet fun – Container fans would know.
“Forest II” is all dubbed-out drone-rock, with blackened guitar, monotonous low thrusts, and a snare that is coming from an extremely far distance – everything echoing and shaking, dubwise almost-noise effects from the drum kit eroding in wide stereo.
Side B is one longform piece “Fire” with slow-motion guitar washes, and a bass that sounds like a high rise falling down. It nods to the genre’s touchstones (Boris’ “Amplifier Worship”, Sunn O)))) while carving its own path. A downtuned wall of heavy sound.
Recorded in Catalunya and Portugal, all amps turned up high. Mixed and mastered by Moa Pillar in London, with additional mixing on “Forest II” by the band’s guitarist Anton Vasin.
Guitar: Anton Vasin
Bass: Matvei Podgornov
Drums: Ivan Zoloto

The final collaboration between Eliane Radigue and Important Records is this double LP edition of Triptych. Radigue insisted that her music only be released on vinyl if the pieces would fit without being edited or cut. Triptych met those requirements leaving room for an etching on the 4th side.

Back to music after three years of silence... On the suggestion of Robert Ashley, Douglas Dunn commissioned Triptych from Eliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27 1978. Recorded in the composer's studio in Paris.

After the 1974 premiere of Adnos in San Francisco, a group of French students introduced Eliane Radigue to Tibetan Buddhism. When she returned to Paris, she†began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from "the spirit of the fundamental elements, water, air, fire, earth" Eliane Radigue likes to add that this has often been useful to her in her moments of research and transitions.

This three-part composition, with its great humility and contemplative simplicity, heralded a new period of her work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos Trilogy (1980), Songs of Milarepa (1983) - with the voices of Lama Kunga Rinpoche and Robert Ashley , "Jetsun Mila"(1986), as well as the Trilogy of Death: Kyema (1988), Kailasha†(1991) and Koume†(1993).

-Manu Holterbach (translation: Maxime Guitton)

Released in 1971, Maggot Brain stands as the towering masterpiece in Funkadelic’s groundbreaking catalog. Initially misunderstood upon release, the album is now widely regarded as one of the most influential records of all time. Anchored by Eddie Hazel’s otherworldly guitar performance on the legendary title track and featuring enduring favorites like “Can You Get To That,” Maggot Brain redefined the possibilities of funk, rock, and psychedelic music.


For this definitive 2026 reissue, the album was mastered directly from analog tape, preserving the raw power, depth, and atmosphere of the original recordings with extraordinary detail. A longtime holy grail for collectors, Maggot Brain receives the fully analog treatment it has long deserved.

Faith and Fate, Destiny and Devotion, Dark Nights and Dazed Illuminations. Josephine raises a stained-glass lamp and shepherds us spelunking the depths of spirit in this four-part double album. Following the fame of her voice are choruses of winged entities (and a space shuttle) that ascend and descend a maze of spirituals: ritual prayers, blues laments, vestal hymns and jubilant benedictions. The edges of the natural world are revolving backdrops from which our narrator perches upon symbolic precipice or saunters desolate snow-blanched forest, exploring eternal themes of mortality and morality, beneath the moon and in occasional dialogue with a mysterious lord of love, an ambiguous mystical figure. Accompanying herself on guitar, piano, organ, harp & autoharp, this cycle of 18 new songs hearken back to various facets of Foster's anachronic oeuvre (the esoteric balladry of This Coming Gladness, native rhythms of Blood Rushing, somnambulist waltzes of I'm a Dreamer, the Shaker primitivism of Hazel Eyes, I Will Lead you). Celestial humor and devastating innocence are delivered with contributions from Victor Herrero (lead guitars), Gyða Valtýsdóttir (cello), Chris Scruggs (pedal steel), Jon Estes (bass), as well as cameos by members of The Cherry Blossoms and others. Recorded, engineered and mixed by Andrija Tokic at his Nashville Bomb Shelter Studio, mastered by John Baldwin, and produced by Josephine herself.

Faith and Fate, Destiny and Devotion, Dark Nights and Dazed Illuminations. Josephine raises a stained-glass lamp and shepherds us spelunking the depths of spirit in this four-part double album. Following the fame of her voice are choruses of winged entities (and a space shuttle) that ascend and descend a maze of spirituals: ritual prayers, blues laments, vestal hymns and jubilant benedictions. The edges of the natural world are revolving backdrops from which our narrator perches upon symbolic precipice or saunters desolate snow-blanched forest, exploring eternal themes of mortality and morality, beneath the moon and in occasional dialogue with a mysterious lord of love, an ambiguous mystical figure. Accompanying herself on guitar, piano, organ, harp & autoharp, this cycle of 18 new songs hearken back to various facets of Foster's anachronic oeuvre (the esoteric balladry of This Coming Gladness, native rhythms of Blood Rushing, somnambulist waltzes of I'm a Dreamer, the Shaker primitivism of Hazel Eyes, I Will Lead you). Celestial humor and devastating innocence are delivered with contributions from Victor Herrero (lead guitars), Gyða Valtýsdóttir (cello), Chris Scruggs (pedal steel), Jon Estes (bass), as well as cameos by members of The Cherry Blossoms and others. Recorded, engineered and mixed by Andrija Tokic at his Nashville Bomb Shelter Studio, mastered by John Baldwin, and produced by Josephine herself.

Brighton’s Moon Attendant team up with Go! Team's leader and drummer Ian Parton for new LP ‘Dum Evol’. Following their debut ‘One Last Summer’ with this incendiary, heart-pounding, drum-led masterwork full of untutored surf-guitar, Scarlet Rivera style fiddle, psychedelic orchestration and sharp-playful lyrics, all within just over 30 thrilling minutes.Since their debut, Paul Blewett and Nick Holton had been knee-deep in experimental music and needed something or someone to smash the shit out of the new songs. Instead of making heavier music, the result left lofty but wobbly structures teetering on fractured Giacometti-like frames, exposed, more arresting. Paring back the Musical palette from previous wash of synths and reverb to surf guitars, Moog, and violin, leaving Blewett's vocal (often compared to Colin Bunstone) leaning into an unvarnished, direct sound like Jimmy Campbell. Thematically, Dum Evol turns inward. Where their debut asked questions, this record sits with the answers, exploring love, conflict, and growth as experiences that must be lived first hand - “It’s such dumb evolution, you still have to learn the hard way”. Their lyrics get under the skin and under The Establishment in a wistful worm like way. Nudging at the truths. Smiling but always ready to bare some fangs.The fantastic instinctive violinist, Roger Proctor, joined as fourth member, bringing raw fragile beauty to ‘Look The Other Way’ & ‘Difficult Ifficult’, blending swooping string lines with the monster-surfing-Sonic Youth racket elsewhere. They explain - “We kept to a first take policy generally as it keeps everything just fresh and daisy like.” Dum Evol’s restraint allows the band’s more experimental instincts to land with greater weight. Musically, the record occupies a space somewhere between the slacker-rock nonchalance of Pavement and the gypsy swagger of Dylan - 'Desire' through a lens that is consciously, almost defiantly, English. It’s a sound that channels the 60's pastoral folk tradition alongside the sharp-edge of The Auteurs, an honest version of England, one to be proud of, existing in stark contrast to the hollow jingoistic nationalism of flag-shaggers climbing lamp posts. Jagged, lived-in, and entirely vital, Dum Evol is a record that feels fully realised, yet remains dangerously built to unravel in a hair's breadth.“Psychelelic grungy synth-pop - Moon Attendant marry analogue electronics to a lovely burbling pop sound, like Felt exploring the recesses of krautrock. Trippy, ramshackle and a cult in waiting.” Shindig!

Brighton’s Moon Attendant team up with Go! Team's leader and drummer Ian Parton for new LP ‘Dum Evol’. Following their debut ‘One Last Summer’ with this incendiary, heart-pounding, drum-led masterwork full of untutored surf-guitar, Scarlet Rivera style fiddle, psychedelic orchestration and sharp-playful lyrics, all within just over 30 thrilling minutes.Since their debut, Paul Blewett and Nick Holton had been knee-deep in experimental music and needed something or someone to smash the shit out of the new songs. Instead of making heavier music, the result left lofty but wobbly structures teetering on fractured Giacometti-like frames, exposed, more arresting. Paring back the Musical palette from previous wash of synths and reverb to surf guitars, Moog, and violin, leaving Blewett's vocal (often compared to Colin Bunstone) leaning into an unvarnished, direct sound like Jimmy Campbell. Thematically, Dum Evol turns inward. Where their debut asked questions, this record sits with the answers, exploring love, conflict, and growth as experiences that must be lived first hand - “It’s such dumb evolution, you still have to learn the hard way”. Their lyrics get under the skin and under The Establishment in a wistful worm like way. Nudging at the truths. Smiling but always ready to bare some fangs.The fantastic instinctive violinist, Roger Proctor, joined as fourth member, bringing raw fragile beauty to ‘Look The Other Way’ & ‘Difficult Ifficult’, blending swooping string lines with the monster-surfing-Sonic Youth racket elsewhere. They explain - “We kept to a first take policy generally as it keeps everything just fresh and daisy like.” Dum Evol’s restraint allows the band’s more experimental instincts to land with greater weight. Musically, the record occupies a space somewhere between the slacker-rock nonchalance of Pavement and the gypsy swagger of Dylan - 'Desire' through a lens that is consciously, almost defiantly, English. It’s a sound that channels the 60's pastoral folk tradition alongside the sharp-edge of The Auteurs, an honest version of England, one to be proud of, existing in stark contrast to the hollow jingoistic nationalism of flag-shaggers climbing lamp posts. Jagged, lived-in, and entirely vital, Dum Evol is a record that feels fully realised, yet remains dangerously built to unravel in a hair's breadth.“Psychelelic grungy synth-pop - Moon Attendant marry analogue electronics to a lovely burbling pop sound, like Felt exploring the recesses of krautrock. Trippy, ramshackle and a cult in waiting.” Shindig!

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

Recorded in Los Angeles over the course of a single day at a studio in the Eagle Rock neighborhood, Dois Desertos was produced by Mario Caldato Jr. and emerged without a predetermined plan or schedule. The project took shape during Portuguese musician João Pimenta Gomes' stay in Los Angeles with his family. During that time, through Rodrigo Amarante, João met Mario and Samantha Caldato, as well as musicians Abe Rounds (drums and percussion) and Gabe Noel (bass and cello). From those encounters, the album began to unfold organically.

Working from simple scores—some containing little more than chord progressions—the sessions left plenty of room for improvisation. Every performance was captured live, in a single take, with no overdubs. The mixing process, also carried out live by Mario Caldato Jr., followed the same philosophy: effects and level adjustments were performed in real time and printed directly to the final two-track master.

At the heart of the album's sound is the Cristal Baschet, a rare instrument played by rubbing glass rods with the hands, causing metal resonators to vibrate and produce an ethereal, resonant tone. João describes its sound as "a trace, almost like a shadow." Rather than taking the lead, the instrument serves as a textural foundation, while the bass and cello carry the melodic lines. Some of these melodies are original compositions, while others draw from traditional Portuguese fado, reimagined through an open and exploratory approach.

The album has a dreamlike atmosphere, reflecting the perspective of someone experiencing Los Angeles from the outside—not in a rush to belong, but fully receptive to the city's unique energy. Two films helped shape this imaginary landscape: Model Shop (Jacques Demy, 1969), in which the French filmmaker uses Los Angeles as a pretext to simply observe and inhabit the city, and Thom Andersen's Los Angeles Plays Itself. The result is Dois Desertos, an album that, in João's own words, "could never have been made anywhere else."

With Dois Desertos, João Pimenta Gomes invites listeners into a deeply immersive experience, revealing a more exploratory side of his artistic practice while reinforcing Amor in Sound's commitment to releasing original works that engage with the many languages of contemporary music.

Héritage Mélodies is the meeting point between saxophonist and composer Jean Vernhères and Black Stamp Music, brought together by a shared passion for the warm colors of music, groove, and the beauty of sound.

Nurtured from an early age by jazz and African-American music—from blues and soul to hip-hop—Jean Vernhères also ventured into Highlife, Afrobeat, and Funk, exploring the fertile “Black Atlantic” that runs throughout his musical journey.

For his first album as a bandleader, he brings together Pierre Bauzerand on Steinway piano, Laurent Vanhée on double bass, Guillermo Roatta on drums, and, as a special guest, Alfio Origlio on Fender Rhodes and piano. Six original compositions where Soul Jazz, Latin Groove, Afro-Caribbean rhythms, spirituality, and intimate melodies come together.

Recorded at Bernard Estardy’s legendary Studio CBE and mastered in Berlin at East Side Mastering, Héritage Mélodies embraces a true audiophile aesthetic: from the breadth and spaciousness of Haumea City, a nod to CTI Records, to the delicacy of Marion.

More than a jazz record, Héritage Mélodies is a story of lineage, travel, and transmission: a personal tribute to all those who have carried forward a musical heritage that transcends time.

Norwegian rock powerhouse Slomosa will release a special live album, Live in Bergen, capturing the band's sold-out hometown show in December 2024 at Verftet. Pressed as a limited-edition double LP in a gatefold sleeve, Live in Bergen showcases Slomosa at full force in front of a hometown crowd - raw, loud, and uncompromising. The album was mixed and mastered by Eirik Marinius Sandvik, preserving the intensity and atmosphere of the band's legendary live performances.

Released in 1971, Maggot Brain stands as the towering masterpiece in Funkadelic’s groundbreaking catalog. Initially misunderstood upon release, the album is now widely regarded as one of the most influential records of all time. Anchored by Eddie Hazel’s otherworldly guitar performance on the legendary title track and featuring enduring favorites like “Can You Get To That,” Maggot Brain redefined the possibilities of funk, rock, and psychedelic music.


For this definitive 2026 reissue, the album was mastered directly from analog tape, preserving the raw power, depth, and atmosphere of the original recordings with extraordinary detail. A longtime holy grail for collectors, Maggot Brain receives the fully analog treatment it has long deserved.

Strut presents Nigeria 80, the next essential chapter in the legendary Nigeria 70 series, diving deep into the explosive sound world of 1980s Nigeria.

Following the global impact of 2001's Nigeria 70, which helped introduce rare Nigerian recordings to international audiences, Nigeria 80 continues the journey, unearthing a rich, restless, and wildly creative decade of music from Lagos to Enugu. Despite economic instability and restrictive political conditions in the 1980's, Nigeria’s music industry flourished, driven by a growing network of independent labels such as Tabansi and Phonodisk, which championed local artists and expanded creative freedom. The 1980s also marked a significant rise in visibility for female artists, with trailblazers like Onyeka Onwenu helping to reshape the landscape and open doors for a new generation of performers, writers, and producers.

Nigeria 80 showcases the extraordinary breadth of this era, with all tracks reissued here for the first time. The compilation brings together essential recordings from across Nigeria’s musical spectrum: highlife greats Victor Uwaifo and Nico Mbarga appear alongside Paulson Kalu, whose personal favourite “Akugbue Nwa Ewu” stands out as a prime example of the style. Prince David Bull’s “Soko Soko” (later reinterpreted in Starboy’s Afrobeats hit “Soco”) features as a key touchpoint between eras. Segun Adewale delivers a driving juju workout, while Lekan Animashaun, longtime bandleader of Africa 70, contributes a late-era Afrobeat classic produced in collaboration with Fela Kuti.

The compilation also highlights more experimental and hybrid sounds, from I.C. Rock’s proto–hip hop gem “Advice” to Evi-Edna Ogholi’s self-produced reggae statement “The World”. The set closes with “Apama” by Ibealaoke Chukwukeziri, the “Apama Boy” from Achi in eastern Nigeria, featuring hypnotic vocals and percussion from his Anaedeonu band.

Nigeria 80 is available as a black vinyl 2LP housed in a gatefold sleeve or CD digipak, which includes a 16-page booklet with artist photos and liner notes by Francis Gooding. Compiled by Duncan Brooker. Audio restoration by See Why Audio. Mastered by The Carvery.

Released in 1971, Maggot Brain stands as the towering masterpiece in Funkadelic’s groundbreaking catalog. Initially misunderstood upon release, the album is now widely regarded as one of the most influential records of all time. Anchored by Eddie Hazel’s otherworldly guitar performance on the legendary title track and featuring enduring favorites like “Can You Get To That,” Maggot Brain redefined the possibilities of funk, rock, and psychedelic music.


For this definitive 2026 reissue, the album was mastered directly from analog tape, preserving the raw power, depth, and atmosphere of the original recordings with extraordinary detail. A longtime holy grail for collectors, Maggot Brain receives the fully analog treatment it has long deserved.

Dj Ultramars hasn't released many tracks altogether, and since 2024 he is again too busy to release everybody else's music on his label to find the time to compose more music, but many of his previous tracks are still relevant today, still pleasing party audiences in as much as when first released, and it's been too many years that those tunes have been proposed new on vinyl, so time for a recut & repress.
Here we have:

A1: Cab Carlco, the biggest hit of Dj Utramars, originally released on Mars Picture 1 (1999) as well as Toolbox Killerz 25 (2015), so 11 years since its last (limited) release !
Very uplifiting / very "in your face" kind of track, always & eversince so efficient on the dancefloor.
A2: Ennui (voicemix), originally released on Mars Picture 2 (2003), 23 years ago! (what a round number...). A track that will hypnotize you with its female vocals playing with the echo, yet runnin steady on a heavy deep bass & enough arrangements to not get bored of it: every Mars Assault is designed as a record to DJ as much as a record to listen to.
This track is cut in 45rpm to keep optimal quality until the end of the side.

We had to put some of the best two tracks of Dj Ultramars on the music side since the flip side is a laser etched side ! After we had released the two first picture discs, our current pressing partner was giving the possibility for a laser etched record, so here is the Mars Picture 3 ! See the picture of B-side above.


200 copies limited in this laser etched pressing.
Cut with Hervé @ dK mastering

One of South Africa’s most respected house music producers, SculpturedMusic returns with his sixth studio album, Playhouse – a release that further cements his reputation as a master of soulful, deep and emotionally rich electronic music.

With a breathtaking pair of intimately interrelated new albums, he applies that bold passion to an uncharacteristically pared-down setting, then transforms those stunning sounds via a startling process of sonic reinvention. ResoNation Trio convenes a new chordless trio with master improvisers Scott Colley on bass and Nasheet Waits on drums. The album's contemplative explorations feel like a departure from the raucous spirit that characterizes so much of the trumpeter's work, yet the trio discovers such an audacious beauty and celebratory gusto in these sparse environments that the music feels uniquely Bernstein's. It is also a rarity in his oeuvre for featuring Bernstein - whose mastery of the little- used slide trumpet has become so central to his sonic identity - exclusively playing valve trumpet and flugelhorn. In parallel with this captivating trio excursion, Bernstein handed the recordings over to his longtime collaborator, the pioneering producer Scotty Hard, to reimagine the album through his own iconoclastic lens. The result is the uncategorizable Ultra Resonance, which finds Hard breaking down the ResoNation Trio session into its constituent parts and redeploying them as the elements of a wholly original, mutant creation. The project will be released on June 5, 2026 via Royal Potato Family as a double vinyl or CD package containing both albums, and separately on digital streaming platforms.

FKY re-plugged !
Doin' some music for some labels and then lauchning a new Rébus.

Original style is still standing, with his Hard Techno funky beats and his mental sweet positives feelings.

Enjoy !

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Crystal Clear vinyl
Mastering : FKY
Cutting : Simon Davey
Pressing : Record Industry