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2026 Repress

DJ Quik is a giant of West Coast hip-hop. With his fourth album Rhythm-Al-Ism he created his masterpiece, a perfect hip-hop album. As Quik explains, “the name Rhythm-Al-Ism alone tells you what I was doing. I was mixing up rhythms. I was meshing R&B with hip-hop and jazz. And a little bit of comedy”. It’s absolutely sensational and as with a lot of mid-90s albums those original vinyl copies are now rare so here’s the Be With re-issue.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

Released in 1998 on Profile, Rhythm-Al-Ism was the closest Quik ever got to making a commercial splash. “You’z A Ganxta” and “Hand in Hand” made radio waves across the country and the less radio-friendly tracks like “Medley For A ‘V’” were bumping out of car stereos. Combining his soulful, jazzy P-Funk/G-Funk beats with his effortlessly smooth flow, Rhythm-Al-Ism was the quintessential West Coast Party. Squelchy synths, bouncy bass, monstrously knocking drums and freaky keys - this is peaking acidic party-rap, straight out the gate. Music for gliding, for skating, for time with your people and your poison. Sunshine. No cares. BBQs. Heavy smoke in the air. Dripping with wit and good humour. A real swing to the vibe.

The album opens with Quik setting out his mission statement with “Rhythm-Al-Ism (Intro)”, telling us what this is all about before the self-explanatory “We Still Party” rocks the spot. It’s definitely all about the party here, complete with Quik’s signature head-nod/body-moving beat. Next up, the undeniable laidback funk and dripping swing of groove-laden “So Many Wayz”. This positively slaps.

Then we get to the three huge singles. The R&B-tinged radio-friendly minor-hit “Hand In Hand” closes the first side only for the flip to get straight into the rolling and scratching of bleepy computer-funk banger “Down, Down, Down” (featuring a particularly nice use of Howard Johnson’s epochal “So Fine”). The effortlessly smooth, flute and guitar-laced “You’z A Ganxta” completes the trio. Next up the fast-paced, vocoder-enhanced, woulda-beena-global-hit “I Useta Know Her”. This coulda (shoulda) been a single too. Head-nod funk workout “No Doubt”, with its ace sample of Prince's “Sexy Dancer”, closes out the second side.

“Speed” races out the gate on the second disc, sampling Edwin Birdsong’s “Rapper Dapper Snapper” in a harder, better, faster, stronger way than those daft Parisian punks. Amphetamine-swift raps over soaring, string-drenched b-boy beats. A total anthem. Up next, the staggering, near 8-minute laconic, lounge-y sax-rap of “Whateva U Do” cools things down and smooths things out with its flute wrapping around a sample of Smokey Robinson’s “So In Love” and some oh-so-classy lounge-piano tinkling. And speaking of smooth, things don’t get much smoother than the blissfully melodic glider-anthem “Thinkin’ ’Bout U” riding that ace flip of SWV’s “Use Your Heart”. Exceptional.

The exquisite funky-flute-slapper “Medley for a ‘V’ (The P***Y Medley)” opens the fourth and final side, with star turns from Snoop Dogg and a typically suave Nate Dogg. It’s followed by the supremely skanked-out “Bombudd II”, a beautifully sweet reggae-fuelled ode to the herb. “Get 2Getha Again” is slick funk. Stunning.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Rhythm-Al-Ism was originally pressed as a double and we’ve reproduced the original LA vibe picture sleeve and insert to match.

As that original front cover says, this is “over 70 minutes of commercial free music” and it’s absolutely perfect from start to finish. There are no stand-out tracks here. It’s all gold.
: Rhythm-al-ism (2LP)

2026 Repress

As electronic music pioneers and co-founders of Soma Records, Slam have continually shaped the landscape of underground techno. With their forthcoming album, Dark Channel, they present a raw, club-focused record that stands as both a reflection of our turbulent times and a celebration of the dance floor's enduring power.

In 2025, the world feels fractured, dominated by division and extremism. Amidst this chaos, the dance floor remains a rare sanctuary-one of unity, self-expression, and collective escape. Dark Channel is an unapologetic tribute to this sacred space, where rhythm dissolves barriers and music serves as a universal language. Through relentless energy, deep textures, and hypnotic grooves, the album embodies the essence of club culture: a place where we reconnect with ourselves and each other.

Slam make no mistake when it comes to the sonic tone of the album as it opens with the tribalistic Use It, Lose It before the discordant sounds of title track Dark Channel hints at the relentless nature of things to come. The intensity continues with Parametric Factor & Glide - both pushing a pulsating, synth driven trip; the later leading on a more traditional Slam percussive workout. The dance floor warping Morganatic pursues dark territory while Infinit Spaces adds trippy FX to an already animated synth hook. The beautifully crafted Kuture Version delves into a more immersive sound as more direct, chord driven elements take the lead. The pace quickens yet again with Ghost Dancer highlighting sub tones whilst still crafting ominous intonations with its modulating FX. Approaching the conclusion, the ferocious Beat On The Drum delivers a lesson in rhythm and energy before the contorted Irregular Object completes proceedings in a suitably hypnotic fashion.

Mastered By Conor Dalton @ Glowcast Mastering

Das experimentelle Berliner Trio ZAHN kehrt mit seinem bislang elektrisierendsten Werk zurück. Eine üppige Fusion aus Schwere, Elektronik und halluzinatorischen Farben. Monolithische Grooves treffen auf synthetischen Schimmer. PURPUR strahlt Spannung und Gefahr aus und pulsiert mit Tiefe und Dichte. Bekannt für ihren intensiven, treibenden Sound, der den unerbittlichen Marsch einer Welt am Abgrund widerspiegelt, vertieft das Trio ZAHN - Chris Breuer, Nic Stockmann und Felix Gebhard - seine klangliche Erkundung mit einem Album, das gleichzeitig elektronischer und rockiger ist als seine gefeierten Vorgänger. Purpur orientiert sich am lebhaften Cover des Albums - einer Explosion aus Trauben und Beeren, die seinen üppigen, farbenfrohen Sound widerspiegelt. Das Album verbindet kraftvolle Genres zu etwas Frischem und Elektrisierendem: schwere Fundamente treffen auf reichhaltige elektronische Texturen und schaffen Schichten aus Farbe, Komplexität und einem Hauch von halluzinatorischer Süße. Erneut in Gyhum mit dem Toningenieur Peter Voigtmann (ex-The Ocean, Death By Gong, Heads.) aufgenommen, tritt Purpur in die Fußstapfen der bisherigen Werke der Band, markiert aber auch einen mutigen Sprung nach vorne. Gastbeiträge von Fabian Bremer (Radare, AUA) und Kjetil Nernes (Årabrot) vertiefen das Gefühl der Unruhe und Faszination des Albums, während Magnus Lindberg (Cult of Luna) mit seinem Mix und Mastering dem Album die Tiefe eines unterirdischen Pulses verleiht - knackig, schwer und lebendig mit mikroskopischen Details. Während ,Adria" eine lebhafte Flucht durch Krautrock, Dark Jazz, Noise Rock und Post-Punk bot, zieht ,Purpur" die Zuhörer in eine dichtere, komplexere und eng verwobene Klanglandschaft. Das dritte Album der Band ist ein berauschender Wirbel aus synthetischem Puls und physischer Schwere - ein Album, das sich eher wie fermentiert als wie komponiert anfühlt.

Blue Curacao Vinyl. Das experimentelle Berliner Trio ZAHN kehrt mit seinem bislang elektrisierendsten Werk zurück. Eine üppige Fusion aus Schwere, Elektronik und halluzinatorischen Farben. Monolithische Grooves treffen auf synthetischen Schimmer. PURPUR strahlt Spannung und Gefahr aus und pulsiert mit Tiefe und Dichte. Bekannt für ihren intensiven, treibenden Sound, der den unerbittlichen Marsch einer Welt am Abgrund widerspiegelt, vertieft das Trio ZAHN - Chris Breuer, Nic Stockmann und Felix Gebhard - seine klangliche Erkundung mit einem Album, das gleichzeitig elektronischer und rockiger ist als seine gefeierten Vorgänger. Purpur orientiert sich am lebhaften Cover des Albums - einer Explosion aus Trauben und Beeren, die seinen üppigen, farbenfrohen Sound widerspiegelt. Das Album verbindet kraftvolle Genres zu etwas Frischem und Elektrisierendem: schwere Fundamente treffen auf reichhaltige elektronische Texturen und schaffen Schichten aus Farbe, Komplexität und einem Hauch von halluzinatorischer Süße. Erneut in Gyhum mit dem Toningenieur Peter Voigtmann (ex-The Ocean, Death By Gong, Heads.) aufgenommen, tritt Purpur in die Fußstapfen der bisherigen Werke der Band, markiert aber auch einen mutigen Sprung nach vorne. Gastbeiträge von Fabian Bremer (Radare, AUA) und Kjetil Nernes (Årabrot) vertiefen das Gefühl der Unruhe und Faszination des Albums, während Magnus Lindberg (Cult of Luna) mit seinem Mix und Mastering dem Album die Tiefe eines unterirdischen Pulses verleiht - knackig, schwer und lebendig mit mikroskopischen Details. Während ,Adria" eine lebhafte Flucht durch Krautrock, Dark Jazz, Noise Rock und Post-Punk bot, zieht ,Purpur" die Zuhörer in eine dichtere, komplexere und eng verwobene Klanglandschaft. Das dritte Album der Band ist ein berauschender Wirbel aus synthetischem Puls und physischer Schwere - ein Album, das sich eher wie fermentiert als wie komponiert anfühlt.

Lucid Express sind fünf junge Träumer aus Hongkong, die mitreißenden, bittersüßen Rock machen, der zum Träumen einlädt. Ihr zweites Album "Instant Comfort", das Nachfolger ihres selbstbetitelten Debütalbums aus dem Jahr 2021 ist, enthält ihre bisher komplexesten Arrangements. Lucid Express holten den Shoegaze-Autor Kurt Feldman (The Pains of Being Pure at Heart, The Depreciation Guild) für das Mixing und Mastering an Bord - das Ergebnis ist ein noch klarerer und mitreißenderer Sound der Band. Über Discord zusammengekommen, entstand ,Instant Comfort" in marathongleichen nächtlichen transpazifischen Sessions zwischen der Band in Hongkong und Feldman in New York City - ein gemeinsames Streben nach Perfektion, das sich von Mitternacht bis zum Sonnenaufgang abspielte. Durchdrungen von gleichermaßen schleichender Melancholie und hoffnungsvoller Romantik, werden in diesen neuen Songs verwirrende Gefühle zugelassen. Luftige Melodien werden von einer schweren Gitarrenwand untermalt: siehe ,Promise Me" und ,Something Blue". Lucid Express waren schon mit Punchlove und Blushing in den USA auf Tour und hat auf renommierten Festivals in Asien und Amerika gespielt, darunter Clockenflap, LEVITATION und Slide Away.

Celebrating the 10th Anniversary of Disclosure's sophomore studio album, Caracal.    

This record features an eclectic lineup of vocal collaborations including The Weeknd, Sam Smith, Gregory Porter, Lorde, Jordan Rakei and many more. With a total of five singles, the acclaimed second single, 'Omen' featuring Sam Smith was the highest charting of the singles, peaking at No.13 in the UK charts, and has accumulated almost 1 billion global streams since release. The Lorde featured track 'Magnets' follows closely behind with just under 710 million streams since release. Caracal has sold over 135,000 physical copies worldwide since release and was Grammy nominated for The Best Dance/Electronic Album back in 2016.

The limited edition will be available for the first time on a 2LP Zoetrope, housed in a gatefold die cut sleeve. Each side of the vinyl is inspired by the original album artwork and campaign poster from the time, using the caracal cat and the featured vocalists illustrations to create animated movement across the discs as they spin.

Yellow Vinyl

Mit ihrem neuen Meisterwerk "Beautiful Distortion" melden sich THE GATHERING am 29.04.2022 eindrucksvoll zurück!

Satte 10 Jahre haben sich THE GATHERING, die mit Alben wie "Mandylion", "How To Measure A Planet?" oder "Souvenirs" zu internationalen Ikonen atmosphärischer Rockmusik wurden, für ihr neustes Werk Zeit gelassen, denn nach über 16 Jahren im Hamsterrad von Tourneen, die sich mit Albumaufnahmen abwechselten, um dann die nächste Tournee zu bestreiten, und dem Weggang ihres langjährigen Bassisten Marjolein Kooijman in 2013, brauchten die Musiker einfach mal eine Pause, um ihre Batterien wieder aufzuladen und sich um ihre Familien zu kümmern.

Ihr 25jähriges Bandbestehen 2014 haben THE GATHERING dennoch mit allen aktuellen und ehemaligen Bandmitgliedern im Doornroosje Club in Nijmegen groß gefeiert, um sich danach wieder in ihre selbst auferlegte musikalische Klausur zu begeben.

2018 dann war die Band wieder startklar. In Hugo Prinsen Geerligs, der bereits von 1989 bis 2003 die vier Saiten bei THE GATHERING bediente, fand man einen neuen Bassisten und die Gruppe begann, neue Songs zu schreiben und Konzerte zu spielen, bis 2020 die Pandemie zuschlug und alles um weitere zwei Jahre verzögerte.

Das 11.Studioalbum von THE GATHERING knüpft stilistisch an den Vorgänger "Disclosure" von 2012 an. Acht Titel, im für die Band typischen, satten Electro-Rock-Sound - auch als Trip Rock bekannt - , getoppt von wunderbaren Gesangsmelodien und der warmen Stimme von Sängerin Silje Wergeland machen "Beautiful Distortion" zum wahrscheinlich dynamischsten und melodischsten THE GATHERING-Album in ihrer über 30jährigen Bandgeschichte.

Produziert und gemixt wurde "Beautiful Distortion" von Attie Bauw (u.a. Judas Priest, Scorpions), der bereits bei den THE GATHERING-Alben "Home" und "How To Measure A Planet?" an den Reglern saß. Für das Mastering zeichnet Maor Appelbaum (u.a. Faith No More) verantwortlich.
Die Musik wurde von der Band im Arnold Muhren Studio in Volendam (NL) eingespielt, alle Gesangsparts wurden im Bergen Lydstudio in Norwegen aufgenommen.
"Beautiful Distortion" wurde in Dolby Atmos gemischt und kann auf allen Plattformen, die Dolby Atmos Mixe anbieten, gestreamt werden.

Sämtliche Bandmitglieder waren von Anfang an am kreativen Prozess und den Aufnahmen beteiligt, sowohl einzeln, online, als auch persönlich und gemeinsam, wann immer es möglich war. Es war zwar eine Herausforderung, während der Pandemie und den damit verbundenen Maßnahmen ein Album über zwei Länder hinweg zu schreiben und aufzunehmen, doch THE GATHERING haben auch dies mit Bravour gemeistert.

Alex Rex, the project of acclaimed musician and former Trembling Bells bandleader Alex Neilson, is set to release his fourth and final studio album, The National Trust, on March 28th. Written in the wake of the sudden death of his younger brother, Alastair, the album is a poignant reflection on loss, love, and renewal, deeply rooted in the landscape of Carbeth—a cabin community in the Scottish countryside that Alastair called home. For Neilson, the cabin became both a physical and emotional project, a symbol of restoration and reconnection.

"For the first four years after Alastair died, his cabin lay empty and exposed to the remorseless Scottish weather. It came to look like a rotten tooth in a beautiful mouth. Cladding was dropping off its veneer, the ashen baubles of dead wasps nests clung to the rafters, all his possessions were just as he'd left them but eaten by mice, moths and time. Ashtrays still carried the crushed centimetres of his old tab ends. The cabins are so joyfully animated by their host's specific personality and this one looked like a haunted house. Guilt, unrealised hopes and encroaching nature yoked together in a wandering sadness. Combined with the fact that I didn't know the right way round to hold a hammer made the project of its restoration seem hopeless.”

Neilson, however, gradually began chipping away at the task, determined to transform the cabin into something he hoped would resemble “a National Trust site occupied by a psychopath,” with a little help from some friends, including Lavinia Blackwall and Marco Rea.

“They poured love into the cabin and helped restore Alastair's original vision. The project also helped restore my relationship with Lavinia which had fractured after Trembling Bells broke up in 2017. Alongside long-term Rex lieutenant Rory Haye, we applied the same intensity of dedication that we did in renovating the cabin, into creating The National Trust.”

As with Neilson’s previous albums, the recording process was intentionally unpolished, with songs presented in the studio with no rehearsals and captured in just a few takes. This raw, immediate approach amplifies the emotional weight of the album, which Neilson describes as being at a “personal apex of sour self-reflection, mock misanthropy, and self-exposure.” Longtime collaborators Lavinia Blackwall, Marco Rea, and Rory Haye return, alongside guest musicians like Jill O’Sullivan (Jill Lorean) and Trembling Bells guitarist Mike Hastings, to bring Neilson’s vision to life. The result is a deeply personal and multifaceted work, blending acid wit with haunting introspection.

The songs on The National Trust traverse a wide emotional and thematic range. The title track opens the album with a sharp and confessional edge, exploring love, loathing, and cultural critique with Neilson’s signature wit. “Boss Morris” pays tribute to the all-female Morris dancing troupe that reinvents British folk with vibrant energy, while “Two Kinds of Song” turns self-referential humour into an avalanche of remorse, culminating in the unforgettable chorus: “I’ve got two kinds of song. Which one will it be; one where I hate myself or one where you hate me?” Elsewhere, tracks like “Psychic Rome” draw from the decadence and hysteria of ancient Rome, while “The Coward in the Tower” breaks new ground as the only song Neilson has composed on an instrument before recording.

Throughout the album, Neilson’s lyricism is as vivid as ever, transforming personal tragedy into poignant and often darkly humorous art. Yet, there is a sense of finality to this work. "Songwriting has encouraged me to see the whole world as a resource. The things people say and throw away can be chiselled and polished and plopped into a lyric. It’s the same with building the cabin- scouring the edges of society for pallets, discarded wood, ornaments for the garden. But while song writing brings to life orphaned parts of my personality, the cabin is a synthesis of all my interests – nurturing my emotional health instead of exploiting it. With that in mind, I think this will be my last album as Alex Rex.”

With The National Trust, Neilson closes a significant chapter of his career, blending masterful musicianship with deeply personal storytelling. Known for his collaborations with artists such as Bonnie "Prince" Billy, Shirley Collins, and Current 93, as well as his decade-long tenure leading the psych-folk outfit Trembling Bells, Neilson has long been celebrated for his eclectic and uncompromising vision. This final album serves as a fitting culmination of his journey as Alex Rex, capturing the essence of his artistry while offering a profound exploration of loss, renewal, and the enduring power of love.

"EYE OF MELIAN open the gates to a different world with their new album Forest Of Forgetting, out February 20th, 2026 via Napalm Records. Named after a powerful primordial singing spirit from the world of J. R. R. Tolkien, EYE OF MELIAN draws inspiration from the master of fantasy and expands on his ethereal concept. Created by Delain’s Martijn Westerholt and featuring Auri’s Johanna Kurkela as a lead vocalist, EYE OF MELIAN’s Forest Of Forgetting is a masterclass in symphonic songwriting so whimsical the real world fades away. Completing the all-star lineup on their debut with Napalm Records are orchestral arranger Mikko P. Mustonen and backing vocalist and lyricist Robin La Joy, blessing twelve lush compositions with immortal life. Mesmerizing from the first gentle notes of opening track “Of Willows And Shadows”, Forest Of Forgetting weaves otherworldly piano melodies and epic strings around angelic vocals worthy of the powerful Valar themselves. “Child Of Twilight” deepens EYE OF MELIAN’s dreamy and bombastic Hollywood movie score approach, carefully building up an exceptionally enchanting atmosphere that carries on into the equally cinematic “Blackthorn Winter”, ever so elegantly broadening the view into the alluring realms the band is melodizing. “Dawn Of Avatars” features Nightwish multi-instrumentalist Troy Donockley on flute and uilleann pipes, as well as hurdy-gurdy fairy Patty Gurdy, before EYE OF MELIAN turns in the direction of heavy metal with a charming rendition of Bruce Dickinson’s anthem “Tears Of The Dragon” (originally released on Balls To Picasso in 1994 after the singer had left Iron Maiden). Forest Of Forgetting also comes with all its tracks as instrumental versions to dwell in the impressive orchestrals alone. With this opulent album, EYE OF MELIAN extends an invitation to faraway lands full of wonder. Forest Of Forgetting unfolds as quite the opposite of its title: utterly unforgettable."

XHUMED hit the blood-soaked road with their new album, Red Asphalt ! The masters of "Gore" Metal rev up and prepare one of 2026's most frenetic, unhinged slabs of sonic obliteration. "We're very stoked to be back in your ear-holes with Red Asphalt. Our recent albums have taken you with us through the graveyards and operating theaters of 19th century Scotland, the horror aisles of the video rental stores of our youths, and through the band's history itself." EXHUMED mastermind Matt Harvey says. "This time around, we're inviting you to accompany us to a place that we spend a disproportionate amount of our lives, someplace familiar yet far more dangerous than it feels, a place that can take you to the hospital or the grave in more ways than you can imagine: the American roadway." The latest wrong turn from the driving force of Gore Metal, EXHUMED, Red Asphalt crashes the band's hook-laden, high-speed deathgrind into whiplash-inducing grooves and dangerous musical curves. Red Asphalt is a love letter to the road - horrific accidents, vehicular homicide, defective cars, gore-filled instructional videos, zombified biker gangs, and more. True to the band's spirit, Red Asphalt drags the listener through a whirlwind of riffy madness. Tracks like the aptly titled "Unsafe at any Speed", the horrifying "Shovelhead" and "The Iron Graveyard" ooze with sleaze and groove while retaining all of the high-octane, full-throttle, white-knuckle madness you've come to demand from EXHUMED. Take the album for a spin, and get your kicks on Route 666! Short: EXHUMED hit the blood-soaked road with their unhinged new album, Red Asphalt! The masters of "Gore" Metal rev up and prepare one of 2026's most frenetic slabs of sonic obliteration. FFO: Carcass, Repulsion, Aborted, Autopsy, Dying Fetus, Impaled, Cannibal Corpse

Reissue of the classic debut of Billy Bond & La Pesada del Rock & Roll, a legendary and historic Argentinian Rock & Hard Rock masterpiece from 1971. Recorded with an absolutely impressive list of musicians that includes legends such as Pappo, Luis Alberto Spinetta, Héctor "Pomo" Lorenzo, Vitico, David Lebón or Javier Martínez, and led by acclaimed singer Billy Bond, the band creates an amazing album fed by Hard Rock, Blues, Rock'n`Roll and a nice touch of Psychedelia that absolutely justify the cult status this album carries. A monster of a record and an absolute milestone in South American rock music. An essential release for the hugely important Argentinian label Music Hall, licensed by the label and re-released in close cooperation with the iNAMU, Argentina's National Music Institute. Includes classic heavy weight hits such as "Salgan Al Sol", "El Parque" or "Divertido Reventado". Gatefold cover, includes insert with extensive notes and rare photos.

Reissue, at last!, of Vol. 2, second album by legendary Argentinian Rock outfit Billy Bond y La Pesada del Rock and Roll, a Hard Rock classic originally released in 1972. Leaning on the heavier side of their Hard Rock, Blues, Rock'n`Roll and Psychedelic influences, and keeping their playful spirit intact, the band created another masterpiece. Includes bonafide classics of their repertoire such as "La pálida ciudad", "La máquina" or "Para qué nos sirven". Their tongue in cheek adaptation of the patriotic song "Marcha de San Lorenzo" got them heavily censored by the government. An essential release for the hugely important Argentinian label Music Hall, licensed by the label and re-released in close cooperation with the iNAMU, Argentina's National Music Institute. Gatefold cover, includes insert with extensive notes and rare photos.

First time reissue of this mega rare album by Angel Vásquez, versatile Colombian accordion master of Antillean shades, that comprises a muscular, rhythm-packed ride moving from pachanga to paseaito, passing through charanga, porro, son and cumbia. Here, direct lines are drawn between Colombian coastal folklore and Afro-Antillean sound. A must-have release! Angel Vásquez brought Antillean shades into the accordion tradition of a region overflowing with juglares, as the Colombian northern coast has always been. Vásquez built a monumental songbook where pachanga, charanga, son, cumbia, and even the Puerto Rican countryside, Boricua sound, played leading roles. His few recordings carried a remarkable stylistic range, making it difficult to put him into any single category-a quality that led to a style he himself called vasquesón. In the early seventies, he released through Discos Fuentes a single that would become one of the anthems of the Barranquilla Carnival: 'Pica pica en carnaval', a tropical, electrifying gem with a guarachero flow so unmistakable that it's still a staple in verbenas, neighborhood dances, and picó parties today.

Sonor Music Editions proudly presents an absolute Italian mood music grail and one of the best Library Music recordings ever - A.ALESSANDRONI's RITMO DELL'INDUSTRIA n.2, a true legend in the field. This is the maestro most prized and sought-after album, produced in 1969 on the small Grand Prix label, part of the Leonardi publishing group. A mindmelting record featuring some of the most killer driven beats ever! - dark vibes and haunting atmospheres with constant and moody Industrial rhythms, filled with tons of drum breaks, trippy Scat vocals and eastern inspired obsessive grooves. Music has been remastered from the original stereo master tape and the back sleeve will feature deluxe liner notes written by Mr. Jonny Trunk. HOLY GRAIL ALERT!

As the meteoric rise of reggae began to captivate listeners around the globe in the 1970s, innovative artist Augustus Pablo emerged as vital creative force pushing the genre forward. An important figure in the Jamaican music scene during this remarkable era, Pablo was not only a skilled musician but an influential producer who shaped the sound of countless classic recordings. While his instrumental work and legendary dubs remain essential, Pablo was also responsible for iconic vocal tracks from a wide range of local talent, many of which were released on his own label Rockers. Now, Nature Sounds is proud to present Rockers United!, a collection of classic and rare vocal selections from the Rockers archives, all produced by Augustus Pablo. Deeply rooted in hypnotic, bass-heavy instrumentation, the album features remastered audio transferred from the original master tapes, with vocals by Jacob Miller, Delroy Williams, Hugh Mundell, Tetrak, Junior Delgado, Earl Sixteen, Spliffy Dan and more.

While Toronto producer Demuir regularly features on a wide variety of house labels, it's always worth keeping an eye on his Purveyor Underground label and its' limited-edition offshoot. He's back on the latter label for this outing, where he shares vinyl space with long-serving Parisian producer (and Robsoul founder) Phil Weeks. Demuir handles side A, delivering two passes on 'The Spark': the lightly funk-fuelled original mix, where woozy jazz samples dance atop a rubbery bassline and vintage Masters at Work style beats, and the more bumpin', cut-up and sub-heavy swing of the 'Some Too Suspect remix'. On side B, Weeks delivers 'Party Time', a typically low-slung and analogue-rich deep house number where classic boogie-era vocal samples and occasional chords wrap around loose-limbed machine drums and a killer TB-303 acid bassline.

The Meth Lab returns for its third instalment with “Meth Lab Season 3: The Rehab,” a sharp, hard-hitting chapter that cements Method Man’s place as one of hip-hop’s most consistent and enduring voices. Executive produced by longtime collaborator Handz On, this project finds the Wu-Tang legend in rare form—polished, precise, and laser-focused.

“The Rehab” pulls listeners back into the world Meth has been building since the first Meth Lab sessions: a mixtape-style showcase blending razor-sharp lyricism with streetwise storytelling, packed with energy and attitude. Method Man’s flow remains timeless, weaving between gritty boom-bap, polished modern production, and the unmistakable Wu-Tang aesthetic. A strong lineup of guests brings extra fire to the set—Cappadonna, RJ Payne, Redman, KRS-One, JoJo Pellegrino, Jadakiss, Carlton Fisk, Hanz On, Intell, Iron Mic, 5th Pxwer, Chunk Bizza, Eddie I, Cortez, and more—each stepping into Meth’s world with their own hard-edged energy. Behind the boards, producers like P. Version, Rockwilder, Eric Sermon, Adam McLeer, Daniel C. Wells, Darnell Norman McConnell, and Joshua D. Zimmerman craft a gritty yet refined sonic framework that elevates every performance.

More than just another chapter, Season 3: The Rehab feels like a victory lap: a culmination of decades of craft, a celebration of the Staten Island movement, and a reminder that Method Man still out-rhymes rappers half his age. It’s a must-own for Wu-Tang fans, East Coast purists, and anyone who appreciates sharp writing and decades-deep mastery.

A chance meeting in Mexico City set Points of Inaccessibility into motion. When Ibero-American composer Rafael Anton Irisarri crossed paths with Dutch media artist Jaco Schilp at MUTEK in 2024, a conversation about how technology shapes perception revealed an unexpected common ground. Schilp invited Irisarri to a spring 2025 residency at Uncloud, the Utrecht-based collective he co-founded, where Irisarri's sound began to take form amid an environment shaped by Schilp’s visual research.

The Uncloud studio was located inside the former Pieter Baan Centre, a forensic psychiatric prison where suspects of violent crimes were once confined. Its long history of silence and containment shaped the atmosphere in which the project developed. Within this setting, Irisarri coaxed long bowed-guitar tones through a network of pedals and looping systems. The raw gestures thickened into a vaporous and architectural field of sound. Schilp processed the material through a custom point-cloud software patch that produced images in continuous flux. The visuals flickered, dissolved and reformed like memories that resist coherence, functioning as a digital Rorschach that reflected the observer’s own perception.

Amid these spectral echoes, the project evolved into an examination of how the past persists within present signals. Memory endures as residue and interference, continually shaping perception even when its source has faded.

Schilp’s visual process required a continuous stream of sound in real time. Irisarri improvised throughout the residency, generating material that allowed the visuals to develop in parallel. Once back in his New York studio, he began shaping the recordings by carving pathways through the improvisations and mapping selected passages into MIDI. This process allowed him to build outward from the bowed-guitar material with minimal overdubs, adding Prophet 5 textures, Moog bass and strings that expanded the harmonic field while keeping the original performances at the center. To refine the structure, Abul Mogard provided editorial input, working with Irisarri’s stems to guide transitions and strengthen the overall pacing. The material, originally created under conditions of immediacy and constraint, evolved into a fully realized work through careful revision, patience and sustained reworking.

The title engages the geographic concept of the Poles of Inaccessibility, locations defined solely by their distance from all surrounding points. Irisarri adapts this idea to the conditions of digital life, where new forms of inaccessibility arise through the informational enclosures that structure perception. What appears to be a fully connected network often produces a deeper kind of separation, one shaped by the filtering logic of the systems that mediate experience. In this sense, the digital sphere mirrors its geographic counterpart. We inhabit spaces saturated with signals, yet the possibility of genuine contact becomes increasingly remote.

At its core, Points of Inaccessibility considers what can be understood as the new rituals of capitalist realism. Irisarri uses the term digital shamanism to describe the forms of simulated connection that organize contemporary life. These systems promise comfort through algorithms, influencers and AI interlocutors, yet they often reproduce the same conditions that generate loneliness in the first place. What appears as connection becomes the echo of connection, a sequence of gestures that imitate solidarity while withholding it. Like the geographic poles, these rituals are defined by distance. They pull us into environments where everything is illuminated, yet meaningful proximity becomes increasingly rare. In this sense, the work approaches a hauntology of the present, a reflection on futures that have stalled and intimacies that have been thinned by the algorithmic infrastructures that surround us.

This thematic tension unfolds across the album’s four movements. Faded Ghosts of Clouds introduces the work with textures that rise and dissipate in slow cycles, creating an atmosphere that resists clear definition. Breaking the Unison occupies a pivotal position in the sequence and focuses on the moment when the individual and the system fall out of alignment. Its shifting patterns trace the scattering of signals that once suggested connection, revealing the instability at the heart of contemporary perception. Signals from a Distant Afterglow forms the center of the album and features vocals by Karen Vogt, whose presence enters the sound field like a fragile transmission shaped by distance and delay. The closing piece, Memory Strands, follows motifs that appear, recede and briefly intersect before returning to quiet. Across these movements, the album outlines a landscape in which emergence and disappearance continually inform one another.

Listening to Points of Inaccessibility is an encounter with a sound field that is constantly in flux. Elements surface briefly, shift position and recede, creating a sense of motion that resists stable interpretation. The music moves between closeness and vastness, carrying traces of memory while withholding a clear point of resolution.

The album’s visual identity completes the project’s conceptual arc. In Mexico City, where Irisarri and Schilp first met, Daniel Castrejón transformed stills from Schilp’s point-cloud visuals into the cover image. The final artwork captures a single suspended frame of the digital material, a moment extracted from a field that is normally in constant motion. Its surface recalls the texture and abstraction found in the work of Catalan artist Antoni Tàpies, where material presence and erasure coexist within the same plane.

What emerges is a work that examines the tension between technological systems and human presence. Points of Inaccessibility asks whether connection is still possible within environments shaped by mediation and delay, or whether we have become isolated points within the very networks that promise proximity. What possibilities for relation persist within environments organized by algorithms and interruption? And how are we meant to understand presence when so much of it is constructed at a distance?

Points of Inaccessibility will be released on BioVinyl on February 6, 2026, with audiovisual performances planned throughout 2026.

Mastered by Stephan Mathieu
Artwork by Jaco Schilp
Design and layout by Daniel Castrejón
Artist photo by Iulia Alexandra Magheru.

Editions Mego welcomes KMRU back to the fold. Kin is Kenyan born, Berlin based, sonic wizard Joseph Kamaru’s second release on Editions Mego, following on from the classic 2020 release Peel. Since the release and subsequent praise for Peel, the artist has been a staple on the electronic scene performing on numerous stages and festivals worldwide in tandem with a flood of media recognition. Kin could be construed as the second child following Peel. The project came out of initial discussions with Peter Rehberg about what a Peel sequel would sound like. Kamaru is quick to clarify that Kin is not that record; “I'll know when that record will come and when I'll make it. It's already happening... or maybe it lives within both of these Mego records”.

It is this deft ambiguity and vague tiptoeing around the concrete that encapsulates the ambiguous sound world of Kamaru’s vision.

Kin was started early 2021 in Nairobi with Kamaru exploring his noisier palette of sounds encompassing distortions reminiscent of the sounds he would muster from in his youth when playing guitar. He paused making this record for a year as soon as Peter died, then slowly returned to it through 2022 resulting in the immense new work we have here.

The charms within Kin lay as Easter eggs revealing the true identity behind the colourful sonics only after multiple deep listens. With Trees Where We Can See sets the tone by way of a warm swaying melody inviting the listener in for further investigation. In 2022 KMRU and Mego stalwart Fennesz toured the USA together resulting in a strong friendship and also, the second track here, Blurred. A neat Mego/Editions Mego loop as such. Blurred arranges twangy guitar strums alongside glistening glaciers of shimmering drones. They Are Here represents a darker hue as melancholic clouds of shadowy noir tap directly into the listener's nerve stream. Maybe takes a detour into a bristling euphoric electronic storm whilst We Are screeches in a pattern formation not unlike a highly abstracted Aphex Twin forcing its way out of a hard drive. By Absence concludes proceedings, operating as both exit music and a portal to further sonic investigation with acoustic bellowing residing amongst a kaleidoscopic backdrop.

Kin is a trip that rewards close repeated listens as all the colours and textures, nuance and narratives unveil themselves. This isn’t a record to be glossed over, magic rewards concentration.

Kin is a record to be Played slow and LOUD.

For Pita.

All tracks written, produced, mixed by Joseph Kamaru
Blurred co-written & produced with Christian Fennesz
Mastered by Stephan Mathieu at Schwebung Mastering
Photography: Joseph Kamaru
Layout & Design: Nik Void
Cut by Andreas Kauffelt at Schnittstelle, Berlin

Explicit isolation is the third album by the international collective E/I, led by composer and percussionist Szymon Pimpon Gąsiorek. The group’s seven core members came together while studying at Copenhagen’s Rhythmic Music Conservatory and the Royal Danish Academy of Music. For this latest release, they are joined by Slovenian musicians Samo Kutin (hurdy-gurdy) and Kaja Draksler (organ), alongside Danish tuba player Rasmus Svale.

The three compositions distill sound down to its essential elements, drifting freely through space. The material is minimal, moving in the geological rhythm of endless cycles of tension and release, formation and dissolution, density and lightness. Pimpon acts here more as a guide than a creator with a master plan. He is a navigator, leading us to the most crucial moments where sonic emissions merge into vibrating drones, building to an inevitable leap—an explosion after which the particles rearrange themselves once again. It feels like futuristic temple music infused with intergalactic spiritual jazz, the extensions of drone music, and acoustic ambient textures, all highlighted by the jolly grin of the navigator.

“I wrote the scores and asked each of the musicians to record their parts individually. What’s interesting for me about doing it this way is that it removes the element of immediate interaction and introduces a factor of randomness. I then edited and mixed it myself, also adding my own parts. Previously, it was strictly acoustic music, and the recordings were ‘live,’ meaning they were captured in one room at the same time, with no subsequent edits.” Pimpon has also incorporated electronics, which make the album even more airy and organically complement the sounds of the hurdy-gurdy and organ, recorded in Trboje, the small Slovenian village.

Melbourne / Naarm stronghold Butter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.

Disc Two lifts off with recurring contributor Rory McPike's first label outing as Rings Around Saturn, a blissed-out cosmic floater skimming the periphery. Booked in the early days of the label's formative Mania residency, Japanese don Gonno twists freestyle, techno and breaks into pure ecstasy, before the unerringly bold Jennifer Loveless spikes the punch with a hallucinatory mix of drums, disembodied voice and jazz club keys.

On the flip, Boorloo's Guy Contact rolls out Dance In The Grey, a shadowy prog churn pitched between new-romantic vocal sheen and EBM muscle, with Kate Miller completely rewiring the script on Sub Series E - a masterfully minimal, double-time meditation. suki presents his Sniper1 alias to close with a demonic body-jacking groove loaded for the system.

Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

After following Luke Blair's work for approaching two decades from his 2007 debut as Lukid on Actress' Werk Discs, we're humbled to present a new album on Death Is Not The End. Following relatively hot on the heels of 2023's Tilt (his first in 11 years, not counting his work with Jackson Bailey under the Rezzett guise) Underloop brings Blair's innate knack for building loops and sound structures further to the surface, while allowing his ear for emotional expression to be dialled up a notch. Those fortunate enough to be familiar with Lukid's work as a DJ will be aware of how distinct his ability is to seamlessly disappear into loop-based abstraction and back again seemingly without blinking, and often Underloop feels much like a collection of the sludgey interludes and foggy sketches that underpin his sets. Blending apparently ramshackle melodies and textures and pulling them together into an undeniable whole, Blair's tendency for pairing the simple and the indescribable with an understated vigour is fully on show here.

Written and produced by Luke Blair. Mastered by Giuseppe Ielasi.

Smoove returns with two unstoppable dancefloor heaters on this explosive new 45!

On the A-side, Push It Good delivers a brilliant rework of the iconic Push It, powered by heavy breakbeat drums and infused with vintage ’60s soul flavor — a guaranteed crowd-mover.

Flip it over and Smoove keeps the momentum going with Scandalized Lifetime — a masterful fusion that rebuilds sampled layers from Sugar Bear’s 1989 classic, interwoven with multitrack elements from Talking Heads. The result? Pure dancefloor gold — a certified champion!

Operating at the intersection of club functionality and cerebral sound design, London-based artist Anoesis has steadily built a reputation for forward-thinking electronic music that feels as at home in the warehouse as it does in the headphones.

He’s back for the third time on Cyphon Recordings with the Idle Kosmos EP, another stunner from a master of the craft!

RAWAX presents Dope Dog (Orlando Voorn) - Keep House Unda'Ground formerly released on legenday Touché in 1996!
We have the honor to re-release this great release 30 years later on vinyl early 2026 with re-mastered tracks!

BBE Music’s acclaimed J Jazz Masterclass returns with its 20th release, a super rare private press from one of the more laudable female jazz figures of Japan, saxophonist and composer Sachi Hayasaka, together with her band, Stir Up! Released in 1988 on the private label Mobys, Free Fight was Hayasaka’s debut album and announced the arrival of an essential and primal force onto the Japanese jazz scene. Part free jazz, part post-bop, and part heavy groove, Free Fight is one of the most varied yet engaging albums BBE Music has reissued in the J Jazz Masterclass Series, showcasing Hayasaka’s inventive and muscular playing as well as her highly original and surprising compositional powers. Given the album’s eclectic yet cohesive sound, it’s no surprise that it originally found a home at Mobys, the label established by esteemed jazz critic and promoter Teruto Soejima. Mobys only issued a handful of albums from some of the leading free and open players including J Jazz Masterclass alumnus, pianist Aki Takase, as well as free jazz guitar icon Masayuki Takayanagi, and free jazz figureheads Itaru Oki and the great Masahiko Satoh. Born in Tokyo in 1960, Hayasaka took lessons from saxophonist and recording artist Toki Hidefumi and fully immersed herself in the jazz life, working part-time at various jazz kissas including Peter-Cat, a kissa managed by novelist Haruki Murakami. She has performed regularly across Japan at venues like the famous Pit Inn and formed a strong alliance with the classic Tokyo jazz kissa Paper Moon, which continues to this day. Heavily influenced by players such as Roland Kirk, David Murray and Ornette Coleman, Hayasaka has played with free jazz legend Yosuke Yamashita and performed around the world (as well as up Mount Fuji!). In the late 1980s she moved to New York for several years and worked with notable musicians including drummer Pheeroan akLaff and pianist Cliff Korman. She has recorded a number of albums to her name for Japanese jazz labels such as Three Blind Mice and Kitty as well as leading European imprints such as Enja.

BLACK SWAN Return with Third Album “Paralyzed” — A Masterclass in Melodic Hard Rock Robin McAuley (McAuley Schenker Group), Reb Beach (Winger, Whitesnake), Jeff Pilson (Foreigner, The End Machine, ex-Dokken), and Matt Starr (Ace Frehley, Mr. Big) — collectively known as BLACK SWAN — are back with their explosive third album, Paralyzed. Following the critical acclaim of their previous releases, the supergroup once again delivers a powerful statement in modern hard rock. With all songs written and composed by McAuley, Pilson, and Beach, and expertly produced by Pilson, Paralyzed showcases Black Swan at their peak performance — offering a dynamic mix of towering vocals, razor-sharp riffs, and hook-laden melodies. The band’s chemistry continues to shine, elevating their songwriting and musical delivery to new heights.

Tracked at Pilson’s Los Angeles studio, the album reflects the tight-knit synergy among its members. McAuley’s commanding vocals remain as ageless, while the instrumentalists deliver with precision and fire. Much like its predecessors, the new record is a testament to the individual and collective talents of these seasoned musicians. Far from being a patchwork of their previous bands, BLACK SWAN has firmly carved out its own identity. Paralyzed is fresh, heavy, and melodically rich — a cohesive and compelling album that feels both classic and contemporary. Building upon the blueprint laid by their debut, Shake the World, the band expands their sonic universe. The result is a record that not only meets but surpasses expectations, cementing BLACK SWAN as a formidable force in the modern hard rock scene. Whether you’ve followed these legendary musicians since the heyday of '80s rock or you’re just now discovering their magic, Paralyzed is essential listening — a masterclass in melodic hard rock delivered by artists who continue to defy time and expectations.

2026 Represss

An artist who needs no introduction, Mike Dunn returns to the legendary NYC label Nu Groove with a four-track vinyl release that brings together disparate influences from the master’s encyclopaedic knowledge of genre and style.

What results are productions that are at once timeless, a quality that can only be achieved through the lived experiences of a four-decade career. Title track ‘Git’cha House On, Baby’ is a late 80s freestyle throwback, with hard synth lines running the show, while ‘Don’t Pay Me No Mind’ is a metropolitan anthem led by a solid piano groove.

Additionally, the vinyl features two tracks from Dunn’s ‘Rock Ya Body (Deepa)’; the lead, an effortlessly cool deliverance of pure, unadulterated house, and ‘Let’cha Love Fall Down On Me’ which swells and flows with addictive ease. Elevating all four compositions are the producer’s signature vocals, immediately arresting and suitable for all genres. Dunn’s status as an innovator was earned through creating and influencing the scenes we know and love today, and this new delivery of originals further cements his status as a 100% house master.

Acoustic Bass: Nobuyoshi Ino
Acoustic Piccolo Bass: Isao Suzuki
Alto Saxophone: Sadao Watanabe
Arranged, Conducted, and Piano: Masahiko Satoh
Drums: Motohiko Hino
Guitar: Sadanori Nakamure

The beautiful new world that master bassist Isao Suzuki built with the support of a diverse group of musicians finally returns to life after nearly 50 years!

With his deep musical insight and collaboration among some of Japan’s finest jazz artists, Isao Suzuki created a work of timeless beauty that now resonates
once again in the modern era.

APORIAMOR noun 1. The death of love’s contradiction.
| “Embody APORIAMOR”

Etymology
aporia-: an irresolvable internal contradiction or logical disjunction in a text, argument, or theory. from Greek aporos ‘impassable’, from a- ‘without’ + poros ‘passage’
-amor: love. Sentimiento intenso del ser humano que, partiendo de su propia insuficiencia, necesita y busca el encuentro y unión con otro ser. Del latín amor.
-mor: latin for death.

APORIAMOR explores the affective ontological and organic processes of love and lust in the turmoil of an urban existence, through the female lens. It expresses the process of strengthening through heartbreak in its various forms.

With her debut EP The Art of the Concrete, elsas knew that by giving that name to a record which was ironically expansive and experimental, she would be calling for a distilled and clearer path further down the line. This is what she’s been incorporating into the sonic world of this new EP, APORIAMOR, signifying the birth of a more matured and distilled version of herself as an artist.

With APORIAMOR (“the death of love’s contradiction”) elsas conveys a personal process of healing in the romantic space. Through different experiences of heartbreak, elsas builds a language - a coping mechanism attached to its subsequent artistic expression – that isn’t founded on hardness or a closing-off, but instead, on a playful but profound reckoning, and learning of self-worth.

APORIAMOR embraces the complexities of being a lover-girl: of moving through life with an open heart. It celebrates the clarity, sweet hindsight, and detachment that come from processing emotion. APORIAMOR is both an affirmation and a release.

elsas makes canonical blends with a forward boundary-bending vision. Her sound in this record is naturally referential of both her Mediterranean heritage and UK alternative music — intrinsic parts of her lived experience. She has had the opportunity to collaborate with artists she deeply admires, each exchange enriching her creative world.

The experience of working hand-in-hand with Sampha for the last 3 years and ongoingly has been a core of her evolution as an artist. She has also collaborated in many forms with artists like Florence + the Machine, Little Simz, Jordan Rakei, Jockstrap, Obongjayar, Black Country New Road, Genevieve Artadi (KNOWER) and Duval Timothy. Additionally, her ongoing work with the Idrîsî Ensemble, of which she is a core member, continues to inform her artistic depth.

The making of this largely self-produced record unfolded over four years — “it’s a well-kneaded dough,” she says. These songs evolved through exposure to multiple environments: from early writing sessions in her childhood home in the Spanish countryside, to stages across the U.S. while on tour supporting Sampha.

Experimentation and modulation are an intrinsic part of elsas’ method, conceiving songs as organisms that respond to their surroundings. Collaborators on this collection of songs include Shrink, Will Lister, Gabriel Gifford, Ethan P. Flynn and more. The record was mixed by David Wrench (a long-time supporter of elsas’) and Nathan Boddy, and mastered by Matt Colton.

With APORIAMOR, elsas creates a visual world from the fabulation of the past, as an act of playful historical revisionism in which she embeds herself as both subject and storyteller. The songs function like an archive of her experiences across various years, each one unearthed and presented as some sort of archaeological artifact. Through this body of work, elsas begins to conceptualize herself as a legacy artist: one who honors the archive of her own becoming while emerging as a distinct and resonant voice in today’s musical landscape.

After decades deep in the game, few names carry the same weight as D.I.T.C. veteran O.C. and East New York’s own PF Cuttin, the DJ and producer behind countless underground classics. Long respected for their consistency and craftsmanship, the two finally joined forces for Opium — a nine-track masterclass that channels the essence of true-school hip-hop.

Originally released to remind heads of what the real sound of the streets was, Opium plays like a time capsule from the era of block parties, 40s, and cipher sessions on the corner — where bars mattered and the beats hit hard. PF Cuttin’s rugged, sample-driven production perfectly complements O.C.’s sharp lyricism and timeless flow, delivering a record that bridges nostalgia with enduring relevance.

Reissued in 2025 with the same iconic artwork by Scarful, this edition celebrates a collaboration that captures the raw soul of New York hip-hop — pure, uncut, and eternal.

On Hungry Animal, Luke Temple continues to trace the invisible lines between the personal and the cosmic _ between what we feel, what we observe, and what we inherit simply by being alive. The album reunites Temple with Doug Stuart (bass) and Kosta Galanopoulos (drums), the core of his Cascading Moms ensemble, whose instinctive chemistry anchors the record's balance of rhythmic precision and melodic drift. Together they shape a sound that feels handmade and fluid, delivering sharp observations in soft focus. The album opens with "Clean Living," a tenderly libidinous groove, unraveling purity myths and self-discipline _ less a confession than a celebration of the futility of striving for perfection in a flawed world. From there, "Echo Park Donut" shifts into the memory of an unsettling vignette drawn from a violent incident outside Temple's Los Angeles home. The band moves with a quiet pulse beneath the story, suggesting both detachment and the surreal intimacy of fear. The title track, "Hungry Animal," grounds the album's broader questions: how well can we really know one another, or ourselves? Temple's lyrics circle around the idea that we are animals among animals, driven by instinct and affection alike. It's both playful and philosophical, one of the record's emotional centers. Temple's bandmates bring an understated mastery to these pieces. Stuart's melodic, infectious grooves converse fluidly with Galanopoulos's drumming, which breathes life into each song even as it gently propels them forward. The trio's interplay feels both weightless and deeply rooted _ commanding the listener's attention and empathy without ever forcing it. With Hungry Animal, Luke Temple and the Cascading Moms create a world where reflection becomes rhythm and consciousness gains texture _ a record of quiet revelations and deliberate grace.

Conjuring a faithful following, quite rare in these days of ADHD, by sheer force of their celebratory and fiery live shows, Montijo's most celebrated outfit reflects these past couple years of camaraderie and life on the road on their debut album, after a self-released EP and a 4 way split on Zegema Beach Records. Sublimating all the inherent potential of post-hardcore at its most sweeping into a forceful and focused delivery, 'Acetate' captures all their urgency through 13 memorable and sharpened tracks. Recorded patiently and mastered by the gifted know how of Jack Shirley - Deafheaven, Joyce Manor or Gouge Away -, the songs on 'Acetate' open sprawling vistas upon the band's recognizable sound between chaos and order, cutting back on everything that might be redundant or overly technical. Alex Domingos' vocals reach new means of expressiveness through harrowing screams and hints of melody, João Pires' sinewy guitar pulling out riffs and skewed lines that echo for posterity and the rhythmic section of Simão Simões - bass - and João Portalegre - drums - driving all this turmoil with kinetic precision and flexibility. Never before did Hetta sound as relentless, chill and melodic, tracking down life at its own pulse.

La Margarita (1994) is an unforgettable collaboration between iconic Uruguayan musician Jaime Roos and legendary writer and playwright Mauricio Rosencof. Blending the rich musical traditions of Uruguay-candombe, murga, tango, and milonga-with elements of folk and rock, as he is known for, Roos sets to music a cycle of sonnets that tell a tender, naive love story. These poems were written by Rosencof under harrowing conditions during his imprisonment by the Uruguayan dictatorship in the 1970s. Includes 16-page booklet. Jaime Roos and Mauricio Rosencof are two of Uruguay's most beloved and influential artists. Roos, a groundbreaking musician, redefined Uruguayan music in the 1980s with his signature fusion of deep-rooted local rhythms and cosmopolitan flair. Rosencof, a celebrated writer and playwright who emerged in the early 1960s, was also a prominent figure in the historic Tupamaros guerrilla movement. Their paths converged in 1987, when Roos composed the score for Rosencof's play El Regreso del Gran Tuleque. During this collaboration, Roos discovered a series of sonnets Rosencof had written while imprisoned under Uruguay's brutal dictatorship. Held in solitary confinement for over eleven years, Rosencof composed these poems as a lifeline-scribbled on cigarette papers and hidden in the hems of clothes his family collected for laundering. Against all odds, both the author and his poems survived. The sonnets tell a delicate, moving love story set in 1950s Montevideo. Roos, inspired and captivated, rose to the challenge of transforming them into music. The result was La Margarita-a groundbreaking project in which Roos masterfully fused Uruguay's rich musical traditions-candombe, murga, tango, and milonga-with elements of folk and rock, creating a deeply evocative set of songs as only he could deliver. Beyond its beautiful music, La Margarita stands as a testament to resilience, creativity, and the enduring power of love and art.

Epic Anime ist eine außergewöhnliche Sammlung neuer, offiziell von den originalen Studios und Verlagen autorisierter Orchesterarrangements einiger der bekanntesten Anime-Titel. Das Album der NDR Radiophilharmonie unter der Leitung von Dirigent Michael England erscheint als 2×180g-Vinyl in "Oxblood"-Färbung und auf CD. Das Album entstand in Koproduktion mit dem Norddeutschen Rundfunk.
Auf Epic Anime findet sich eine hochkarätige Auswahl an Gast-Solist*Innen, darunter die Geiger*innen Esther Abrami, Andrea Cicalese und Niklas Liepe, die Cellistinnen Mariko Muranaka und Raphaela Gromes, Akkordeonist Martynas sowie die Pianisten Tim Allhoff und Louis Philippson. Auf ausgewählten Titeln ist der Chor Pop-Up zu hören, als auch eine Rockband bestehend aus einigen der besten Sessionmusiker*Innen.
Das Album präsentiert neue sinfonische Interpretationen populärer Anime-Themen aus Demon Slayer, Neon Genesis Evangelion, Naruto, JoJo's Bizarre Adventure, Bleach, Kikis Delivery Service, Spirited Away und weiteren Produktionen. Sämtliche Arrangements und Aufnahmen entstanden mit ausdrücklicher Zustimmung der jeweiligen Rechteinhaber und gewährleisten damit höchste Authentizität. Das Album würdigt die vielfältige musikalische Tradition des Anime-Genres und verleiht den Originalwerken eine eindrucksvoll cineastische Dimension.
Epic Anime richtet sich an Anime-Fans, Soundtrack-Enthusiasten und Liebhaber orchestraler Musik gleichermaßen.

B' ROOTS SOUND SYSTEM presents the first release of its record label -NORTH&SOUTH Reggae Label-. A 12inch worked with Sergio López aka Japu, from Lana Studio in Linares (Jaén-Andalusia-Spain).

A version of the original riddim by N. Bailey with the voice and lyrics of Natty Nature. 'Keep up the vibe', a song full of powerful melodies, where the lyrics refer to creating a harmony between the music and the listener through the vibration of the instruments, the voice and each sound element. That is, keeping the energy and creativity awake in perfect balance.

On the other side, Jorge Dopico contributes his art in 'Trombone vibe', to keep the energy at its highest until the end of the album. A trombone line that delights anyone who loves the most melodic and instrumental reggae.

All this, supported by the respective Dub Versions, by Sergio López aka Japu, from Lana Studio. Providing the riddim, production, mixing and mastering of this sensational first work.

Portland, Oregon dark rock trio HOAXED return with their stunning new album Death Knocks. Three years in the making, the group—featuring vocalist/guitarist Kat Keo, drummer Kim Coffel, and new bassist/vocalist April Dimmick—have honed their stygian craft to perfection. "We've added another element to the writing and collaboration process," says the band. "April comes from a classic heavy metal background, and her influence is in these songs. We've also had experiences on tour that have helped shape these songs. You can hear influence from the bands we toured with and learned from. We played together for three years as we wrote this album, and we learned a lot about our styles, and our sound evolved naturally together on stage. So, when we sat down to write this album, it didn't feel like a departure or a change." Anchored by the witchy spell of opener "Where the Seas Fall Silent," the rock-hardened groove of "Kill Switch," and the dimly lit power pop of "The Family," HOAXED upped the tempo, sawed the edges (Dimmick's raspy menace intimidates), and strengthened their ties to the golden gods of heavy metal. Indeed, cyclical riffs, dynamic rhythms, and bottom-heavy bass propel Death Knocks through its filmic, hard-nosed gloom, but Keo's sorcerous vocal hooks seal the deal. Often smartly paired with Dimmick's angels' n' demons, her performance effuses fragility and potency across the album's alluring expanse. HOAXED recorded Death Knocks at Falcon Recording Studios with producer/engineer Gabe Johnston (Unto Others, Vintersea) and enlisted Arthur Rizk (Power Trip, Kreator, and more,) for mixing and mastering. In total, the group spent eight days in February and March tracking Death Knocks. While most bands spend months ironing their metallic mettle, Hoaxed's expeditious time at Falcon engendered a polished, big-sounding force befitting their larger-than-life songs. Short: Portland, Oregon dark rock trio HOAXED return with their stunning new album Death Knocks. Three years in the making, the group—featuring vocalist/guitarist Kat Keo, drummer Kim Coffel, and new bassist/vocalist April Dimmick—have honed their stygian craft to perfection. FFO: Ghost, Tribulation, Bloody Hammers, Khemmis, Unto Others, GGGOLDDD, Katatonia. Pallbearer

Vijan, originally released in 2003 by I Grade Records, is a seminal release from the “golden era” of St. Croix roots reggae, now available for the first time on 12” vinyl courtesy of Before Zero Records.

Produced by the legendary combination of Vaughn Benjamin and Laurent “Tippy I” Alfred, Vijan balances the raw, spiritual intensity of Vaughn’s songwriting with the sophisticated, melodic arrangements that became the hallmark of the I Grade sound.

This album features an incredible lineup of musicians who helped shape the sound of Virgin Islands reggae. The production credits boast the textured guitar layers of Tuff Lion , the deep, driving bass of Kenyatta Itola , and the rhythmic precision of Dion “Bosie” Hopkins. Uniquely, this album also showcases Vaughn Benjamin’s versatility as a multi-instrumentalist, contributing drums, bass, and keys on standout tracks like “All Ye Naashan” and “Thanks for Life”.

Akae Beka’s inimitable style of rich, deep, multi-layered songwriting and uncompromising devotion to RasTafari is on full display here. At the point of his untimely passing in 2019, Vaughn Benjamin had released over 70 albums, solidifying his place as one of the most prolific reggae artists ever known. Vijan remains
a glowing highlight in this expansive catalogue, capturing a specific moment of creative brilliance in the early 2000s.

The vinyl reissue allows listeners to engage with the album’s analogue richness and features the striking original artwork by Marcus Wilson, presented here as a 12” square masterpiece.

In einer Zeit, wo alles immer mehr Digital und von KI dominiert wird, setzt Angelo Kelly auf Authentizität
und zwar auf allen Ebenen
Die Songs auf dem neuen Album „ALIVE“ wurden komplett von ihm geschrieben, arrangiert und produziert. Wer sich die Texte der Lieder anschaut wird schnell merken, dass sich einiges in seinem Leben
verändert hat. Er öffnet sich in seinen Songs mehr, als er es jemals in einem Interview tun würde.
Die Art, wie dieses Album produziert wurde, könnte auch nicht authentischer sein!
AK: „Mir war es wichtig das Album komplett analog auf einer Bandmaschine aufzunehmen ganz ohne
Computer. Meine Band und ich waren dabei alle im gleichen Aufnahmeraum und haben meine neuen
Songs gemeinsam in „One Takes” aufgenommen. Nichts wurde korrigiert und es gab auch keine Overdubs
/ Zusatzaufnahmen! So sind die Aufnahmen sicherlich nicht perfekt, und im Radio werden sie höchstwahrscheinlich nicht laufen, aber das ist die einzige Art Musik zu machen, die mich heute noch reizt und
interessiert.“
Das Album wurde dann auch komplett analog auf Band gemischt.
Und für alle, die sich dieses Werk auf Vinyl holen: Das Mastering wurde im letzten Schritt von Chris
Bellman analog vollendet.

In einer Zeit, wo alles immer mehr Digital und von KI dominiert wird, setzt Angelo Kelly auf Authentizität
und zwar auf allen Ebenen
Die Songs auf dem neuen Album „ALIVE“ wurden komplett von ihm geschrieben, arrangiert und produziert. Wer sich die Texte der Lieder anschaut wird schnell merken, dass sich einiges in seinem Leben
verändert hat. Er öffnet sich in seinen Songs mehr, als er es jemals in einem Interview tun würde.
Die Art, wie dieses Album produziert wurde, könnte auch nicht authentischer sein!
AK: „Mir war es wichtig das Album komplett analog auf einer Bandmaschine aufzunehmen ganz ohne
Computer. Meine Band und ich waren dabei alle im gleichen Aufnahmeraum und haben meine neuen
Songs gemeinsam in „One Takes” aufgenommen. Nichts wurde korrigiert und es gab auch keine Overdubs
/ Zusatzaufnahmen! So sind die Aufnahmen sicherlich nicht perfekt, und im Radio werden sie höchstwahrscheinlich nicht laufen, aber das ist die einzige Art Musik zu machen, die mich heute noch reizt und
interessiert.“
Das Album wurde dann auch komplett analog auf Band gemischt.
Und für alle, die sich dieses Werk auf Vinyl holen: Das Mastering wurde im letzten Schritt von Chris
Bellman analog vollendet.