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Volcanic Sun Vinyl, limited to 500 copies. The Berlin-based power trio once more is driving their musical WEDGE in between many different genres: Garage rock turns progressive while psychedelic guitar lines are tripping over hard rocking riffs. Does this work together? Hell yes! For fans of Deep Purple, MC5, Led Zeppelin or Humble Pie this album is a sure shot. You like fuzz guitars? Hammond organ and vocals trough a swirling Leslie cabinet? More cowbell? You got it. But unlike our beloved rock records from around 1971, which we've heard a hundred times before "Like No Tomorrow" has one huge advantage: It's brand new and the 8 tracks, ranging from 3:00 to 9:00 minutes, deliver a fresh, unspent and unmistakably unique taste to the rock'n'roll menu. In the tradition of bands like The Raconteurs, The Hellacopters, Graveyard or Wolfmother, WEDGE are building on that vintage vibe we all know and love but evolve their very own thing and are able to connect it directly to here and now.

Zürich-based musician Angelo Repetto returns with his new album Between Worlds: Interference, released on Subject to Restrictions Discs. The record is the result of a unique collaboration with Argentinian visual artist Clara Grabowiecki, extending their immersive live project Between Worlds into a sonic and tangible form.

«This album is a continuation of the deep conversations Clara and I had about concepts of perception that led us to question silence, time, transcendence, and the future», says Repetto. «It’s not about finding answers, but about opening spaces where sound, image, and emotion can flow freely.»

Between Worlds: Interference oscillates between hypnotic rhythms, kraut-inspired synth layers, and psychedelic atmospheres – hallmarks of Repetto’s style that listeners may recognize from earlier releases such as Sundown Explosion and Kamiokande. At its core it is an invitation into an open dimension where disciplines, experiences, and realities dissolve into one another. It is both a deeply personal statement and a collective journey into new perceptual spaces.

As the world sinks deeper into screens and algorithms blur the line between creation and imitation, Nubiyan Twist return with Chasing Shadows, a record that reclaims the pulse, warmth and spontaneity of human connection.
The band’s fifth studio album is a rich and restless blend of jazz, afrobeat, hip hop and electronic textures, exploring the space between the organic and the digital. It’s music that moves, sweats, and breathes, made by real people in real rooms with heavyweight features bringing together varied voices from the music community which they inhabit.
Bandleader and producer Tom Excel explains: “We wanted to make something that felt joyous and defiantly human — something that couldn’t exist without that connection between people. You can get an AI to write a fugue in seconds, but it can’t capture the chemistry and chaos that happens when musicians lock in together. Chasing Shadows is our way of holding onto that.”
Folowing 2024’s acclaimed Find Your Flame, praised by Roling Stone, Jazzwise, NPR and more, Chasing Shadows pushes the band’s sound further into new soulful territory under Exce l’s expert guidance, featuring bright new vocalist Eniola and a glowing cast of icons and innovators. Malian star Fatoumata Diawara lights up the title track on a powerful slice of Afrobeat, Joe Armon Jones leads the dub workout ‘Rhythm Of You’ and the band take it back to their hip hop roots on great colabs with The Pharcyde’s Booty Brown, Ghanaian MC M.anifest and London dancehal favourite, Mr Wi liamz.
On Chasing Shadows, Nubiyan Twist continue to look outwards with their music but keep the focus firmly on humanity and positivity. It is an album which crosses continents and which shamelessly celebrates our co lective strength.
Fifth album from UK-based co lective Nubiyan Twist led by bandleader & producer Tom Excel (Africa Express, Onipa)
Featuring Booty Brown, Fatoumata Diawara, M.Anifest, Mr Wi liamz and Joe Armon Jones.
Pressed on Yelow Vinyl LP, or Green & Yelow splatter Vinyl LP (exclusively for UK indies).

A unique collaboration between two of the most inquisitive and important artists in modern avant-garde electronic music.

Paper Masks marks a striking new collaboration between visionary Mute labelmates Phew and Danielle de Picciotto. Developed quietly over nearly five years, what began as an experiment between friends gradually evolved into a fulllength album. Phew composed and arranged all the music, weaving in dePicciotto’s voice and freely reshaping it to create something entirely new. Performed in both German and English, the result is an exploratory work that balances electronic minimalism with emotional immediacy.

Described by Pitchfork as “a Japanese underground legend”, Phew - former member of Osaka punk pioneers Aunt Sally - has forged a remarkable solo career, collaborating with Ryuichi Sakamoto, members of Can, and many others. In parallel, Danielle de Picciotto, an American-born interdisciplinary artist based in Berlin, co-founded the Berlin Love Parade and has performed internationally, working with Crime & the City Solution, Gudrun Gut, Space Cowboys, and her partner Alexander Hacke (Einstürzende Neubauten and frequent Phew collaborator) in hackedepicciotto.

Paper Masks stands as a mesmerizing exchange between two singular voices in experimental music - an intimate dialogue across distance, language, and sound, and a compelling addition to both artists’ evolving legacies.

Available on limited edition jellyfish color vinyl, featuring lyrics and poetry, and on CD, housed in an eco card-pack with a lyrics and poetry booklet.

Slow Process welcomes D3070 with ‘Crossing The Unknown’, a brisk six track collection of contemporary, inventive electro.

Track by track:

Opener ‘Interceptor’ is a concentrated blast of overdriven, swaggering energy, setting the tone for an immersive and hard- hitting joyride of a release. A pacy electro assault follows in the form of ‘CBRN’, before pulling the tempo back for the title track, an eight-minute swathe of dark acidic sequences and classic drums. ‘Aim High’ strikes a similar, albeit less dark chord, with some sweeter melodies on display. The introduction of ‘Quantum Leap’ is suggestive of a straightforward four to the floor workout, before evolving into something altogether more off-the-wall. Finisher ‘Our Galaxy’ is a slightly more subdued, minimal affair comprised of lucid melodic motifs, percussive zaps and sub basses.

Includes download codes.

The Final album by Music Legend Brian James ( Founder member and songwriter of both The Damned & Lords of the New Church and writer of the first British Punk single New Rose ) who sadly passed away earlier this year.
Brian was awarded The Pioneer award for lifetime achievements by Uk rock magazine Vive Le Rock last year and his song New Rose was voted best punk single of all time this year in the same magazine . Limited pressing on Yellow Vinyl with printed inner sleeves. Cover art by Graham Humphries famous for his horror poster artwork Evil Dead / …as well as designing Lp covers for Brian and Lords of the new church. Guest Vocalists include Dirty Al from the Dirty Strangers and Ramona from the Mo-Dettes
• Reviews in Record Collector , Vive le Rock , R2 & Shindig already confirmed

Back on vinyl for the first time since 2015! New remastered version with alternative cover art. Unlike all DJ Yoda’s artist albums, ‘Breakfast Of Champions’ features the same collaborators on every track effectively putting together a band. The genesis of the project was in Manchester, where the legendary Band On The Wall venue asked him to host an artistic residency. He put a call out for local musicians, did auditions, and selected three rappers. Two were local to Manchester - Truthos Mufasa and Sparkz. They were local legends making up parts of The Mouse Outfit and LVLZ. And the third was Rex Domino from down south, who was a British MC who Yoda thought would gel well with the other guys. They wrote, rehearsed and recorded intensively in Manchester - performed a memorable series of live shows (including an epic Glastonbury show), and Yoda put the finishing touches to the album back in London after the fact. “It was such an enjoyable experience” says Yoda. “Lifelong friendships were made, and most excitingly two of the band members got together (James Breen, drummer, and Claire Northey, violinist) and had two kids! So there are Breakfast of Champions humans out there too!”

This new pressing features alternative artwork that was never used at the time of the album’s original release.

T.O.N.Y. 2 (Director's Cut) delivers a raw, unfiltered dive into Pounds448’s unique brand of underground Hip-Hop. 15 tracks packed with gritty storytelling, tight wordplay, and heavyweight energy. Completely produced by Spittzwell blending streetwise lyricism with vivid soundscapes, this project showcases Pounds448 honing his craft and carving out his own lane in the modern rap landscape. At just under 50 min, it’s a powerful listen that’s perfect for anyone hungry for authentic, no-nonsense hip-hop from one of Rochester’s most distinctive voices.

‘Moonlight Concessions’ goes back to basics, a return for Throwing Muses to their esoteric off-kilter best courtesy of Kristin’s pin-sharp sketches and their suitably abrasive musical arrangements. The album follows their acclaimed ‘Sun Racket’ from 2020, a heady set filled with tough and tender tales spiked with surreal imagery. Produced by Kristin Hersh at Steve Rizzo's Stable Sound Studio in Portsmouth, Rhode Island, ‘Moonlight Concessions’ is a collection of snippets from everyday life writ large - think Raymond Carver Short Cuts, overheard conversations, recounted happenings and telling one-liners, all sewed together to illustrate the times as they slowly mature, fully peppered with original Muses’ vim and vigour. ‘Drugstore Drastic’ is a kerbside soliloquy caught en route to a more alluring rendezvous. Built on a brisk acoustic strum with a guitar sub-melody underpinning proceedings, it’s an unfolding tale of social awareness from a blurred sub-conscious. ‘Summer Of Love’ began as a bet with a guy for a dollar that revolved around the idea that the seasons don’t change us. The album opener, it’s a haunting baroque overture, bowed and brooding. ‘Libretto’s strings offset the acoustic ambience, the hot and cold of longing at the very heart of it, a thematic driver filed with warmth in a safe haven lubricated by tequila. Written in the differing South Coast environs of The Gulf Of Mexico and Southern California, ‘Moonlight Concessions’ pulls from the star clusters that light both, generating optimism and hope in varying degrees. Hersh explains, “In New Orleans the stars look greenish-blue, as it’s below sea level and swamp-lit. But on Moonlight Beach, they glow icy white. All these songs were written in these two glowy places, which helped our sonic technique find itself.”

Includes demos of every track from the original album, stripped back to (mainly) guitar and voice. Originally a Norman Records exclusive, these are the last few copies available from a limited pressing of just 300. Mark Fry is a France- based, English singer- songwriter/ artist whose debut album, 'Dreaming With Alice,' released in Italy in 1971, became a much-bootlegged "acid-folk" classic three decades later. Fry returned to recording in 2008 and has since released 4 more acclaimed studio albums. These days, far less "acid" than in his youth, Fry still knows his way around a beautiful melody. This album of sketches is resplendent with love songs, the beauty of nature and the passing of time Fry is certainly no stranger to the preparatory sketch. An artist in the truest sense of the word, renowned equally for his decades- long career as a painter of vibrant abstracts and as a cult psychedelic minstrel turned intimate, evocative singersongwriter, his atelier, housed in a converted stable building at his Normandy home, literally doubles as his music studio. It was in this space that Mark's fifth solo album, 'Not On The Radar,' released back in May, was recorded in the summer of 2024, with the singer pushing back his easels to accommodate a four-piece live band and vanloads of miscellaneous accompanying paraphernalia.

Before that, the studio had been a considerably emptier space in which working versions of the album's ten languidly bucolic compositions were first demoed by the solitary songwriter (although some emergent tracks were also captured at Balintore - the home studio of Mark's regular guitarist, Iain Ross, housed on the latter's London-moored canal barge). With those sketches presented here in the same running order as on the mothership longplayer, this new album stands as a document of process - offering the opportunity for track- by- track comparison for those already familiar with Not On The Radar. Crucially, it also makes for a very fine standalone album in its own right, which, if nothing else, bears testament to the inherent robustness of Mark Fry's songwriting.

Peter Tosh war ein Reggae-Multi-Instrumentalist aus Jamaika, der zusammen mit Bunny Wailer und natürlich Bob Marley zu den Gründern der legendären Band The Wailers gehörte. »Equal Rights« ist sein zweites Studioalbum und dasjenige, das ihn an die Spitze des Reggae katapultierte und ihn als potenziellen Rivalen von Marley etablierte. Das ist zwar nicht ganz gelungen, aber »Equal Rights« ist immer noch eines der einflussreichsten Reggae-Alben aller Zeiten.

Tosh war ein großer Verfechter der Menschenrechte und das spiegelt sich auch in der Tracklist wider. Natürlich gibt es eine Version von »Get Up, Stand Up«, die zusammen mit Bob Marley geschrieben wurde, aber »I Am That I Am«, »Downpressor Man« (eine Version von Sinnerman, die durch Nina Simone berühmt wurde), »Stepping Razor« und »Apartheid« wurden alle zu eigenständigen Menschenrechtshymnen. 1987 wurde Tosh bei einem Raubüberfall getötet und ließ Reggae-Fans auf der ganzen Welt mit der Frage zurück, was hätte sein können.

»Equal Rights« ist als erweiterte 2LP-Edition mit einer Bonus-Disc erhältlich, die seltene und unveröffentlichte Songs enthält, die bisher nur auf »Dubplates« erhältlich waren. Diese definitive Version eines Reggae-Evergreens ist in einer Deluxe-Hülle mit Leinenfinish und einem 4-seitigen Booklet verpackt und in einer limitierten Auflage von 3000 einzeln nummerierten Exemplaren auf orangefarbenem Vinyl erhältlich.

The Gun were a late 1960s British rock guitar trio who had a single British Top Ten hit, “Race with the Devil”. Brothers Adrian (guitar) and Paul (bass) Gurvitz teamed up with drummer Louis Farrell to create some energetic music. They founded a crossroads between blues rock, progressive and metal. The power trio created one of the best kept secrets from the sixties.

Based on an unbelievable true story, Roofman follows Jeffrey Manchester (Tatum), an Army veteran and struggling father who turns to robbing McDonald's restaurants by cutting holes in their roofs, earning him the nickname: Roofman. The film's score was composed by Grizzly Bear multi-instrumentalist Christopher Bear, with contributions from The War on Drugs' Jon Natchez. Christopher Bear is a drummer and multi- instrumentalist member of the Brooklynbased indie-rock group Grizzly Bear. He continues developing his independent career, most recently working on arranging soundtracks for the HBO series High Maintenance, and scoring the 2023 film Past Lives alongside his bandmate Daniel Rossen.

Forever at Last - the debut EP by Melbourne’s HighSchool - is finally back in print on vinyl. Six brilliant tracks that introduced the world to an exciting new band, it’s been out of print long enough and is being reissued ahead of their 35-date World tour. Produced by Archie Shannon (Floodlights), the band’s ingenuity shines with them effortlessly mining myriad influences. Where first singles ‘Frosting’ and ‘New York, Paris and London’ delighted with their potent mix of sun-dappled indie pop and industrial post-punk, their next two ‘De Facto’ and ‘Sirens’ pointed to the dancefloor with the band infusing DFA / New Order / Future Islands sounds while the final pair saw ‘Jerry’ taking a darker turn, playing on the band’s gothic image before closer and title track ‘Forever at Last’ pushed the synth to the fore. A perfect record.

Eco-vinyl pressing

Der rote Büffel ist in Gefahr! Um das wertvolle Kunstwerk zu retten, wenden sich die drei ??? An ihren größten Widersacher - Victor Hugenay.

Die Zeit drängt, denn Justus, Peter und Bob sind nicht die Einzigen, die das Gemälde suchen. Ohne die Hilfe des Meisterdiebs, ist das Versteck des Bildes nicht aufzuspüren. Können die Detektive ihm vertrauen? Zwar sitzt er hinter Gittern, doch Hugenay ist zu allem fähig. Ist er wirklich so hilfsbereit, wie er sich gibt oder tappen die drei ??? in eine Falle?

Nach zwei erfolgreichen Demo-Tapes, »Bloody Karnage« (1984) sowie »Surrender Or Die« (1985), begaben sich Torontos Slaughter im Februar 1986 erneut ins Studio, um ihre Debüt-Single »Nocturnal Hell« aufzunehmen, die aus dem Titeltrack, “One Foot In The Grave” und “Tortured Souls” bestand. Die Besetzung bestand aus dem Gitarristen und Sänger Dave Hewson, Bassist Terry Sadler sowie Schlagzeuger Ron Sumners. Die Originalpressung der 7“ Single erschien auf Brian Taylors Label Diabolic Force in einer limitierten Auflage von 1.000 Stück. Der hektische Death/Thrash Metal von Slaughter traf voll den Zeitgeist wurde von den Fans sofort ins Herz geschlossen. 1987 folgte auf »Nocturnal Hell« das legendäre Debütalbum von Slaughter, »Strappado« (ebenfalls auf Diabolic Force veröffentlicht). „Sämtliche Stücke von »Nocturnal Hell« wurden schon in der Session zum »Strappado«-Album mit aufgenommen“, erklärt Dave Hewson heute. „Die Aufnahmen und der Mix nahmen insgesamt ganze zwei Tage in Anspruch und kosteten lächerliche 500 US-Dollar. Eine 7“ war eigentlich nie geplant. Aber ich glaube mich erinnern zu können, dass Diabolic Force/Fringe Records in finanziellen Schwierigkeiten steckten und deswegen die Single vor der »Strappado«-LP herausbrachten, die dann ein Jahr auf sich warten ließ. Das Album wurde im Februar 1986 aufgenommen, kam aber erst 1987 heraus. Wir waren sehr froh darüber, wie die Scheibe geklungen hat, super heavy nämlich. Das Schlagzeug ist im Mix vielleicht ein wenig zu laut gewesen, aber insgesamt waren wir wirklich zufrieden mit dem Sound.“ Rechtzeitig zum 40-jährigen Jubiläum legen High Roller Records nun die inzwischen sehr gesuchte »Nocturnal Hell«-Single in ihrer ursprünglichen Fassung noch einmal neu auf.

Six years after his Grammy-nominated LP5, Sascha Ring - aka Apparat - takes a bold dive into the complexities of life with his sixth studio album.



A Hum Of Maybe is detailed, finely crafted, and wonderfully unpredictable. At its core, the record is about love - for himself, his wife, and his daughter - and holding onto it, protecting it, and constantly recalibrating as it is in a constant state of flux. As the title suggests, the songs explore being stuck in between: not a clear yes or no, but A Hum Of Maybe.



Ring elegantly combines the perspectives of an electronic producer and a classical composer, working closely with long-time collaborators Philipp Johann Thimm (cello, piano, guitar) - who also co-wrote and co-produced the record - Christoph “Mäckie” Hamann (violin, keyboard, bass), Jörg Wähner (drums), and Christian Kohlhaas (trombone). The album also features Armenian-American artist KÁRYYN - Apparat’s Mute labelmate - on ‘Tilth’, and Berlin-and Rome-based musician Jan-Philipp Lorenz (aka Bi Disc) on ‘Pieces, Falling’.



A Hum Of Maybe is complex, deeply personal, and embraces a state of limbo, marking an exciting new chapter for Apparat.

NOFX waren sauer (sind es möglicherweise immer noch) und wollten uns das wissen lassen! Ursprünglich 1999 veröffentlicht, war "The Decline" ein mutiges Werk und markierte einen großen Wendepunkt für NOFX. Der Song, der weithin als eines ihrer Meisterwerke gilt, ist ein 18-minütiges Punkrock-Spektakel, das die Entertainmentqualitäten, den lyrischen Witz und die Musikalität der besten Punkrockband aller Zeiten richtig zur Geltung bringt. Der Song, der den Zustand Amerikas satirisch darstellt und die gleichgültigen Massen und Politiker gleichermaßen aufs Korn nimmt, ist auch im Jahr 2026 natürlich leider noch aktuell und kritisiert somit weiterhin die Mächtigen auf eine Weise, zu der nur wenige Künstler den Mut haben. Die Vinyl-Single enthält auf der B-Seite die erste Version von "Clams Have Feelings Too" (das später auf dem Album "Pump Up The Valuum" wieder auftauchte) und ist ein Muss für jeden NOFX-Fan. Erneut auf schwarzem Vinyl wieder da und und limitiert in neuem farbigem Vinyl. Inklusive Beilage mit Texten und Bildern.

Like a crusader, Apollo Noir relentlessly pursues his noble cause: pushing modular and analog experimentation ever further while remaining irresistibly accessible. Here is CORE, his 4th studio album, fusing post rave techno Detroit à la Drexciya and Manchester early Autechre (Spiral), OPN’s most epic era (Nobody On The Floor), futuristic UK jungle (A Good Brainwash), letfield amen-breaked ambient (ça va), a mega massive cadaver exquis song (CORE) featuring Remi Sauzedde’s very close friends (Janis, Ley, Claude Violante, Silly Boy Blue, S Diamah, Serguei Spoutnik and Fly HQ), diving deeper - as a true obsessive lover of drum machines (TR909, TR808 and TR606) - in the raw deconstruction of techno rhythms (Déconstruire), unleashing a dark and heavy Bassline at 145 bpm with grime vocal samples (Patternity), heavy modular beats blending perfectly with soft and voicy Korg M1 pads (Shame)... Apollo Noir knows his classics and contemporaries inside out, forging his own path with deranged yet beautiful twists (Thedral, Arco Arca).

Alchemist is the debut full-length album from Alexander IV, the jazz-influenced beat project of Dutch producer and multi-instrumentalist Joris Feiertag. Known for his club-ready solo productions under the name Feiertag, this project sees Joris stepping into a more introspective and cinematic space-merging beat culture with live musicianship, sample-based craftsmanship, and a deep love for soul and jazz.

White Elephant announce their debut album "World Elephant Day", the sound of time, trust and total freedom. A project forged over ten years in Crazy P"s Nottingham studio, blending dancefloor DNA with intimate musicianship. White Elephant began as a no-agenda weekend in Crazy P"s Nottingham studio, where Chris "Hot Toddy" Todd, Jim "Ron Basejam" Baron and Ben "BJ" Smith discovered an effortless musical union. Over the next decade, their collaboration slowly evolved into a debut album shaped by warmth, trust and lived experience rather than deadlines. Blending Crazy P"s dancefloor DNA with tender musicianship, the record moves between glowing disco grooves, 80s-bright sparkling pulses and intimate acoustic moments. It"s reflective without being nostalgic, playful yet deeply human. White Elephant is three friends rediscovering the joy of making music simply because it feels good.

DJ Support: Dennis Quin, Benny Rodrigues, De la Swing, Archie Hamilton, Jamie Jones, Rich Nxt, Roger Sanchez, Ilario Alicante, Jon Cutler, Adriatique

Fabio Santos is a DJ and producer from Rotterdam whose sound is firmly connected to the underground. With inspiration from labels such as Dungeon Meat and Slapfunk Records, his music and sets combine raw rhythms, rolling basslines and a stripped-back energy that reflects the essence of the scene. Fabio approaches DJing with a focus on flow and atmosphere, building tension and release in a way that keeps crowds engaged from start to finish. His style is direct, uncompromising and always aimed at serving the dancefloor.

Auf dem komplett unübersichtlichen Markt der Vinyl-Wiederveröffentlichungen rarer Aufnahmen aus dem im weitesten Sinne Rock & Roll/Rhythm & Blues/Popcorn-Umfeld hat sich die Serie DOWN AT THE UGLY MEN’S LOUNGE mit einer komplett eigenständigen konzeptionellen Farbe etabliert. Das authentische 10“-Format und die Covergestaltung mit obskuren und anonymen Musikerfotos der ersten fünfzig Jahre des 20. Jahrhunderts sind gleichermaßen unverkennbar wie unwiderstehlich.
Das stilistische Spektrum der neuen Auswahl rarer und rarster Trouvaillen aus dem legendären Archiv von Prof. Bop bleibt dem Ursprungskonzept treu: Zwischen Boogie und Mambo, zwischen Blues und Bop, zwischen Exotica und Egozentrik...weniger amateurhaft gespielter Teenager-Rockabilly, eher Rock & Roll etc. von musikalisch versierten und Jazz-geschulten Vollprofis. Allesamt Aufnahmen der goldenen Epoche 1950 – 1962.

Athens-based percussionist and sound artist Yorgos Stavridis makes a stark, physical debut for Heat Crimes with »Solo Percussion«, a set of one-take improvisations that approach percussion as a field of friction between body, objects, space, and sound. Working with membranes, metals, found objects, and feedback systems, Stavridis foregrounds timbre, texture, and spatial presence, collapsing distinctions between instrument, environment, and recording apparatus.

Microphones and speakers are treated as unstable instruments in their own right, introducing opaqueness, resistance, and feedback into the performative chain. Scrapes, low-end pressure, brittle metallic chatter, and sudden bursts of resonance emerge through close bodily engagement with surfaces and materials, each piece documenting a specific configuration of objects, gestures, and acoustic conditions. Performed and recorded live, »Solo Percussion« captures sound in its most contingent state; situational, physical, and irreducibly present. Eschewing narrative, pulse, or formal development, the record sits squarely in Heat Crimes’ lineage of process-led, uncompromising sonic research, where listening becomes an active, tactile act and sound itself is the primary event.

Un-easy listening from »anti-singer« and improviser Sofia Jernberg, a celebration of the voice in its rawest, most malleable form. Jernberg was born in Ethiopia and grew up in Vietnam and Sweden, so one can only imagine these diverse languages opened up a wealth of phonetic possibilities before she entered academia to study jazz and composition. If you dive into her catalogue you’ll clock her startling range – working as a jazz soprano and as an improviser, collaborating with everyone from Stefan Schneider to Mats Gustafsson, as well as appearances on the stage and screen, most notably in Matthew Barney, Erna Ómarsdóttir, and Valdimar Jóhannsson’s »Union of the North«.

On »Voice«, Jernberg provides a ground-level entry point to her work, meticulously running through a litany of unconventional techniques (non-verbal vocalisation, split tones, toneless singing, and distortion) without any effects, just pure batshit sonics designed to show off the voice’s scope as an experimental instrument. On »Mouth Synthesizer« she purses her lips to make ratcheting pops like some analog oscillator, hoarsely mimicking the sort of blustery, Merzbow-coded distortions you might get if you patched a RAT pedal into a broken guitar amp. It isn’t an act of caricature, it’s Jernberg’s way of demonstrating that expensive modular rigs aren’t an essential tool for experimental music, before throwing a side-eye to the field recording industrial complex on »Birds«, transforming her vocal chords into a nightmare aviary. But it’s Jernberg’s startling »multiphonic« experiments that hit hardest. The album opens on »Multiphonic I«, and it’s difficult to tell that you’re listening to a human voice at first – you could just as well be on Colin Stetson’s overblown sax airstreams. Jernberg creates a captivating spiral of crooked, phased tones and hoarse, guttural croaks that she develops over three movements. On »Multiphonic II«, her voice is turned into a storm of pained shrieks, and on the third and final segment, it almost resembles Arve Henriksen or Jon Hassell’s muted brass curlicues. Each track pulls a different musical muscle, whether it’s »One Pitch« with its unsettling yodel-like quivering drones or »Gurgle«, sounding like a close mic-ed recording of a small pot gently simmering.

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.

L.A.-based soul singer Leela James started out singing backup vocals on Hip-Hop albums in the late 90s and early 2000s. In 2004, she recorded the song "No Tears" on Pete Rock's "Soul Survivor 2", shortly after she signed a deal with Warner Bros Records and released her debut album A Change is Gonna Come, named after her cover of the Sam Cooke song. A true soul singer, with a voice comparable to Mavis Staples and Betty Wright, Leela enlisted Commissioner Gordon to oversee production, which included tracks by Kanye West, Raphael Saadiq, Wyclef Jean, and Chucky Thompson. The lead single, "Music," is an ode to the soul singers of yesterday, with a Hip-Hop feel. She performs a soulful R&B cover of No Doubt's "Don't Speak" and alternates between funky uplifting tracks like "Good Time" and "Soul Food" with downtempo, soulful ballads like "When You Love Somebody" and "My Joy." Leela James departed from Warner after the release of her debut and went on to release seven more studio albums. It's been twenty years since A Change is Gonna Come was released in June of 2005, and Get On Down is proud to present this underrated gem for the first time on vinyl. The album is pressed on "Golden Pearl" colored vinyl and packaged in a gatefold jacket, limited to 1000 copies. It's been a long time coming, but this is a must-have for neo-soul and R&B music lovers.

While it remains a remarkable achievement, Mavi’s breakthrough debut album Let The Sun Talk was the work of an artist still coming into his own, recorded when the gifted emcee was a teenager attending Howard University. After touring with Jack Harlow and working with artists like Earl Sweatshirt and Pink Siifu, the Charlotte, North Carolina wordsmith returned three years later with the acclaimed follow-up Laughing So Hard, It Hurts, an emotional meditation on life’s complex duality. Embedding his dense flows within lush instrumentation and stuttering percussion, Mavi unearthed new lyrical depth on the album, navigating through joy and sorrow, grief and hope, pain and healing. While many artists have struggled to match the heights of a beloved debut, Laughing So Hard, It Hurts proved that Mavi would only continue to elevate his virtuosic self expression with each new release. Eloquently cascading rhymes reveal an artist searching for truth through a vast scope of thought, floating atop serene production from Monte Booker, Dlyvinci, Ovrkast, and more. After very limited initial pressings, this classic 2022 collection is now receiving its most extensive vinyl release to date.

j C2 Bad (Remix) feat. Rihanna










[j] C2 Bad (Remix) [feat. Rihanna]










[j] C2 Bad (Remix) [feat. Rihanna]

The story of how we heard about D.J. City.
Once upon a time P.P. D.J.ed in Stockholm. Picked up by legend Sling from the airport, with what I recall was a very nice old Jeep, that had a tape deck.
That Tape deck was playing a cassette that quickly caught our attention. We found out, on it was „1- 800 Techno“, a project by another local legend D.J. City. Somehow we received the tape and digital files and have been playing them ever since.
Years later we met D.J. City at a gig for Cocktail D’Amore, it was a brief and pleasant introduction as he was handing over the decks to us.
It took some more time until we really got in touch and started a work relation that quickly turned into friendship. Circa 10 years later, we have the opportunity to properly shine light on this project that started it all.
You can listen to the full release digitally and on Vinyl for the first time. „1-800 Techno“ that is Karl Lihagen & Johan Norling (aka D.J. City) with „For Several Eternals Before There Were Years“. This I guess is what you call a „full circle moment“. Enjoy!

Finlay Shakespeare is an electronic musician working from the UK and across Europe. A childhood obsession with his parents’ record collection led him to both create his own music and build his own synthesizer equipment throughout his teenage years. After studying audio engineering, he was invited to become in-house engineer for the Moog Sound Lab UK, leading to collaborations with acts as diverse as Suicide, Charlemagne Palestine, The Grid and Mica Levi & Eliza McCarthy, both in live and studio environments. In 2017, Finlay began recording a series of monthly “Housediet'' releases - all improvised and captured at home utilising drum machines, modular synthesis and processed vocals. After several encounters with Peter Rehberg of Editions Mego, a compilation of the Housediet tracks was drawn up by Rehberg and Shakespeare, culminating in the release of “Domestic Economy” in early 2019. “Solemnities' ', a second album for Editions Mego appeared the following year. In the period since Rehberg’s untimely passing, Finlay has recorded for Superpang, Modulisme and his own GOTO Records imprint. “Illusion + Memory”, meanwhile, continues on from where “Solemnities” left off, with Finlay once again aiming to work at the fringes of electronic pop. Alter is proud to present “Illusion + Memory”, the third full length physical LP of Shakespeare’s utterly unique and sophisticated output. Shakespeare’s obsession and knowledge of late 70’s and early 80’s electronic pop music is once again at the forefront of this intense and dynamic release. Alas, this is not some retro throwback. Shakespeare’s deep understanding of his machines breathes new life into a genre of music once defunct. Supporting the likes of Blancmange bolstered his reputation for sublime synth hooks and dark lyrical content. Building on his previous work in the field “Illusion + Memory” is an unabashed pop record, as joyous as it is intense, moving from the brooding opening ballad “Your Side of the River” through the punchy “Theresa” which could be read as a love song to Throbbing Gristle’s United. Elsewhere “Climb” unleashes the opportunity to the dancefloor as wild electronics snake into all manner of schizophrenic shapes. There is a romantic side to this music. In its homage to electronic pop of the late 70’s and early 80’s but also in the emotional punch Shakespeare injects into every second of every track. Shakespeare’s reboot of these musical forms is technically impressive, one rich in feeling and deep in emotion, atmospherically and vocally. The two come together to create a unique visceral sonic experience… today!

If you’ve been following the wanderings of prolific psychedelic magicians Elkhorn, you might be surprised that Elkhorn guitarist Drew Gardner’s solo LP Wave Field is the most out and out “rock” record on VHF in many years. Working here in a small group with excellent players Tom Malach (guitar), Andy Cush (bass), and Ryan Jewel (drums), Gardner cuts loose on a set of propulsive and swinging material that allows him to greatly expand his sound into unexpected areas. “Rhizoid” starts with a sneaky groove riding the nimble bass and drums of Cush and Jewel before a leap into the ripping Sonic Youth/NEU! hybrid of “Space Ray.” “Shadow Casting Grass” brings things back down to end the side with some Elkhorn-adjacent gentle guitar weave backed again by the sly rhythm section. “Wave Field” kicks off side 2 with an extended buzzy guitar raga with Cush’s melodic and fat bass providing jammy counterpoint. The epic “Mayan Bees” closes the LP with an extended workout on another extremely fine drum and bass ostinato, a hypnotic minor key riff that slow builds over 10+ minutes.

"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."

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)