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• “Guerrilla Girls!”, Ace Records’ much-anticipated first release of 2023, takes us on a thrilling ride from punk’s mid-70s origins, via the left-field post-punk groups, jangly female combos, grunge bands and vigilante Riot Grrrls of the 80s and 90s, to the she-punk bands of recent years – a five-decade alternative to the macho hegemony of rock.

• The collection highlights songs that emerged out of a dynamic underculture of female creative expression. What unites the featured artists is a healthy disregard for the way the music industry ties up its female performers into pretty, neo-liberal packages. From Patti Smith, universal mother of the punk movement, to the Bags, Bikini Kill and Skinny Girl Diet, this music is anti-A&R. Including lesser-known names such as San Francisco street punk Mary Monday and London-based experimentalists pragVec, it shows that, rather than being a few novelty bands existing on the margins, these performers represent a stronger, more three-dimensional version of the female experience.

• Glorious resistance was on display in the first wave of UK female-fronted punk bands. Poly Styrene’s charged vocals on X-Ray Spex’s ‘Iama Poseur’, for instance, were a deliberate refusal to be a pretty punkette. With 15 year-old Lora Logic on saxophone, X-Ray Spex epitomised a fearless, self-defined agency that was at odds with the pastel shades and flowery, submissive Laura Ashley version of 1970s girlhood. By the early 80s, there was a hugely vibrant scene propelled by the diverse rhythms and voices of post-punk feminism. Lora Logic had left X-Ray Spex to form the interweaving textures of Essential Logic, the Mo-dettes mangled ska and off-kilter pop, and Birmingham band Au Pairs sliced political rigour into their lyrics and funky guitar work.

• Some female artists took that elemental energy into pop, creating pop-punk with a twist. We’ve Got A Fuzzbox And We’re Gonna Use It!! made a statement on music technology and female power with a cheeky play on words. Their song ‘Rules And Regulations’ shows that what Guerrilla Girls do well is debunking – taking genres of popular song and turning them inside out – like the way the Pandoras and the Pussywillows would amp up the driving beat and high vocals of the 60s girl group style, and subvert it with a DIY garage element.

• In its fanzine culture, use of montage and DIY music, 90s Riot Grrrl bands such as Bikini Kill and Bratmobile drew direct inspiration from 70s punk, articulated through the prism of Third Wave feminism. Too often, Riot Grrrl gigs were invaded by men intent on heckling “the enemy”. Liz Naylor, manager of British Riot Grrrl band Huggy Bear, says that their concerts became war zones. From the US grunge and Riot Grrrl scenes emerged more female instrumentalists, with bands such as L7 and Babes In Toyland proving that it was possible to recruit cutting-edge drummers, bass players and guitarists. Lori Barbero, whose relentless power drumming is a major element of Babes In Toyland, took the one instrument that has been a staple of male rock’n’roll and made it her muse.

• In the 2000s a new generation of girl-punk bands drew on the Riot Grrrl underculture to form their own sound. London trio the Tuts refashioned C86, Riot Grrrl and lush dream pop on songs like the ironically titled ‘Let Go Of The Past’, while the Regrettes injected shots of ska and doo wop into their explosive West Coast pop-punk. What began with Patti Smith and 70s punk has grown into a vast, spikey infrastructure of girl music. Many take inspiration from their foremothers, like Skinny Girl Diet whose vigilante feminism and punk distortion has been championed in return by Viv Albertine of the Slits. As long as these female artists stay aware of their musical vision and what they are trying to express – in a sense, A&R themselves – the underculture will continue to grow and flower. And this “Guerrilla Girls!” compilation is a celebration of that power.


• The back sleeve of the release features a scene-setting introductory essay by Lucy O’Brien (author of She Bop: The Definitive History Of Women In Popular Music). Each of the two discs come in a swanky inner bag containing a track commentary by compiler Mick Patrick (Ace Records’ long-serving champion of female artists of all persuasions) and exclusive interviews with many of the featured artists by Vim Renault and Lene Cortina (founders of the Punk Girl Diaries webzine).

In 1978, Muddy Waters released one of his most essential works towards the end of his career.

Titled I'm Ready, the album was produced by Johnny Winter and followed Hard Again, their first collaboration.

It was immediately hailed as a blues classic.

The collaboration between Winters and Waters resulted in three albums, which blues fans describe as a unique combination
that showcased Muddy Waters' rawness and years of experience to perfection. The impressive roster of featured artists included
“Pine Top” Perkins on piano and Walter Horton on the harmonica, making it a dream late-career collaboration.

I’m Ready won the Grammy Award for Best Ethnic or Traditional Folk Recording.

I’m Ready is available as a limited edition of 1500 individually numbered copies on pink coloured vinyl.

‘Tippex in My Eye’, Roman Flügel’s third single with Erol Alkan’s Phantasy Sound, nonetheless charts exciting new territory for the prolific German producer, finding him in collaboration with London-based vocalist and songwriter, PYTKO. Already established as a member of Phantasy’s creative family following her cultishly received 2022 debut LP ‘The Way We Blush’, PYTKO searching, surrealist lyrics and performance provide perfect synthesis for Flügel’s first ever vocal collaboration.

Somewhere between digital dub and avant garde shades of electro-pop, ‘Tippex in My Eye’ slowly works a strange and spacious magic, meditating on bassweight while moving ever-forward with sparse piano and distinctly Flugelesque synthesis. Throughout, PYTKO’s enigmatic vocals intertwine with this ambitious arrangement, acting as an incantation for a brief but refreshingly strange journey.

Each of these elements are repurposed with hypnotic, psychedelic impact on an alternate ‘Dance Mix’. Immediately tapping into Flügel’s well-established nous for turning minimalism into euphoria, PYTKO herself becomes a guiding force for the dancefloor, as the track builds thrillingly toward a cosmic breakdown and dramatic release.

Roman Flügel’s ‘Tippex in My Eye (ft. PYTKO)’ will be released on Phantasy on May 15th 2026, available on limited-edition vinyl and streaming.

Constructive is pleased to announce, 'Utopia or Oblivion', a new compilation featuring ten artists inspired by the pioneering work of R. Buckminster Fuller, with each track inspired and in response to Fuller's work specifically Utopia or Oblivion', first published in 1963.

From the irregular glitch pop scintillation of 'How Would I Be? What Would I Do' by German artist & founding member of To Rococo Rot, Robert Lippok, to the heartfelt ambient and seraphic voices of 'Afterimage' by Japanese artist Tujiko Noriko (Editions Mego, PAN, Room40), through to the tensile, eruptive, dub-contoured emittances of 'Tensegrity Rhythms' by Peruvian experimental composer Ale Hop (Karlrecords).

Elsewhere, there are appearances from the Bafta-nominated composer Adam Janota Bjowski (Saint Maud OST), musician & Constructive co-founder Adrian Corker, London-based experimentalist No Home, Italian artist & NTS Radio resident Silvia Kastel (Blackest Ever Black, Palto Flats, Youth), British sound artist David Prior, and a unique collaboration between the British DIY experimental musician Richard Skelton & Corey Fuller, a descendant of R. Buckminster Fuller.

London trio, thredd’s, acclaimed 2025 debut ‘It’s Lovely, Come On In’ available for the first time on vinyl. thredd is the latest project from musicians Will Lister, Max Winter, and Imogen and The Knife who came together as the first (and only) band formed during the infamous Laylow residency in West London.

Over the course of 4 weeks in November 2023, the trio set up a makeshift studio in Laylow’s basement venue and wrote music to be performed live each Wednesday, embracing a raw, immediate approach with no room for overthinking. The result is a sound they call “cold pop”, a mix of atmospheric textures, sharp melodies, and emotional depth. Since then, they’ve built on their diverse strengths having already played the ICA and supported Nourished by Time across the UK.

Having shared a studio in South London together since 2020, the trio have collaborated and cross-pollinated their musical approach while taking time to hone their individual crafts; Will’s drum programming and production, Max’s ear for harmony and composition, Immy’s lyrics, melody and vocal delivery. With music that both feels familiar yet boundary pushing, ear catching and intriguing, it becomes a true sum of its parts celebrating the individualism of each musician.

The album ‘It’s Lovely, Come On In’ moves between late-night indie, synth- driven pop, and stripped-back songwriting with emotional weight. Tracks like ‘Horseshow’ showcase Will’s tight post-triphop inspired beats, Max’s harmonic instincts, and Immy’s evocative vocals. ‘We Don’t Speak Anymore’ came together in a day, capturing a sharp, defiant energy. ‘Something For My Head’ is a late-night, anxious love song, while the title track has a defiant repetitive energy. The lead single ‘Party’ bursts with bold, euphoric energy, and ‘Funny Girl’ strips back to something vulnerable, inspired by a haunting vocal sample and personal notes.

The record channels the layered, mysterious atmosphere of Laylow’s basement, shaped by the building’s winding corridors and hidden rooms. Themes of fatigue, release, and creative survival run throughout, born from a pressure-free, collaborative process.

‘It’s Lovely, Come On In’ feels honest and immediate, a collection made to capture a moment, not polish it away. As they put it, the record is for people who are “Up for a party, down for a cry.” The album doesn’t make grand claims; it simply invites you in.

Following her contribution to Scenic Route’s Road Less Travelled 2, MS RAY returns with MELT — a defining new chapter in what Boomkat described as “adult contemporary soul.”

MELT is set to be a true benchmark for MS RAY - a five-track release that moves between the cathartic and the heartfelt, shifting fluidly between R&B, trip-hop and dream pop. Subtle yet expansive, it captures her most refined and emotionally resonant songwriting to date.

The EP features new single “Miss You” ft. Nourished By Time, a slow-burn duet pairing her velveteen delivery with his unmistakable, off-kilter pop sensibility.

Also included is “Signs,” her standout cut from Road Less Travelled 2, available here for the first time on vinyl, alongside three brand new, unreleased tracks that further explore her palette of nocturnal electronics, minimalist soul and soft-focus atmospherics.

the producer, multi-instrumentalist, DJ and record collector Gabriel Cyr AKA Teleseen releases 5th album 'The Emotional Life of Savages' via French imprint Goldmin Music.

African rhythms, Latin heat and otherworldly electronics collide like neurons, processed through a New York state of mind. The pancontinental sounds are mirrored in his own life, which has oscillated back and forth between various countries.

A jazz background combined with a love for house and techno are ingrained in the grooves. Also key is the samba, baile funk and MPB that inspired him while living in Rio de Janeiro, plus the sounds he reabsorbed on returning to NYC's club scene.

This wide range of influences spanning the global underground coalesces into a rich, vital and coherent whole. Warm and soulful, but also evoking an intoxicating, heady atmosphere, the hypnotic and ultra-rhythmic tracks subtly shift and build to fever pitch, due primarily to deft polyrhythmic drums and percussion - both played and sequenced.

"Working on this record I finally found myself able to manifest a certain sound I'd been hearing in my head for years, combining the rhythmic intensity of afro-house and afro-Brazilian music with the more cosmic sounds of Detroit and deep house", explains Cyr on his musical vision.

The gentle sundowner glow of 'Myrtle Avenue' with its textured synth waves and wandering Parrish-esque keys acts as a precursor to the potent nocturnal adventure to follow: 'Espelhos' captures a similar essence to Black Science Orchestra's classic 'Save Us (The Jam)', before the heat goes up and heads go down for the eastern-tinged, autotune-laden fire of 'Khalil'.

The album then intensifies further still on the percussion-heavy, big bottomed cosmic throb of 'Jaguar', whilst Brazilian flavour meets tech house rush on 'Fundos', before the party reaches its feverish close on the wiggling batucada- meets-tribal-house of 'Temporada De Seca'.

Born in the north eastern United States, as an adult Cyr has always been nomadic. He has sought to live and immerse himself in other cultures and absorb their sounds, but eventually always succumbs to the Big Apple's magnetic pull. Back home, a key inspirational catalyst for the album was the Brooklyn-based party Africainoir, where he's a resident DJ.

Alongside cutting his teeth producing illbient/hip hop and working as an engineer, he ran his own studio for period, before starting his own label Percepts, on which to release his dub techno style debut. He has since released on 100% Silk, Boomarm Nation and Feel Up Records, and now 'The Emotional Life Of Savages' marks Teleseen's first album for Goldmin.

We’ve all experienced that feeling when a song instantly transports us back to the moment we first heard it and became completely hooked. For Linda & Norm, “Moments to Want You” by the Jerry Lillard Band carried the warm vibes of a Parisian summer in 2019. Fast-forward to 2025, they revisited the track with a complete twist, nudging it toward an AOR resurgence for the label’s Soft Rock for Hard Times series.

The original version by the Jerry Lillard Band was released in 1981 on a German rock sampler, created in protest against the closure of their rehearsal space in an old school building. “Moments to Want You” stands out for its haunting melody, heartfelt lyrics, and compelling arrangements. Inspired by these elements, Linda & Norm cast the song in a new light, leaning into ’80s-tinged guitar pop à la Trevor Horn, with hints of psych bedroom pop in a distinctly Californian fashion.

Joining the release are two favorite artists of theirs, further expanding the song’s potential into dancefloor territory. Sydney’s own DD Mirage delivers the smoky, dubby disco blend we’ve admired since their debut album, while seasoned producer Justin Van Der Volgen brings the B-side magic, echoing the authentic stripped-back dub approach in the vein of Pettibone and Baker. To round it out, an instrumental version, along with an extended mix courtesy of Justin, complements the release, making it a 12” worth pulling out whenever the moment calls.

In Sheep’s Clothing announces the long-awaited vinyl pressing of Marc Leclair’s beloved 2005 album Musique pour 3 femmes enceintes. The album will also be available on streaming for the first time via Community Music Group.

For years after Marc Leclair released Musique pour 3 femmes enceintes, he heard from listeners who had lived with the record in an unusually intimate way. Many described how the music became part of the emotional landscape of the months leading to birth. “I never expected that,” Leclair says. “Many women told me they listened to the record throughout their pregnancies. They said it made a real difference, that it helped them. It became more than just a record.”

First issued on CD in the early 2000s, Musique pour 3 femmes enceintes (Music for Three Pregnant Women) now returns in a new edition from In Sheep’s Clothing Hi-Fi, appearing on vinyl for the first time as a double LP. The record is being pressed in Detroit at Archer Record Pressing, the historic plant behind deep-groove classics by Juan Atkins, Kevin Saunderson, Underground Resistance, UR’s Jeff Mills, and J Dilla.

Listeners who know the Montreal-based Leclair through his better-known work as Akufen might be surprised by the tone here. During the same years he was shaping the intricate micro-sampling tracks that made Akufen a cult figure on labels including Perlon, Force Inc. and Trapez, Leclair was quietly developing this far more personal project. The meticulous craftsmanship remained the same, though the focus shifted from the hyper-detailed cut-up rhythms of his dance records toward something slower and more atmospheric. “I always compare my work to a jeweler,” Leclair says. “It’s really very precise. I’m a bit of a detail freak. I can spend hours or days on just one phrase in one song. Everything has to be perfectly put together.”

The project began almost accidentally. A few members of Leclair’s circle became pregnant nearly simultaneously, including one who had long believed she couldn’t conceive. The first track he recorded for the project wasn’t meant to advance a larger concept, he says. “It was meant to highlight the fact that three of my closest friends became pregnant at exactly the same time.”

Leclair was already a father with a three-year-old daughter, so the emotional terrain of early parenthood was familiar. Gradually the idea expanded. “I began thinking, why not make a whole album that celebrates this and also follows the entire pregnancy, the nine months,” he says. The music developed piece by piece, including a track originally commissioned by the Berlin experimental duo Rechenzentrum that would later become the album’s opening movement.

Nearly seven years passed between the first composition and the finished album, and the music mirrors the strange arithmetic of pregnancy itself. What begins as a single idea multiplies outward, sounds layering and branching until the album feels less like a sequence of compositions than a living process unfolding in time. “I work very slowly,” Leclair says. “Everything has to be something I’m completely behind. I never want to rush anything. I want things to come naturally.” Across its 72 minutes, the album blossoms with the patience of a long meditation on time, growth and emergence.

When Musique pour 3 femmes enceintes first appeared via Mutek, it circulated quietly but steadily. Critics who discovered it later recognized its unusual scope. In a 2006 Pitchfork review, Mark Richardson gave the record an 8.1, calling “150e Jour” “an unfailingly gorgeous and tightly sequenced quilt of guitar and piano samples reminiscent of Tangerine Dream,” and describing “85e Jour” as infused with “viscous pop ambient drift, the gauzy synth pads ebbing and flowing with rhythm.” Boomkat described the album as “a majestic opus from a producer that's always promised so much — here delving into a panoramic construction of almost visibly radiant music that works so beautifully through each and every second of its 72 minute lifespan.”

The new In Sheep’s Clothing Hi-Fi edition finally presents the record in the format Leclair long imagined. “I always thought that record deserved a vinyl edition,” he says. Spread across two LPs, the music now has room to unfold at its natural pace. More than twenty years after it first appeared, Musique pour 3 femmes enceintes remains what it was from the start: a carefully shaped meditation on transformation and the quiet miracle of life beginning.

Uncle Slam, featuring former members of Suicidal Tendencies and Warrior, was a politically-minded thrash act from the 90's. Their list of influences shouldn’t surprise anyone with a passing familiarity of the genre: early Corrosion of Conformity, Dark Angel, Testament, Megadeth and of course Suicidal Tendencies.

Will Work for Food, originally released in 1993 by Roadrunner Records in Europe, with cover art by the legendary Ed Repka, will now be a available on vinyl for the first time ever.

This album features an iconoclastic take on Led Zeppelin’s “Dazed and Confused” which is one of the record’s highlights, These guys are turning that song’s proto-punk into actual punk. The rest of the album is a blast of antigovernment aggression, and is ready to be rediscovered 30-odd years later!

Will Work For Food is for the first time available on vinyl as a limited edition of 750 individually numbered copies on purple vinyl and includes an insert.

Strut proudly presents the first-ever reissue of a landmark 1974 Ghanaian highlife classic Sikyi Highlife by Dr K. Gyasi & His Noble Kings, originally released on Essiebons.

A defining recording of the era, Sikyi Highlife bridges tradition and innovation at a pivotal moment in Ghanaian music. Deeply rooted in the classic 1950s–’60s highlife sound, K. Gyasi drew inspiration from the ancient sikyi drum-dance of the Akan people of southern Ghana, shaping the album’s rhythms around its distinctive pulse.

The vocal arrangements echo the traditional Akan modal style, grounding the music firmly in Ghana’s cultural heritage. Yet Sikyi Highlife is equally forward-thinking. As electric guitars became standard in highlife during the 1960s, the 1970s ushered in further experimentation. The Noble Kings broke new ground as the first highlife guitar band to incorporate keyboards and a full horn section into their sound, expanding the genre’s sonic possibilities while retaining its rootsy spirit.

Gyasi’s approach was part of a broader indigenisation movement among Ghana’s electric highlife bands in the post-independence era. Inspired by the nation’s ‘African Personality’ ethos and reinforced by Afrocentric messages arriving from American soul and funk, artists began reclaiming traditional forms within modern arrangements. Contemporaries included Koo Nimo, who revived the older palmwine style, and drummer Nii Ashitey, whose Wulomei band pioneered a folklorised Ga highlife sound from 1973.

Like many musicians of his generation, Gyasi was a passionate supporter of Ghana’s independence movement. In 1963, he travelled as a musical ambassador alongside Ghana’s first president, Kwame Nkrumah, performing across North Africa and the USSR and carrying Ghanaian culture onto the world stage.

The Noble Kings’ mid-’70s line-up featured some of the country’s finest musicians, including guitarist Eric Agyeman (who led the band at the time), Thomas Frimpong on drums and vocals, Ernest Honny on organ, and bassist Ralph Karikari - who was renowned for his innovative technique of translating the rhythms and tonal language of the traditional talking drum onto electric bass.

Upon its original release, Sikyi Highlife became one of the biggest-selling albums of the 1970s for Essiebons, earning Gyasi the affectionate honorary title of “Dr” from his devoted fans. Today, the album remains an evergreen classic, still cherished across Ghana and beyond.

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

REPRESS ON SILVER VINYL . COMES WITH 24”x24” POSTER + DOWNLOAD CARD + GATEFOLD JACKET.


On The Beths’ album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships – platonic, familial, romantic – and more importantly, their aftermaths. The shapes and ghosts left in absences. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life?

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. With Expert, The Beths wanted to make an album meant to be experienced live, for both the listeners and themselves. They wanted it to be fun -- to hear, to play -- in spite of the prickling anxiety throughout the lyrics, the fear of change and struggle to cope.

Most of Expert was recorded at guitarist Jonathan Pearce’s studio on Karangahape Road in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand) -- and sometimes in the building's cavernous stairwell at 1am -- toward the end of 2021, until they were interrupted by a four-month national lockdown. They traded notes remotely for months, songwriting from afar and fleshing out the arrangements alone, the first time they’d written together in such a way. The following February, The Beths left the country for the first time in more than two years to tour across the US, and simultaneously finish mixing the album on the road. That latter half felt more collaborative, with everyone on-hand to trade notes in real time, until it all culminated in a chaotic three-day studio mad-dash in Los Angeles. There, Expert finally became the record they were hearing in their heads.

Expert is an extension of the same skuzzy palette the band has built across their catalog, pop hooks embedded in incisive indie rock. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

The rest is a capsule of The Beths’ most electrifying and exciting output, a sonic spectrum: “Your Side” is a forlorn and sincere love song, emotive; while “Silence is Golden,” with its propulsive drum line and stop-start staccato of a guitar line winding up and down, is one of the band’s sharpest and most driving. “When You Know You Know” skews a bit groovier, pure pop and a natural addition to the band’s live set. “Knees Deep” was written last minute, but yields one of the best guitar lines on Expert. There’s a certain chaos across the 12 tracks, the palpable joy of playing music with long-time friends colliding with the raw nerves of pain.

Stokes strings it all together through her singular songwriting lens, earnest and self-effacing, zeroing in on the granules of doubt and how they snowball. Did I do the wrong thing? Or did you? And are we still good people at the end of it? She isn’t interested in villains, but instead interested in just telling the story. That insecurity and thoughtfulness, translated into universality and understanding, has been the guiding light of The Beths’ output since 2016. In the face of pain, there’s no dwelling on internal anguish - instead, through The Beths’ music, our shortcomings are met with acceptance. And Expert In A Dying Field is the most tactile that tenderness has been.

Solid Red Vinyl Edition - 10@ Mini album. Originally release in 2025 in a painfully limited 2x7" + Book edition.

"Dream of the Egg" is the debut solo album by Tomo Katsurada, known for his work with the Japanese psychedelic band Kikagaku Moyo. This project is a unique fusion of music and visual art, inspired by the Japanese 1920s children's book “Yume No Tamago (Dream of the Egg)”. It reveals a deeply personal journey, reflecting Tomo's dreams and the numerous rebirths experienced in 2024—a year marked by profound new beginnings in every facet of his life.

This mini album was driven by a passion for raw and immediate expression. Every song was crafted and recorded with only the materials available to him at the time, embracing an organic and handmade atmosphere. By eschewing rhythm clicks and standard instrumental tunings, a spontaneous sound emerged, capturing the essence of both uncertainty and immediacy. Adding to this distinctive sonic landscape, guest musician Jonny Nash (UK) contributed ethereal guitar sounds on the first and final tracks, enriching the record's dream-like quality.

The journey begins with the opening track, "Moshimo," which means "If..." in Japanese. Here, Jonny's guitar weaves seamlessly with the vocal melody, creating a harmonious dialogue. The first half of the album concludes with "Zen Bungalow" a cover of Gabriel Yared's “Bungalow Zen” from the soundtrack of the film “Betty Blue 37°2 Le Matin”. This particular track is his partner’s favourite song to listen to every morning and left a profound impression on him. One day, he heard a song in his dream that combined both of these tracks and loved how they blended together. This experience inspired him to create a new arrangement, "Zen Bungalow," which has become a central piece of the “Dream of the Egg” album.

The third track serves as an interlude, printed on a flexi disk attached to the middle of a picture book. This interlude transitions the listener into"Inner Garden," a bittersweet folk song that explores themes of love. The EP's narrative spans 20 minutes, culminating in the final title track “Dream of the Egg”. This piece features a delicate session between Tomo & Jonny, combining cello and guitar to create a spectrum of tones that evoke the imagery of a rainbow. The focus on smooth dynamics and meticulous play reflects an intent to convey a sense of physical trembling. This track sounds like the beginning of a new dream; as if the egg of one’s dream is about to hatch, bringing a sense of anticipation and wonder to the listener. Throughout the album, a variety of instruments come into play, drifting between notes and embracing the beauty of imperfection. By incorporating free-form sounds in a highly technological age, the record aims to reconnect listeners with the tangible, human-made quality of sound.

Special Thanks
Jonny Nash – Guitar

Campbell Owens, Douglas MacIntyre and Mick Slaven worked on the album alongside founding members Robert 'Bobby Bluebell' Hodgens, David McCluskey and Ken McCluskey to create the new collection of tracks. The result is a stunning body of work; rich, melodic, thoughtful and infectious. First single No Pasaran! premiered on BBC Radio Scotland and in The Herald in September 2025. The Bluebells rose to fame in the 1980s as jangle-pop pioneers of the Sound of Young Scotland era with their three hits Young at Heart, Cath and I'm Falling.

Despite only releasing one readily-available album during their initial run (Sisters, 1984) the band have remained as one of Scotland's most beloved bands, currently boasting over 144,000 monthly Spotify listeners. The band enjoyed a post-breakup revival in 1993 after a Volkswagen advert featured Young at Heart, pushing the single to No.1 for 4 weeks. They have since reunited over the years, to play various festival slots and develop new material. In 2023, the band released The Bluebells In The 21st Century, their first LP in decades. In 2025, The Bluebells played Glastonbury.

Since first meeting as midwestern high-schoolers in 2009, Citizen have emerged as one of the most promising young bands in the alternative underground today. The band signed to Run For Cover Records in early 2012, releasing their EP Young States that year as well as a split with labelmates Turnover. In February of 2013, Citizen entered Studio 4 with producer Will Yip (Title Fight, Circa Survive, Daylight) to record Youth, their debut full-length. From the first note of album opener "Roam The Room", the fuzzy, guitar-driven rock songs bleed emotion straight through to closer "Drawn Out". Citizen have called on the ghosts of Brand New and early Nirvana, creating a sound that is familiar but immediately all its own.

Campbell Owens, Douglas MacIntyre and Mick Slaven worked on the album alongside founding members Robert 'Bobby Bluebell' Hodgens, David McCluskey and Ken McCluskey to create the new collection of tracks. The result is a stunning body of work; rich, melodic, thoughtful and infectious. First single No Pasaran! premiered on BBC Radio Scotland and in The Herald in September 2025. The Bluebells rose to fame in the 1980s as jangle-pop pioneers of the Sound of Young Scotland era with their three hits Young at Heart, Cath and I'm Falling.

Despite only releasing one readily-available album during their initial run (Sisters, 1984) the band have remained as one of Scotland's most beloved bands, currently boasting over 144,000 monthly Spotify listeners. The band enjoyed a post-breakup revival in 1993 after a Volkswagen advert featured Young at Heart, pushing the single to No.1 for 4 weeks. They have since reunited over the years, to play various festival slots and develop new material. In 2023, the band released The Bluebells In The 21st Century, their first LP in decades. In 2025, The Bluebells played Glastonbury.

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

"Swedish modern rock unit SELF DECEPTION is set to unleash their Napalm Records debut, One Of Us, on May 15, 2026! The band is known for their fiery fusion of anthemic modern metal and powerful melodic rock. Since their 2009 debut, they have shared stages with the likes of Electric Callboy, Danko Jones, and Adept, while racking up millions of streams and video views – including their viral 2022 hit, “Fight Fire With Gasoline”, with tens of millions of streams. Written on the road during the heaviest touring of SELF DECEPTION’s career so far, One Of Us is a cohesive album full of character, made for the stage – and the pit! Bone-crushing album-opener and title track “ONE OF US” takes no prisoners, unleashing the heavy modern metal side of the Swedish powerhouse: fusing relentless hardcore energy, in-your- face lyrics, and high-voltage attitude, the track hits with unstoppable force. Following track “TIME'S UP” features an absolute hit chorus, fresh hooks and high-energy instrumentals, while emotional “DON'T B E L O N G” addresses the difficult themes of addiction and mental health battles – the combination of hauntingly beautiful melodies, multifaceted vocal performance and heavy rhythm section carry this sentimental track.

Further highlights on SELF DECEPTION's new 10-track offering include “THE WEDDING”, an energetic modern rock anthem with a particularly dark and twisted storyline, and “BREAK!"", with its heavy-hitting drums, electronic influences and yet another irresistible sing-along chorus. Final track “ENTERTAINED” wraps up the album impactfully, featuring one of the heaviest breakdowns on the album. From massive pit churners to creative storylines and choruses full of hit potential, the energy on One Of Us is unmatched. The band has a busy festival summer following the album’s release, so fans will get the first chance to experience these new tracks live at several major European rock and metal festivals. With One Of Us, SELF DECEPTION is ready to push contemporary rock to the next level!"

Sixteen killer 70s reggae funk and soul cuts from the likes of John Holt, Lee Perry, Cornel Campbell, The Cimarons, The Chosen Few and more featuring superb reggae takes on songs by artists including The Jackson 5, William DeVaughn, Diana Ross and The Supremes, War, The Temptations, Roberta Flack, The Stylistics and others!

Well-documented is the influence of American black music on Jamaican styles of the 1960s – from the birth of ska music, when The Skatalites ska-ified the jump-up southern USA rhythm and blues music of Rosco Gordon, Louis Jordan and Fats Domino, through to the creation of rocksteady when Jamaican artists like The Techniques, The Paragons, Alton Ellis and The Melodians turned to the slower rhythms and soulful harmonies of groups such as The Impressions and The Drifters for inspiration. 

Less-well established is that in the 1970s Jamaicans didn’t (shock!) stop listening to American black music styles, with many 70s reggae artists as invested in soul, funk and the proto-disco sounds of Philadelphia, as was the case with rhythm and blues in the previous decade. In the 1970s, while Jamaica promoted its own roots reggae styles around the world, powerhouse USA soul labels such as Motown, Philadelphia International and Stax Records were at the same time all popular on the island.
This interaction between American and Jamaican music was not limited to Jamaica. In Britain, first-generation Caribbean-émigré children in the 1960s and early 70s grew up with an equal love of both soul and reggae, which manifested itself in the home-grown arrival of lovers rock in the mid-1970s.
Soul Jazz Records’ new ‘Reggae Island Soul’ tells this story of how soul and funk-infused reggae in the 1970s united the sounds of Jamaica, USA and the UK into a highly addictive cultural hybrid of styles.

Schwarzes Vinyl! Doppel-LP im Klappcover. Ursprünglich 2017 rausgebracht und jetzt zum ersten Mal in Europa über Sub Pop erhältlich! Pure Comedy, das dritte Album von Father John Misty, ist eine komplexe, oft sarkastische und ebenso oft berührende Reflexion über die verwirrende Torheit der modernen Menschheit. Father John Misty ist das Projekt von Singer-Songwriter Josh Tillman. Wir könnten viel über Pure Comedy sagen, zum Beispiel, dass es ein mutiges, wichtiges Album in der Tradition amerikanischer Songwriting-Größen wie Harry Nilsson, Randy Newman und Leonard Cohen ist, aber wir denken, es ist am besten, wenn sein Schöpfer es selbst beschreibt. Los geht's, Mr. Tillman: Pure Comedy ist die Geschichte einer Spezies, die mit einem unvollständig entwickelten Gehirn geboren wurde. Die einzige Überlebenschance dieser Spezies, die sich auf einem grausamen, unberechenbaren Felsen wiederfindet, umgeben von anderen Spezies, die in dieser ganzen Sache viel geschickter zu sein scheinen (und für die sie eine Delikatesse sind), besteht darin, sich auf andere, etwas ältere, halb ausgebildete Gehirne zu verlassen. Diese Abhängigkeit bekommt im Laufe der Geschichte verschiedene Namen, wie ,Liebe", ,Kultur", ,Familie" usw. Mit der Zeit und da sich ihre Gehirne als bemerkenswert gut darin erweisen, Bedeutung zu erfinden, wo keine ist, wird die Spezies zum Lieferanten immer bizarrerer und raffinierterer Ironien. Diese Ironien sollen helfen, mit der abscheulichen Verletzlichkeit der Spezies fertig zu werden und zu versuchen, ihre Fantasie mit der Monotonie ihrer Existenz in Einklang zu bringen. So in etwa. Pure Comedy wurde 2016 in den legendären United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, Kalifornien, aufgenommen. Produziert wurde es von Father John Misty und Jonathan Wilson, die Tonarbeit übernahm Mistys langjähriger Tontechniker Trevor Spencer und die Orchesterarrangements stammen vom bekannten Komponisten und Kontrabassisten Gavin Bryars (bekannt für seine umfangreichen Soloarbeiten und seine Zusammenarbeit mit Brian Eno, Tom Waits und Derek Bailey). Black Vinyl. Originally released in 2017 & now available for the first time in Europe via Sub Pop! Pure Comedy, Father John Misty's third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. While we could say a lot about Pure Comedy including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen we think it's best to let its creator describe it himself. Take it away, Mr. Tillman: Pure Comedy is the story of a species born with a half-formed brain. The species' only hope for survival, nding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like "love," "culture," "family," etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species' loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that. Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty's longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey).

First ever vinyl release of this massive classic psychedelic black rock funk compilation. Lovingly reproduced for audiophiles on black vinyl and packaged in a fully artworked sleeve and labels and shrinkwrapped. Limited edition vinyl press! “One of the best compilations of formerly released material ever made. A classic” “The whole compilation is pretty damn sweet, but anything dug up by Iron Knowledge is essential listening”!

Soulbound with their new album "Addicted To Hell" from 2020 stand for urban, end-time Industrial Metal. They don't renounce their roots from Alternative Metal and keep their trademark despite all harshness: catchy melodies with dystopian and socially critical lyrics. Stomping beats combine heavy guitars and aggressive synths to an apocalyptic mix of Gothic, Metal and Industrial which in this form is still unparalleled. Here comes the album for the first time as a limited edition vinyl neon orange/black dust gatefold.

On May 15, HULKOFF returns with his fifth studio album; Jotunheim - a towering new chapter that bends space and time, and throws you back to the very darkest void where the nordic sagas began - Etunaheimar. The first spiritual landscape known in the blood-memory of Fennoscandia, today referred to as Jotunheim - the realm of Giants. Founded by the former frontman of Raubtier, HULKOFF has dominated Swedish charts with multiple #1 releases, including Pansarfolk (2020), Ragnarök (2021), and Hersir (2023). As with some of the previous releases, HULKOFF once again drops a double album. With 20 tracks split across two discs -one in Swedish, one in English- the album invites the world into the frostbitten heart of the North, expanding the saga without loosing its roots. With Jotunheim, HULKOFF delivers what has become his hallmark: iron-hard riffs over folky melodies and thunderous drums. Often described as "Music for the Viking hearted", Jotunheim once again presents the established HULKOFF sound - Metal refined and enhanced by the primal organic sound from Talharpa and violin - wood, horsehair and steel. A symbiosis that is adding an earthy, ritualistic texture to the otherwise dark and heavy sonic landscape.

Equal Vision Records, Dine Alone Records, and The Flatliners are thrilled to announce the release of Cold World, the Juno-nominated Canadian punk quartet’s brand new studio album, arriving Friday, May 8. The album is available now for pre-order / pre-save / pre-add. Where 2022’s New Ruin wrestled with the inherited damage left behind by the previous generation, Cold World confronts that legacy as something more distant — a ghost, a fading memory. If New Ruin captured the rage of realization, Cold World lives in the aftermath of clarity. Welcome to the future. Leading the charge is first single “Good, You?”, a snotty, tongue-in-cheek anthem that takes aim at toxic masculinity and the all-too-familiar fear of opening up about our feelings. Fans can watch the Jeff Powers-directed music video on YouTube and stream the track now on all platforms. Light Grey Marble available limited to 250 Rude Records Exclusive.

First new album in 6 years along with being their EVR debut album. Brett Romnes (Hot Mulligan, The Front Bottoms, Mom Jeans) produced the record along with being the drummer of the band. I Am The Avalanche features members of The Movielife, Head Automatica, Crime In Stereo, and Such Gold. Vinyl White Swirl LP limited to 250 available, Rude Records Exclusive

Douglas Robinson and Sal Mignano (both of The Sleeping) and Josh Eppard (co-founding member of Coheed And Cambria) share passions for authentic expression and genuine creativity. Held. isn’t so much a beginning as it is a culmination. The post-hardcore trio’s debut album, GREY, arrives fully realized, not as the tentative first step of newcomers, but as the collective fire of seasoned lifers discovering a new language together. It’s the sound of raw instinct coalescing with earned wisdom. GREY doesn’t announce itself so much as it emerges, inevitable and undeniable, like thunder rolling across a dark horizon.

It’s a force that feels eternal. Held.’s music feels elemental, evoking storms crashing against jagged cliffs or burning embers kindling, ready to reignite at any moment. It’s urgent and relentless, yet also spacious, textured, and deeply human. There’s gravity in every note, the kind that comes from survival turned into strength. Their sound is born of paradox: fiercely old-school in its emphasis on live performance and feel, but modern in its production and scope. Each song sounds both timeless and timely. Held. is less a band than a force: fierce yet vulnerable, raw yet refined. They play as if the walls themselves are trembling, channeling a purity that feels rare in an age of algorithmic noise. Listening isn’t consumption—it’s recognition, like rediscovering something thats always been within you. Held. carve out a place that feels both unshakably grounded and dangerously alive. Its more than music—its an invocation, a reminder of the raw pulse that connects struggle to transcendence. For those who find themselves in the storm, Held. offer not escape, but resonance: proof that inevitability can sound like liberation.

Blending Afro-Uruguayan traditions with rock, soul, jazz, and funk, Ruben Rada has shaped the music scenes of Uruguay and Argentina from the 1960s to the present. Alongside Eduardo Mateo, he pioneered candombe-beat during his time with the legendary band El Kinto. In the early 1970s, he fused Afrobeat with rock in the trailblazing group Totem and later helped define the distinctive jazz fusion sound of Opa-collaborating with the Fattoruso brothers and Airto Moreira during his years in the United States. In the 1980s, Rada settled in Buenos Aires and assembled a powerhouse band featuring top talent from both Uruguay and Argentina. Together, they created a series of unforgettable albums that fused candombe with jazz and rock-marking one of the most celebrated periods of his career. Adar Nebur, originally released in 1984, captures Rada and his band at their peak. Backed by a stunning horn section, they blend Latin rhythms with jazz, soul, and the new wave sounds of the '80s. Now, more than forty years later, this hidden gem is being released internationally for the first time.

Prism Shores return with Softest Attack, produced by Scott "Monty" Munro, the album blends '90s power pop crunch and shoegaze shimmer in their most collaborative and ambitious release yet. Montreal janglers Prism Shores return with a sharper, more immediate follow-up to their acclaimed 2025 breakthrough Out From Underneath. While the previous record leaned into atmosphere, this new album doubles down on hooks, maximalist guitars, and the pure strength of their melancholic songwriting. Produced by Scott "Monty" Munro (Preoccupations) and mixed by René Wilson, Softest Attack blends jangle pop, '90spower pop, and shoegaze with clear echoes of The Wedding Present, Teenage Fanclub, and My Bloody Valentine all filtered through the band's Dunedin-inspired indiepop sensibility. For the first time, all four members contribute lyrics and lead vocals, marking their most collaborative and ambitious effort yet. Softest Attack is Prism Shores' boldest attempt to craft a top-tier indiepop record: bigger, brighter, and overflowing with guitars, but always anchored by undeniable melody.

The Flirtations are poised to release ‘Still Sounds Like the Flirtations’ – their first album of new material in 55 years. They are best known for their 1969 signature song, "Nothing But A Heartache”, off their debut album ‘Sounds Like the Flirtations’. That song spent 14 weeks on Billboard’s Hot 100, and its success saw the group tour with Stevie Wonder, Tom Jones, The Four Tops and The Temptations. “Nothing But a Heartache” remains an undeniable Northern Soul classic; it has been streamed over 13 million times, and in 2022 was remixed by Tobtok and Oliver Nelson. On their forthcoming album, which was produced, engineered, mixed, and co-written by Ben Rice (Joan Osborne, Valerie June), Earnestine Pearce, Shirley Pearce, and Viola Billups aka Pearly Gates tell the stories of their lives. Drawing inspiration from the churn of personal, social, and political situations that they have lived through over the past five decades, they capture a timeless and well-earned perspective on love and life. The record, which features the Dap King horns, contains standout tracks, including the reflective call to action “Memories”, co-written by Stevie Wonder; the hopeful love song “Ain’t No Easy Way” and the instant dance floor hit “Didn’t Anybody Tell You”, both co-written by Grammy-nominated songwriter Gian Stone (John Legend, Meghan Trainor); the uplifting groover “Love Somebody”; and the roaring “Take It Back”, co-written by Dave Sherman (Nick Cave & the Bad Seeds, Elle King). The recording process was a transatlantic adventure, with sessions at Abbey Road and Resident Studios in London, Degraw Sound in Brooklyn, and Creative Workshop in Nashville. Retaining the classic soul sound and melodic harmonies The Flirtations are known for, the album will not disappoint long-time fans, while also promising to bring their authentic, inimitable sound to a new generation of music.

The eagerly awaited return of WORM SHEPHERD, back after a two year hiatus and member shift. With new singer Ian and the addition of members of Ingested (Thomas O'Malley), Immortal Disfigurement (Harry Tadayon) and Psycho Frame (Leo McLain), DAWN OF THE ICONOCLAST is a masterclass in Blackened Deathcore. The band comment: "I’m very excited about the new lineup. I feel like we have the most talented members that we’ve had to date. Harry (Ex Immortal Disfigurement) brings so much to the table for writing and meshes with my style so well. Tom (Ingested) is an absolute workforce on the bass and really adds some flare to the rhythm guitars with his aggressive style and tones. I’m also very excited that Leo (McClain - Original drummer) is back in the band and having him back behind the kit for the Worm Shepherd sound gives some of that original tone from our first albums together. Us having this new sort of style that we’re doing, Ian (Archaic Epidemic) fits in perfectly with his aggressiveness and tonality of our new music and I can’t wait to see what people think. This is the beginning of a new era for Worm Shepherd." - Tre Perdue (Guitars)

Fika Recordings are pleased to present Bring On The Apathy, the third solo record from Scottish songwriter Adam Ross. Adam Ross is an indie-folk songwriter based in north-east Scotland. He is a solo artist and has also led the cult indie band Randolph's Leap for over a decade, releasing music with legendary Fence Records and Lost Map as well as Olive Grove Records and Fika Recordings. He is known for his unique brand of articulate lyricism which blends humour, poignancy, wordplay and offbeat stories.. “Bring On The Apathy” was recorded onto tape, using traditional analogue techniques at Glasgow’s Green Door Studio with Samuel J. Smith. It showcases some of the most emotionally open, lyrically deft and characterful songwriting so far from one of Scotland’s most accomplished writers. The vintage recording approach brings a warmth and intimacy to a record which is in equal parts raw and organic while also beautifully arranged and performed as Adam is joined by a raft of excellent collaborators. The album itself is a reaction. Whether it be in the title, the lyrical content or the method in which the sounds were captured. “I was feeling fairly down and uninspired about the musical landscape” Adam explains. “The risk with digital recording where every instrument is overdubbed separately is that it can end up sounding metronomic, sterile and lacking personality.

I also started to get a bit freaked out by the topic of AI-generated music and the insidious, creeping impact it’s already having. I therefore decided that, as a bit of a protest, I wanted to make something that sounded extra-specially human and hand-crafted, where you could hopefully hear the interplay between musicians.” For this reason, Adam decided to record the majority of the album live, as a band, playing together in the same room without a click track. “I’d put a band together to tour my last album, Littoral Zone, and I really enjoyed the way we all worked together. Green Door Studio was chosen as the destination as it specialises in analogue sound production but it had an extra significance for Adam. “Green Door was the first studio I ever recorded in, back in 2009. This time around, the “unforgiving” nature of tape recording became an inspiration. “The musicians on the record are such great players that they rarely make mistakes, so there was a confidence there that we wouldn’t need to rely on copious amounts of editing or post-production, which isn’t always possible with tape anyway. The core band consisted of Owen Curtis-Williams on drums, Cameron Maxwell on bass, Pedro Cameron on violin, Gillian Fleetwood on harp and (long-time collaborator with Randolph’s Leap) Pete MacDonald on piano. Mercury Prize-nominated artist C Duncan was drafted in to write and perform backing vocal arrangements along with Amanda Nizich and Gillian Fleetwood. Adam says “I’d been listening to a lot of Bob Dylan, Karen Dalton and Bill Callahan records and I thought it might be interesting to apply those sorts of influences to my brand of Scottish quirk-pop”.

Lone Ark and The 18th Parallel join forces again! After the critically acclaimed debut ‘Showcase Vol. 1’ (2021), the two spearheads of the European roots reggae scene return with a powerful statement: ‘Man Kill Man’, the first single from the upcoming album ‘Showcase Vol. 2’.

Recorded on 2” tape between Geneva, Switzerland and Cueto, Spain, this new project is another masterpiece of production. It dives deep into the roots sound and playing of the mid 70s reggae with heavyweight drums and bass, razor-sharp rhythm section, and sophisticated flute and vocals arrangements.

Roberto Sánchez, the voice behind Lone Ark, sings about ongoing wars in the world justified by religious beliefs. In today’s climate, where such conflicts persist across the globe, speaking out about this issue is both crucial and deeply relevant. ‘Peace Version’ on the flip is a dub full of message mixed by the man himself, Lone Ark.

ANNE is proudly presents her new imprint Blind Harmonies, shaped by intuition, patience, and a self-taught approach to music creation. The name reflects a journey built without formal training, producing music "blind," guided by listening, experimentation, and trust in instinct rather than rules. The label is built on the belief that harmony is something you sense before you understand. By closing your eyes, sound becomes more honest, rhythms breathe, textures speak, and emotion takes the lead.

With her first release, ANNE presents four dynamic, dance floor - oriented cuts-emotional and seductive at the same time. Opening with A1. Daydream, the EP sets a melancholic yet driving tone, drifting deep into the listener's mind and emotions. A2. Castles in the Air follows with a propulsive rhythm, led by Detroit-influenced synth soul and percussive energy that carries the track forward.

On the B-side, B1. Metallic Tapes delivers a hypnotic, percussive, and trippy groove, maintaining a steady yet intense rhythmic flow. Closing the record, "In the Blink of an Eye" blends powerful drums with a sharp, striking lead-proving that potent techno can be both intense and beautiful. The release it's a personal journey, produced with detail and love and focusing on the dynamic but timeless approach of techno music.

The second volume of this series is as good as the first with more finely tuned twilight dubs and Balearic chuggers, expertly curated by a master of this form in Pete Herbert. Across two sides, the comp flows between low-slung grooves, deep synth atmospheres and sun-kissed dancefloor moments. Highlights include Statues' warming 'Andromeda' and a powerful synth-driven turn from Imogen Soundsystem, while side two leans further into Balearic romance, from Herbert's nostalgic 'At Zuka to Kasper Bjorke's proto-dancefloor elegance. Cohesive, tasteful sunset music with real substance.

DJ Feedback

Phil Mison/Cantoma/Ambala:
"Great tunes as always , full support. Lovingthe Zuka tune!"

Sean Johnston/ALFOS:
"Killer Petey! Next few ALFOS sets sorted"

Conrad/Idjut Boys:
"Nice selection, totem project rmx has it for me"

Sally Rogers/A Man Called Adam:
"Excellent, dependable DJ fodder from Pete and Co. Thanks for the consistency :) "

Camilo Miranda/Ibiza:
"Nice combo of tracks here ! loving these!!"

Dream Chimney/Blog:
"SF vol 2 is 10/10 every track a winner on here"

Logan Fisher/Try Outs:
"Superb comp. full of goodies"

4Trepanado/Selvagem/Brazil:
"Great compilation! the Pete Herbert Remix for Time is a great weapon to flip the switch at the dancefloor"

Simon Lee/Faze Action:
"Stunning compilation, hard to pick a winner but I'm heading for Pete Herbert - Zuka"

Marco Gallerani/Hell Yeah:
"Beautiful selection!!! loving it. Can't wait for summer now"

Dicky Trisco/File Under Disco:
"Classy release. All winners. Giselle is my fave. Nice one Pedro xxx"

Felix Joy/Rinse FM:
"Sounding great!"

Jaime Fiorito/Ibiza:
"Some cool bits! Time is my favorite!"

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.

Sem is the first album by Victor Negri under his own name, after a decade making music as Arubu Avua. Released via Stray Signals (Berlin) in partnership with Mutum (Portugal/Brazil), the album was composed between late 2023 and early 2025 during a prolonged period of compounded grief and relocation, and is built upon layers of guitar in irregular loops, alongside samples, experimental electronics, and field recordings.

Begun in Lisbon and finished in Campinas, Brazil, Sem (meaning “without”) deals with loss by juxtaposing new material with unfinished recordings from previous years. As the process unfolded, catharsis emerged as much through editing as through raw expression. The album became a symbolic attempt to glue together fragments and memories from a world that ceased to exist, in order to move forward.

Across its eight tracks, some pieces gradually unfold while others crumble or explode into distortion and feedback, while some seem almost suspended, as if unsure of the next steps. There is a loose trajectory from disorientation and collapse (“Voçoroca”) through astonished frustration (“Não”) and numb acceptance (“Obrigado”), toward a fragile optimism on the closing tracks “Os cacos” and “Boa continuação.” Negri’s first fully instrumental album, Sem contains no vocals at all. That absence emerged gradually after fruitless attempts at songwriting during the period; overwhelm and speechlessness ultimately prevailed. The result leaves room for ambiguity, wandering, and the unfamiliar.

Victor Negri is a Brazilian musician and songwriter. Previously known as Arubu Avua, he makes music framed by noise, feedback, irregular loops, and field recordings.

For the first me as a "single vinyl edion" the iconic and widely considered “anthem” Rave by
Sam Paganini, originally released on 2014 on his masterpiece album “Satellite”.
In addion to the original extended mix also included the “Speed Up 2025 Mix” that marked the
10 years Celebraon.

Reissued on vinyl for the first time, this is the sole and acclaimed album by seminal Liverpool post-punk/new wave band. Released in 1981 on Dindisc, the record showed the influence of the so-called "New Liverpool Scene" that sprang up in 1979-1980 around 'Eric's Club'. Modern Eon moved in the same milieu of influential local acts such as Echo & the Bunnymen, The Teardrop Explodes, Orchestral Manoeuvers in the Dark and Dead Or Alive. A small cult soon to be rediscovered !