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'Yamame' (the Japanese name for a kind of freshwater salmon) was recorded in 1962 and was Miyazawa’s first album, but the sharpness and avant-garde modernity of the music creates a completely timeless quality. Miyazawa is one of a group of musicians who laid the foundation of the Japanese jazz scene. He wanted to express his cultural heritage by doing something he felt “only someone Japanese” could do, and so he dedicated himself to a pursuit of “Japanese jazz”. Incidentally, the album was originally simply titled “Akira Miyazawa”, but perhaps due to the impression the cover art and the track titles made, it was reissued in 1977 as “Yamame”, and has gone by that title ever since. This is an historic masterpiece of Japanese jazz.

Tenor Saxophone – Akira Miyazawa
Alto Saxophone, Flute – Sadao Watanabe (tracks: B1 to B3)
Baritone Saxophone, Clarinet – Tadayuki Harada (tracks: B1 to B3)
Trombone – Mitsuhiko Matsumoto (tracks: B1 to B3), Yasuhiro Tomoto (tracks: B1 to B3)
Trumpet – Akira Nakano (tracks: B1 to B3)
Piano – Masahiko Sato
Bass – Masanaga Harada
Bass Trombone – Takeshi Aoki (tracks: B1 to B3)
Drums – Kanji Harada, Takeshi Inomata
Supervised By – Jiro Kubota

Known for their exhilarating live-to-record albums such as last year's critically acclaimed Wood Blues and Giant Beauty, سماع Sama'a (Audition) is the first of two releases that will surface after أحمدAhmed’s first studio recording sessions at North London’s The Fish Factory in early 2025.

Since 2014, Ahmed أحمد have excavated and re-imagined the music of Ahmed Abdul-Malik, in an ever ongoing search for future music. Over a decade on, the group were given the opportunity to set up in the studio for the first time and, with the aid of meticulous engineer Benedic Lamdin, سماع Sama'a (Audition) is the quartet's most detailed work to date.

Fastidious fans may recognise the album's tracklisting as that of Ahmed Abdul-Malik’s Jazz Sahara. After his success collaborating with the pianists Thelonious Monk and Randy Weston, Jazz Sahara was the first record Abdul-Malik made as a leader and was released in 1958. It used the flame of late Fifties jazz to light the wick of North African folk music and acted as a reminder of the Arabic origins of jazz, creating a distinct, unique sound that was far beyond its time. In Malik’s Jazz Sahara, there is no piano. The ongoing work of each member of [Ahmed] then is to think differently, to wonder how the music will work and to take a risk on trying it out - an extraordinarily compelling feat of imagination. Using group improvisation strategies and recording in single takes, سماع [Sama'a] (Audition) tackled the full suite of Jazz Sahara in just one session, with ‘Ya Annas [Oh, People’] and ‘Isma'a [Listen’] being previously unrecorded. 'Farah 'Alaiyna’, also released on 2019’s Super Majnoon, sounds unrecognisable - the slow, heady stomp and repeated phrasing of 2019’s embryonic [Ahmed] having been blast furnaced and sped up four-fold. The result is four kaleidoscopic, relative miniatures that move, unfold and re-imagine at a very different scale and proportion than [Ahmed]’s previous records. It’s a dizzying, euphoric music and an extraordinary record of a group moving through space-time like no other.




[b] Isma'a [Listen]
[c] El Haris [Anxious]
[d] Farah 'Alaiyna [Joy Upon Us]


[b] b1 Isma'a [Listen]
[c] c1 El Haris [Anxious]
[d] d1 Farah 'Alaiyna [Joy Upon Us]


[b] b1 | Isma'a [Listen]
[c] c1 | El Haris [Anxious]
[d] d1 | Farah 'Alaiyna [Joy Upon Us]

Schwarze Vinyl LP Edition. Inklusive 7’’ Vinyl mit unveröffentlichten Bonus Tracks.

10-Jahre-Jubiläums-Reissue von Twit Ones wegweisendem Album „The Sit-In“ aus dem Jahr 2015. Von vielen Twit-Aficionados als eines seiner besten Werke gefeiert, unterschied sich „The Sit-In“ bei seinem Erscheinen deutlich von seinen vorherigen Alben – und Twits Musik war noch nie leicht vorhersehbar. „The Sit-In“ war die erste Twit-Platte, zu der man Räucherstäbchen anzünden kann, und auch zehn Jahre später hat sie nichts von ihrem Zauber verloren. Mit Sängerin May sowie den Poeten PB Louison und Imam Ally-Salaam. Artwork von Van Lagerstein und Robert Winter. Das 10-Jahres-Jubiläums-Reissue enthält außerdem eine Bonus 7"" mit vier neuen Tracks.

Wiccans only make noise when they feel like it. A band that’s been uttered in reverence for nearly two decades with only a handful of releases, each one a stand-alone classic.
You see, it’s hard to pinpoint a band that actually has the equal influences of American psychedelia and hard rock all anchored in the glorious benevolence of American Hardcore. A tonne of bands dance around and flirt with each but it rarely lands in the sweet spot. They’re not trying to fit some supposed perfect space and that’s the very point so many others miss.
Wiccans are creating the space. Breaking rules and allowing a bit of breadth to what is often a claustrophobic style of music. This might sound scary as everyone knows that the more Hardcore evolves the worse it is - at least on record. The formula that Wiccans are playing with on Phase IV should scare you. It’s totally potent with odd songwriting, intensely creative and varied guitar work and completely pissed vocals. Phase IV does whatever the fuck it wants and passes the bar that only Wiccans could have set for themselves. All of this is propelled by a far stronger production quality than previous efforts and instead of having that expose some fault line it’s secured it as a modern classic.
It’s the kind of shit that will shake the dandruff from the beard of a Third Man collector but will also make that guy stop going to DIY gigs because they’re “too rough” or whatever. I’m just sitting here wondering if this is maybe what might have happened if Poison Idea wrote Hidden World. There’s always space for a carbon copy Negative Approach destroying someones basement and they usually put out a record that is clearly brilliant but fuck me if I can’t help but yawn.
Am I getting old or is Hardcore painting by numbers? In a slough of legitimately top tier Hardcore Punk releases, this one actually sounds like something truly special.

Jeder, der mit dem zähneknirschenden, blutigen Punk-Knurren von Kid Kapichi vertraut ist, kennt ihre „Fearless Nature“, daher sollte es auf den ersten Blick keine Überraschung sein, dass das vierte Album der Band aus Hastings diesen Titel trägt. Der erste veröffentlichte Track, „Stainless Steel“, wird von Frontmann Jack Wilson als Brücke zwischen dem alten und dem neuen Kid Kapichi beschrieben. Mit seiner tödlichen, straffen und kraftvollen Effizienz trägt er zwar eindeutig die Handschrift des klassischen Sounds der Band, aber die Reife seiner Sichtweise und der Mut in seiner Verletzlichkeit sind etwas Neues. Das hört man auf dem gesamten Album „Fearless Nature“, das von Momenten der Selbstzweifel durchzogen ist und von einer Band stammt, die nach Jahren an vorderster Front mutig genug geworden ist, die Einschusslöcher in ihrer Rüstung zu zeigen. „Fearless Nature“ ist auch im wahrsten Sinne des Wortes eine Brücke zu einem neuen Kid Kapichi.

Im Mai 2025 gaben Gitarrist Ben Beetham und Schlagzeuger George Macdonald bekannt, dass sie die Band verlassen würden – eine Entscheidung, die sie bereits etwa sechs Monate zuvor intern getroffen hatten. Die Entscheidung fiel einvernehmlich, und „Fearless Nature“ steht an der Schnittstelle zwischen zwei Generationen: Die Songs wurden mit der alten Besetzung geschrieben, aufgenommen und produziert (Co-Produktion: Beetham und Mike Horner), werden nun aber mit der neuen Besetzung auf Tournee gehen. Gitarrist Lee Martin und Schlagzeuger Miles Gill sind beide langjährige Freunde von Wilson und Bassist Eddie Lewis und Veteranen unzähliger hart spielender Bands auf der Live-Szene im Süden Englands.

Die politische Botschaft der Band mag unverändert geblieben sein, aber mit „Fearless Nature”, das ihr Repertoire erweitert, hat sie nun Gesellschaft bekommen. Ihre Entscheidung, emotionale Komplexität in ihre lyrische Perspektive einfließen zu lassen, ist ein großer Schritt nach vorne, und die Vorteile liegen auf der Hand, aus denen alle Kraft schöpfen können.

Für Fans von: Fontaines DC / Gorillaz / Blur / Yard Act / Soft Play / Demob Happy / Queens of The Stone Age

Jeder, der mit dem zähneknirschenden, blutigen Punk-Knurren von Kid Kapichi vertraut ist, kennt ihre „Fearless Nature“, daher sollte es auf den ersten Blick keine Überraschung sein, dass das vierte Album der Band aus Hastings diesen Titel trägt. Der erste veröffentlichte Track, „Stainless Steel“, wird von Frontmann Jack Wilson als Brücke zwischen dem alten und dem neuen Kid Kapichi beschrieben. Mit seiner tödlichen, straffen und kraftvollen Effizienz trägt er zwar eindeutig die Handschrift des klassischen Sounds der Band, aber die Reife seiner Sichtweise und der Mut in seiner Verletzlichkeit sind etwas Neues. Das hört man auf dem gesamten Album „Fearless Nature“, das von Momenten der Selbstzweifel durchzogen ist und von einer Band stammt, die nach Jahren an vorderster Front mutig genug geworden ist, die Einschusslöcher in ihrer Rüstung zu zeigen. „Fearless Nature“ ist auch im wahrsten Sinne des Wortes eine Brücke zu einem neuen Kid Kapichi.

Im Mai 2025 gaben Gitarrist Ben Beetham und Schlagzeuger George Macdonald bekannt, dass sie die Band verlassen würden – eine Entscheidung, die sie bereits etwa sechs Monate zuvor intern getroffen hatten. Die Entscheidung fiel einvernehmlich, und „Fearless Nature“ steht an der Schnittstelle zwischen zwei Generationen: Die Songs wurden mit der alten Besetzung geschrieben, aufgenommen und produziert (Co-Produktion: Beetham und Mike Horner), werden nun aber mit der neuen Besetzung auf Tournee gehen. Gitarrist Lee Martin und Schlagzeuger Miles Gill sind beide langjährige Freunde von Wilson und Bassist Eddie Lewis und Veteranen unzähliger hart spielender Bands auf der Live-Szene im Süden Englands.

Die politische Botschaft der Band mag unverändert geblieben sein, aber mit „Fearless Nature”, das ihr Repertoire erweitert, hat sie nun Gesellschaft bekommen. Ihre Entscheidung, emotionale Komplexität in ihre lyrische Perspektive einfließen zu lassen, ist ein großer Schritt nach vorne, und die Vorteile liegen auf der Hand, aus denen alle Kraft schöpfen können.

Für Fans von: Fontaines DC / Gorillaz / Blur / Yard Act / Soft Play / Demob Happy / Queens of The Stone Age

Originally released as a digital double a side both lead tracks were chosen by the remixers and the results are like an electrical storm.

Newark, NJ’s Dälek (Will Brooks) drags T. Relly’s growl through the quicksand, a cacophony of whiplashed beats and visceral loops spurring our protagonist on. It’s a gaggle of Ghostface Killas trapped in a hall of mirrors; it’s next door’s MBV heard through the walls whilst submerged in a low-lit bathtub. And Wu Tang are pulling the plug out.

Kevin Martin aka The Bug continues to release teeth rattling sonic masterpieces, his most recent being November’s ‘Implosion’ on his own Pressure label. In his hands ‘Protein’ becomes a submarine bass, head n’ rig wrecker opting here for more of his hooky ‘In Blue’ style Bug mix. As Kevin said – “to my fantastical mind it sounds like Bug dirt ‘n’grind Vs Yin Yang Twins’ louche swagger and Neptunes funk”.

“In Bristol, it was hip-hop and reggae renegades meeting up with white ex-punk guitarists, alternative pop pioneers hanging out with underground roots music makers, and sound system sonic stalwarts grooving out with rave’s space cadets that laid the bedrock for such an explosion. And if you think that such an eclectic melting pot ever went away, you would be wrong. Ree-Vo is all the proof that you need” – The Big Takeover

Yup, more Jungle, D 'n B and breakbeats on GAMM...yay!

The MIR guys from Stockholm have been spreading rapid beats and dark b-lines since 2006 and are well established on the D'n B/Jungle scene for their productions, DJ sets and club nights.

For their GAMM debut, we get an eclectic cocktail of dark basement sounds and high-speed rhythms.
Starting off with a dancehall/jungle ting (War Edit), continuing with a classic hip hop/jungle mash up (Passin' Me By Edit), a deep breakbeat / Detroit version of a classic Kenny Larkin jam (Q Edit), and finishing off the EP with another hip hop / d&b roller.

All killers, no chillers!

Everything Is Recorded, ist das musikalische Kollaborationsprojekt von XL-Recordings Chef Richard Russell. Auf dem Album "Temporary" sind zu hören u.a. Sampha, Bill Callahan, Noah Cyrus, Florence Welch, Maddy Prior, Berwyn, Alabaster Deplume, Jah Wobble, Yazz Ahmed, Laura Groves, Kamasi Washington, Ricky Washington, Roses Gabor, Jack Penate, Samantha Morton, Clari Freeman-Taylor und Nourished By Time. "Temporary" entstand im Verlauf von vier Jahren in Russells Londoner Copper House Studio und während einiger zusätzlicher Sessions in Tottenham, Cumbria, Dorset, Los Angeles und Las Vegas Es schließt an die vorangegangenen Releases wie das 2018 für den Mercury Prize nominierte Debüt an. Auf dem neuen Album erfährt Russells musikalische DNA allerdings ein Reboot: Sein Cut & Paste Approach reicht in die Zeit vor Sampling-Helden wie The Bomb Squad und Prince Paul zurück bis hin zu Innovatoren wie Steve Reich, Robert Rauschenberg und William S. Burroughs. Während Russells Musik bislang geprägt war von Rhythmus, Worten und Melodie - in ebendieser Reihenfolge - tauschen zwei Aspekte diesmal ihre Rollen. Der Rhythmus tritt zugunsten der Melodie in den Hintergrund. Musikalisch ist "Temporary" vom Gedankenexperiment "what if folk music had "gone digital" in the 80s, just as reggae had?" geleitet, während sich in spiritueller und lyrischer Hinsicht vieles um Trauer und den Verlust von Freunden, Familienmitgliedern und Kollegen dreht. Im Ergebnis stehen leuchtende und gelassene Kompositionen, auch dank der faszinierenden und vielfältigen Gästeliste, die "Temporary" mitbringt. Die fragilen, zärtlichen und stillen Tracks liefern vielleicht eines der sanftesten Alben, die je über den Tod geschrieben wurden. "Das Album zu machen, war erfüllend, eine Art, das Leben zu heiligen", so Russell. "Temporary" ist die erste reguläre Veröffentlichung von Everything Is Recorded nach über vier Jahren. In der Zwischenzeit war Russell allerdings nicht untätig. Via Soundcloud und Bandcamp erschienen zuletzt "Summer Solstice", "Autumn Equinox", "Winter Solstice" und "Spring Equinox", die alle mit einer Reihe von Gastmusikerinnen und -.musikern im Rahmen ausgiebiger Jams an jeweils nur einem Tag entstanden. Mit der Schauspielerin und Regisseurin Samantha Morton tat er sich zum Duo Sam Morton zusammen, welches sein Debüt "Daffodils und Dirt" veröffentlichte. Für Peter Gabriels Comeback-Album "i/o" produzierte Russell den Song "Four Kinds of Horses".

Did You Enjoy Your Time Here...? ist das neue Studioalbum von PremRock, einem Künstler von Backwoodz Studioz(vielleicht am besten bekannt als die Hälfte von ShrapKnel; das ernüchternde Yin zu Curly Castros wildem Yang). DYEYTH knüpft da an, wo Prems nachdenkliches Backwoodz-Debütalbum ,Load Bearing Crow's Feet" aus dem Jahr 2021 aufhörte: klar, herzlich und gnadenlos witzig. Das Album wurde von Sebb Bash, Blockhead, YUNGMORPHEUS, Child Actor, Controller 7, ELUCID, Small Professor, Jeff Markey und Fines Double produziert, während Prems langjähriger Kollaborateur Willie Green alles zusammenfügt. Textlich wird Prem von einigen der weltweit besten Künstler unterstützt, darunter Pink Siifu, Billy Woods, Cavalier, Nappy Nina, Illogic, AJ Suede, Mary Esther Carter und natürlich Castro. Jeder Gast holt das Beste aus dem Mix heraus und sorgt für fruchtbare Kollaborationen, die weit über einfache Gastverse hinausgehen. Mit originellen Artworks, die vom Album inspiriert sind, vom Chicagoer Künstler Gabe Karagianis. Die besten Formulierungen sind diejenigen, die mehr als eine Bedeutung haben. Wie beim Betrachten eines abstrakten Gemäldes können Worte für verschiedene Menschen unterschiedliche Bedeutungen haben. Eine Frage oder ein Satz, der entweder zu einer längeren existenziellen Überlegung oder einfach nur zu einem Achselzucken führt. Könnte sich auf das gesamte Leben beziehen, auf 90 Minuten in einer Einrichtung oder auf 5 Jahre in einer romantischen Beziehung. Der kurze, berauschende Rausch einer Designerdroge oder die automatisierte Umfrage am Ende einer Online-Transaktion. Es ist eine einfache, aber heimlich geladene Frage. Nun, hast du es getan?

After a critically praised debut in 2023 and numerous tours across Europe, Yalla Miku returns with "2", a new record that further asserts their unique identity. Still based in Geneva, the band moves forward with a reimagined lineup - not as a departure, but as the natural continuation of a project envisioned from the start as a space for encounters, movement, and musical reinvention. Blending post-kraut grooves, mutant folklore and electronic trance, Yalla Miku continues to spark dialogue between traditions from the Horn of Africa and the most unrestrained experiments of Geneva"s underground.

Released in 1975, Another Live captures Todd Rundgren's Utopia during their live performances on tour. The album includes live renditions of songs like Another Life, The Wheel, and Do Ya. It showcases Utopia's progressive rock style and their ability to engage live audiences. This 50th anniversary edition is the first worldwide vinyl reissue since original release. The album is mastered directly from the stereo analog tapes at Sterling Mastering and will feature the alternate UK cover artwork.

10-Jahre-Jubiläums-Reissue von Twit Ones wegweisendem Album „The Sit-In“ aus dem Jahr 2015. Von vielen Twit-Aficionados als eines seiner besten Werke gefeiert, unterschied sich „The Sit-In“ bei seinem Erscheinen deutlich von seinen vorherigen Alben – und Twits Musik war noch nie leicht vorhersehbar. „The Sit-In“ war die erste Twit-Platte, zu der man Räucherstäbchen anzünden kann, und auch zehn Jahre später hat sie nichts von ihrem Zauber verloren. Mit Sängerin May sowie den Poeten PB Louison und Imam Ally-Salaam. Artwork von Van Lagerstein und Robert Winter. Das 10-Jahres-Jubiläums-Reissue enthält außerdem eine Bonus 7"" mit vier neuen Tracks.

We’re proud to announce the debut LP from Astral Yacht. Heavy-duty psychedelic rock from Lincoln, NE. This one is killer!

The notion of home isn’t precise, even a dictionary will offer multiple definitions. A home can be a place where you live, a place where you belong, where you originate from or a place where you’re given care; it can be a physical space, a land, a people or even a person. The concept isn’t completely universal, but everyone possesses a unique idea of what home means to them. On her fifth album, Ziúr considers not just what home symbolizes from her perspective, but the word’s resonance to the diverse community that surrounds her, and how their stories have impacted her over the years. Indeed, it’s the first time she’s felt it necessary to examine her own nationality. In the past, she’s deliberately avoided labelling herself as German, feeling disconnected from her country’s politics, culture and even the German language itself. In 2025, the idea of Germanness is in flux and progressives are under attack from all sides. The country’s politics aren’t only being turned inward by the growing throng of far-right voices, but by scared moderates, opportunists and those blinded by comfort, willing to ignore hatred to maintain their privilege. Stepping up to provide a different narrative, Ziúr scours her soul, writing and singing in German for the first time and proposing growth and evolution, not fear and regression. “I never considered being part of Germany,” she explains. “But I am.”

A solemn mood permeates the album’s opening track ‘Brown is the Color’, and Ziúr sings in measured, slow-motion breaths over noisy synth oscillations and doomed piano flourishes. Already, it’s a significant departure from her last run of releases, veering away from the frenetic, satirical chaos of 2023’s Hakuna Kulala-released ‘Eyeroll’ or its fantastical, dubby predecessor ‘Antifate’. Ziúr pulls on real world insights here, tracing her oldest, dearest musical inspirations to present her origins to anybody who might be listening. “Cold world is holding up,” she laments with a metallic crunch. “To let go of your heart, let me go.” And her voice emerges from the shadows completely on ‘Tame’; unprocessed, Ziúr sounds naked and vulnerable on ‘Tame’, curving her precise words around broken, lopsided rhythms and jangling new wave guitars. It’s pop music in its own way, inverted and reconstructed to fit snugly into her well-established sonic landscape. On ‘No Yawn’, brittle, downsampled hi-hats and industrial scrapes ping-pong around distorted riffs, provided by James Ó Ceallaigh aka WIFE; “You fail to sugarcoat your half-ass attempt,” she deadpans, “to build your promised wonderland on quicksand.” Even the beatless ‘All Odds No Chants’, a collaboration with Elvin Brandhi and Sara Persico, reveals another room in Ziúr’s autobiographical suite, mirroring György Ligeti’s enduringly influential choral works with its gnarled, dissonant vocal harmonies.

Bonbon Vodou’s third album (Épopée métèque), created by Oriane Lacaille and JereM Boucris, follows the paths of exile with lush orchestration and lyrics in French, Creole, and Gascon.

The bonbon piment (a spicy Réunionese fritter) is deceptive. Beneath its harmless appearance lies a fiery kick that can jolt you into clarity. Bonbon Vodou operates the same way. While the duo's musical influences sway between the Indian Ocean and the Mediterranean Sea, a sharp edge cuts through the tenderness of their graceful songs, often carried by the rhythms of maloya. This contrast gives depth to their third album, Épopée métèque, which takes us on journeys of exile—both across land and sea.
Oriane Lacaille is the daughter of accordionist René Lacaille, a key figure in the revival of Réunionese music in the 1970s, who has lived in mainland France for five decades. JereM Boucris’s father, from a Tunisian Jewish family, was 14 when he arrived in France at the end of the colonial protectorate. Their lives are interwoven with these paternal exiles, which they continue to explore and unravel, alongside the broader, universal stories of migrants fleeing poverty, persecution, and war.
The duo is now joined by a vibrant trio—Piment Piment (Juliette Minvielle, Roland Seilhes, and Yann-Lou Bertrand)—bringing a rich orchestration featuring guitars, flutes, brass, roulèr, kayamb, jaw harp… all set to lyrics in French, Creole, and Gascon. Their voices are joined by numerous guests, including Mouss and Hakim, Rosemary Standley, and Bernard Lavilliers. This playful yet poignant album explores themes of life and death—radiant but aware—seemingly echoing Camus: “There is no sun without shadow, and one must know the night.”

The Cryovac machine operates independently to service the world with an original strain of techno. Our people are pioneers of their own sound and seasoned veterans of its' cause. This cause is the basis for our action and the motivation for our vinyl. Cryovac believes the vinyl format is the truest way to take in our music, and this is why we take great care to personally craft our own plates and photograph our own art. The Cryovac approach and stance make it a true oddity in a world of commodities, and we hope you realize, feel, and respect our work.

Andy Vaz is a rebel from the city of Cologne. He is a creator of techno labels that follow their own path and challenge the standard dogma. His version of the techno sound has gone from stark and funky minimalism to synth cascades and housey feels. Andy Vaz is the perfect choice to collaborate with Andy Garcia. Garcia's brand crunchy soul tech mixed with vocal nonsense is the yin to Vaz's yang. These like minds share a name, a spirit, and a drive to keep moving forward no matter the cost.

"Petitmas! PETIT IDOLM@STER" (Akane, original story by Bandai Namco Entertainment, 15 volumes published by KADOKAWA ongoing) is a popular
four-panel comic series currently running in Dengeki Maoh magazine. It's based on "The Idolmaster," a series that has garnered immense support from
fans across a wide range of media mixes. The anime series "Petitmas!" began airing in January 2013, and the 12 solo single CDs by the 12 idols from
765 Production will now be released on LP!

The records will be released as six products, each containing two titles from all 12 volumes of "Twelve Seasons!", on two discs.
The first wave will see the release of three products over three consecutive months.
The jackets feature designs from previous CDs, and are double-jacketed, with the jackets from both volumes on the front and back four.

Hercules & Love Affair music has always been about folding past, present and future together – and never more so than in the latest phase, encapsulated by the track that launches things, “Someone Else is Calling.”

If the song-first, ultra-gothic mind-movie of the last H&LA album In Amber was partly motivated by Andy Butler falling out of love with dance culture, this new body of work – an EP titled Someone Else Is Calling – is an unabashed resurgence of the love affair. A co-production with London underground veteran and inspiration to Butler, Quinn Whalley of Paranoid London and Decius, the lead single is a surging, tactile acid track woven around the vocal of Icelandic icon Hips & Lips aka Elín Ey – who hits that new wave disco sweet spot between Grace Jones and Yazoo era Alison Moyet.

Elín’s lyrics work perfectly with the bodily momentum of the sounds, circling around themes of self-possession and the urge to move on to the next experience, the next sensation: hunger for reality. And this taps into Andy’s feelings on escaping New York and moving to Belgium, discovering that dance culture was anything but the hollowed-out, identikit-festival-lineup conveyor belt he’d feared, and still had plenty of outposts where it was still – as he’d first experience it as a teen – about the hot, sweaty reality of diverse people seeking communion, communication and heightened ways of being in the here and now.

The video, filmed by Tatsumi Milori couldn’t be a better expression of exactly this. A love letter to the strange and glorious party scene of Mexico City, it captures people who are both tapping into the eternal verities of those magical dancefloor communions, and thrilling – against all the odds of oppressive forces – at the sense of possibility in the flow of gender and sexuality in the present moment. It’s powered by innocence and experience as intertwined forces, and it amplifies the heartbeat of the song a thousandfold. There will be more, much more, to follow from the partnership of Andy, Elín and Quinn. It digs deeper still into the decades of dance and other underground cultures that feed into this modern moment – but this shining beacon should give you a pretty good hint.

Someone Else Is Calling will arrive on one of Los Angeles’s most exciting new independent labels and creative hubs, StrataSonic, on December 14. The lead single of the same name, along with the music video directed by Tatsumi Milori, is out now. This marks the first collaboration between Hercules & Love Affair and Stratasonic.

Future pop unit "Mononkuru" has released their first album in nearly seven years since their previous album, "RELOADING CITY," on vinyl!
"Bokura wa Warai at a Dead End," a brand-new pop album featuring guest appearances by AAAMYYY and Daichi Yamamoto, is here!

Seven years after their last album, Mononkuru has finally released their long-awaited new album. Known for their jazz-infused pop, the band has changed their
name to "Mononkuru" in katakana and updated their sound. In addition to the innovative modern pop disco they showcased on recent releases "GINGUA"
and "HOTPOT," this album is packed with highlights, including "Futari Shibai feat. Daichi Yamamoto," a bold new work featuring a featured artist for the first time
for Mononkuru, and "Who am I feat. AAAMYYY," which debuts on an album.

In March 2025, "On the Love Beach" completed a highly successful solo concert in Shanghai and Beijing with Toushi Naoki.

In 2025, marking the 30th anniversary of their memorable debut album, "On the Love Beach," the band's first three albums will be reissued on CD and vinyl!
All three albums use the original master tapes, and each has been thoroughly remastered under the supervision of Shinji Shibayama for high-quality sound!

This is Nagisa Nite's second album and only live recording, released in 1998. Featuring an acoustic arrangement featuring acoustic guitar and djembe,
the band's imaginary concept is "A Tyrannosaurus Rex from Osaka." This is a realistic documentary of a solo performance held in a dilapidated wooden
apartment building in Tokyo during a scorching heat wave in July 1997, a space that was barely a free space. The band performed in the scorching heat
of July, with the venue lacking air conditioning, forcing them to play with the windows open. This resulted in "ambient music" that occasionally blended with
the sounds of the outside world and the barking of dogs. The band's determination to never perform in a place like that again led them to believe that this
unique and intriguing experience was what made this album so unique.

The environment forced the band members and the audience to remain unwavering, creating an undeniable tension in the small venue, creating a literally
"hot" groove despite the entire performance being acoustic. This experiential live album, the polar opposite of the '71 Nippon Genya Festival, is impossible
to recreate, even for the band members themselves, including the immersive recording.

The 1998 album was only available on CD, but this time, the album is available on vinyl for the first time on a 2LP!
Remastered using the original master DAT tape, it recreates the "hot" and "ambient music" atmosphere even more realistically. T
akeda's cover of Midori Mako's "Yasashii Nipponjin" is also a must-listen!

This is the first new Andy Boay album since 2013’s In The Light. I recorded it in January 2024 to a Yamaha MT8X 8-track cassette recorder in my room at the New York Center for Creativity & Dance in the East Village of Manhattan.

I mixed it in June 2024 with Joe Santarpia and Roberto Pagano at the Idiot Room in San Francisco. The three songs on Side A (“HBM,” “If I Ever Come Off,” and “You’re In The Air Now”) were initially arranged over several live performances using a multi-track looper. When I then sat down to track them to my tape machine, I meticulously sang and played out all repeating parts, layering and ping-pong-bouncing each doubled take to another tape-track. In this way I hoped to maintain the hypnotic quality of the looped parts while keeping them organic, singular, and fleeting. Side B is a triptych of more carefully arranged pop songs: a tremolo & mod-delay elegy to youth called “Careless,” bookended by two variations on the same theme — the stark, mellotron prayer of “One & One” and the lonesome after-hours funk of “I Want More”. The line “You took that walk for the two of us” has a dual meaning. In 2011, my friend Spencer Gilley took a long walk through Montreal while listening to demos I’d recorded.

He described the experience to me as magical, ecstatic, inspiring. His encouragement from that moment still echoes every time I sit down to write or record. Less than a year later, I met Florida musician Thomas Fekete. We formed a deep, brief friendship that lasted until his death in 2016. Thom entered my life during a chaotic time and helped me find direction and courage. He took me on a tour that shifted the course of my life. We bonded over surviving cancer as young men, Florida’s noise scene, and the strange lives we led as touring guitarists (he in Surfer Blood, me in Mac DeMarco’s band). Thom could always warmly anticipate all of my joy, humor, and curiosity—and all of my pain, anxiety, and fear. In this way, it felt like he was also taking that walk for the two of us—gently guiding me down a path he had already traveled. Andy Boay (Andy White) began playing and recording music as a teen in Orlando during the early 2000s, exploring noise, psych, and pop in bands and solo projects.

He has played in the duo Tonstartssbandht with his brother Edwin since 2007. He spent six years playing guitar in the touring band for Mac DeMarco. Andy Boay’s music taps the euphoric and the sorrowful, both onstage amongst friends and strangers, and tracking alone at his 8-track in the studio. These days he lives and works in the East Village neighborhood of New York City.

Support from: Cream, Lady Duracell, Makossa, Robert Harding, Paul Thomas, Kiberu, Ede, Yves Eaux, Yas Cepeda, Francesco Chiocci, Lonya, PAAX, Yet More, Themba, Noel Sanger, Alex Neri, Gavin Hardkiss, Nicolas Masseyeff, Luke Garcia, Nhar / Bernhard Siefert, Underspreche,

Now, pushing the envelope with a fresh, contemporary flavor, Kwanzaa Posse offers African Kolors,
a gorgeous, warm Afro-inspired gem that exudes good vibes, while the alternative mixes take us deeper and
more underground. The vinyl includes two exclusive versions by Fulvio Perniola (FATHERS OF SOUND).

Written, Composed and Produced b: Kwanzaa Posse & Piero De Asmundis
at Kwanzaa Posse Studio, Pozzuoli, Naples (Italy) for Undiscovered Recordings Ltd.

,Psychic 9-5 Club" schlägt ein neues Kapitel HTRK auf. Es ist ein Album, das zurückblickt auf eine Zeit der Traurigkeit und der inneren Kämpfe und das in diesen Kämpfen auf Hoffnung, Humor und Liebe stößt. Es ist das erste Album, das Jonnine Standish und Nigel Yang komplett als Duo aufgenommen haben - ihr ehemaliger Bandkollege Sean Stuart starb mitten in den Aufnahmen zu ihrem letzten Album ,Work (Work, Work)" von 2011. Obwohl ,Psychic 9-5 Club" von den ersten Tönen an nach HTRK klingt - der Gesang von Standish ist noch immer das Hauptaugenmerk des HTRK Sounds, während die Produktion charakteristisch schlank und dubbig ist - lässt sich die Band ausreichend Raum für Experimente. Verschwunden sind die in Hall und Verzerrung aufgehenden Gitarrenexperimente der 2009er Platte ,Mary Me Tonight" und die zerfuzzten Growls, die sich durch ,Work (Work, Work)" zogen. An ihre Stelle tritt etwas zärtlich-samtig Poliertes. Dies ist HTRK, doch ihr Sound wurde entfettet und richtet das Rampenlicht auf die nackten Arrangements und minimalistisches Sound Design. Das Album wurde mit Nathan Corbin von EXCEPTER in den Blazer Sound Studios in New Mexiko aufgenommen, der bereits Regisseur des Videoclips zum Track ,Bendin von ,Work (Work, Work)" gewesen war. Anfang 2013 wurde ,Psychic 9-5 Club" in Australien fertiggestellt und schließlich über den Sommer des Jahres in New York auf Hochglanz poliert. Das Kernthema des Albums ist die Liebe. Das Wort webt sich durch die Texte und Songtitel; die Liebe als Ablenkung, die Eigenliebe und die Liebe zu anderen. ,Psychic 9-5 Club" ist ein Album für den Körper und die Seele.

Capcom and Laced Records invite you to return to a world of Reploids and cyber-elves, betrayal and Bio-Metals...

Thoughtfully sequenced with a disc covering each of the Mega Man Zero games, and a fifth covering ZX and ZX Advent, this box set will allow fans to fully ensconce themselves in the series.

ultimatemaverickx returns as sleeve artist, producing lore-faithful, vibrantly colorful panels depicting memorable story moments and highlighting major characters in iconic poses.

The Mega Man Zero/ZX soundtracks' glorious mix of urgent acid house, ambient, face-melting metal, and even soaring pop feel downright prophetic in the modern music landscape. Transported from their '00s hardware origins to your turntable come the sounds of our present, broadcast from the past - and it rips.

Masterpieces of jazz and performances are reproduced in exquisite detail with meticulous sound quality.
The 17th installment of Yasukuni Terashima's carefully selected "For Jazz Audio Fans Only" series!
Listening to the performances in this 17th installment of the "For Jazz Audio Fans Only" series will make you feel as if you're experiencing a live performance right
before your eyes. Launched in 2008, this series is a highly regarded compilation series, rivaling the "Jazz Bar" series in popularity, combining both musical quality
and sound quality, and this latest release lives up to those expectations. Experience the texture of the music and sound while experiencing the three-dimensionality
and depth of the sound, making this a must-listen for audiophiles. Released on limited edition vinyl! It features works by Grant Stewart, long-time acclaimed artist of
Yasukuni Terashima's, and Henrik Gunde, whose piano trio work on Terashima Records is still fresh in our minds.

Vocals are the starting point of all music and the source of connection with listeners.
This exquisite female vocal compilation features a lineup exclusive to Terashima Records, from hidden gems to promising young vocalists.
"Jazz is about enjoying the music, not the improvisation," and "buying for the beautiful album cover is recommended," Terashima has long advocated.
Enjoy a moment of enchantment with his unique vocal style. Yasukuni Terashima has carefully selected great voices, great sounds, and great songs, providing a l
uxurious listening experience. Enjoy this vocal compilation while driving, relaxing, or enjoying a drink. It's also recommended as a way to learn about the current
state of contemporary jazz vocals. The "For Jazz Vocal Fans Only" series, featuring carefully selected female vocalists from a lineup exclusive to Terashima Records,
from hidden gems to promising young singers, has received such positive feedback that the eighth installment is now available on limited-edition vinyl!
It also includes tracks by MOON, who recently made waves with Tsuyoshi Yamamoto, as well as Katie George and Diana Panton, who are popular in Japan.

This is an entry for "Record Day DAY 2." Released on 180g heavyweight vinyl!

This 1995 debut album was produced by Yasushi Ide, with artwork by Mitsuo Shindo.
Includes eight tracks, including "Orange" and "Maze of Love"
Features an impressive lineup of guest musicians at the forefront of the music scene at the time, including former ORIGINAL LOVE member Ryutaro Kihara, former Roosters member Tomio Inoue, Freedom Sweet's Hiroshi Yamashita, and Cool Spoon's Ikichi Sasanuma.

Heavy//Hitter are set to release their 2nd EP for Blue Grape Music, Coming to Terms. The EP is produced by Austin Coupe (The Devil Wears Prada, Citizen, Mat Kerekes) and includes features from Zayna Youssef of Sweet Pill and Yasmine Liverneaux of Face Yourself.

YES! We are a "BIG BAND"!!
A 20th anniversary original album featuring new members has been released on a two-disc vinyl set.

Formed in 2005 at the invitation of pianist Makoto Ozone, whose work transcends genres and continues to thrive on a global scale, the 15-member big band
"No Name Horses" has grown into a one-of-a-kind big band, thanks to its sophisticated ensemble built on longstanding relationships of trust, the diverse
original compositions of Ozone and the other members, and its boundless creativity and playfulness. The band has performed both in Japan and overseas.

In 2024, the band changed its name from "Makoto Ozone featuring No Name Horse" to "Makoto Ozone No Name Horse," and began activities under a new
lineup with the addition of three new members: Hidetaro Matsui, Yu Riku, and Shinpei Ogawa. This is the first album since the new lineup was released in
November 2024.

Returning to the classic big band sound, this album was created with each member contributing a new song, based on the concept of a superb swing and resonance.

Makoto Ozone "No Name Horses"
Makoto Ozone (p, org) Eric Miyashiro (tp, flh, picc trp) Akira Okumura (tp, flh) Shutaro Matsui (tp, flh) Yoshiaki Okazaki (tp, flh) Eijiro Nakagawa (tb)
Marshall Gilkes (tb) Junko Yamashiro (b-tb) Masanori Okazaki (as, ss, cl) Atsushi Ikeda (as) Toshio Miki (ts) Yu Riku (ts, fl) Yoshihiro Iwamochi (bs, cl)
Shinpei Ogawa (b) Shinnosuke Takahashi (ds)

“From Birmingham and centred around the extraordinary songwriting talent of James and Patrick Roberts – initially as The Sea Urchins and since 1993 as Delta – they’ve only just got round to releasing their debut album, Slippin’ Out. It is a work of some beauty”. 9/10 NME ALBUM OF THE MONTH, 2000

“It’s classicist for sure, shot through with the influence of The Beatles, Byrds and Buffalo Springfield. In James’ downright beautiful closing ballad ‘I Want You’ one can also discern the school of ambitious English balladry that peaked in about 1968: The Casuals, Love Affair, Barry Ryan. The impression of accomplished old-schoolery is only furthered by the dizzying string arrangements penned by Louis Clark Jnr, son and namesake of the one-time orchestral chief of Electric Light Orchestra” – Mojo lead review, 2000


Having ended the 90s with the spirited ‘Laughing Mostly’ compilation of singles and demos (Guardian Album Of The Week) Delta finally released their debut studio album of twelve songs in the summer of 2000 on the Dishy Recordings label. Accepting that this might be their sole studio album the band threw everything at these recordings allowing it to exist in its own sphere, unbothered by their contemporary generation and disregarding the idea of even releasing a single.

Recorded at DEP International there was a notable difference to the scruffier, looser charm of their 1990s recordings, a tighter focus developed by having the experienced Lenny Franchi mixing the LP with them. Lenny had been working with a number of Island artists including My Bloody Valentine and Tricky so knew his way around a desk. There was also the question of budget (a few months passed between recording and mixing whilst funds were raised) so every day counted. Ultimately though you can hear the joy in the recordings, even amongst the melancholy and angst. As James recently recalled in an interview in Shindig! Magazine: “It was such a big deal for us. It’s one of my fondest memories doing that record. Everyone was happy. If there’s anything that I’d stand by, I think it would be that”

Louis Clark Jr joined the band towards the end of the ‘90s and brought a classically-trained element to the recordings particularly with his string arrangements. For ‘Cuckoo’, ‘I Want You’ and the prophetic ‘We Come Back’ Louis brought in eight players from the Birmingham Conservatoire; the baroque style is partly why the record often receives comparisons to Love’s ‘Forever Changes’.

On release ‘Slippin’ Out’ was a big favourite with writers at the NME, Mojo and The Guardian again and before long the band were signed to Mercury/Universal for their second studio album ‘Hard Light’, a far more expensive and expansive love affair. It was a temporary palatial home where things quietly fell apart again, but that’s another chapter.

“If long-term memory is nothing more than selective editing and only pop’s most weighty visceral works are built to last then it’s quite possible that in 50 years the Britpop era will be best recollected for the two bands it ostracised. Earlier this year we met Shack and thought their story of mercurial brilliance indicated the biggest music biz oversight of the 90s. We were wrong because we hadn’t met Delta yet. This is richer and more engrossing than anything by Shack” 

Featuring 10 of his own compositions, Grossi's renowned virtuosity flows with deep sensitivity through various genres, reflecting the solid trajectory of one of the greatest instrumentalists and most creative musicians in Brazilian music. Collaborating with prominent names from both the national and international music scenes, 'Plural' showcases Grossi's music without borders, offering the world a glimpse of his extensive career. For this celebration, outstanding guests were invited to join the musical journey. Several tracks also highlight Grossi's sensitivity as a songwriter and lyricist. In 'Onde Nascem as Ondas', Ed Motta delivers a soulful ballad carried by his distinctive timbre. Zelia Duncan, sings a unique samba in 'Nosso Amor Vadio' with a captivating cadence. 'Chamego no Salao' captures the spirit of north-eastern Brazil and is brought to life by Lenine's vibrant voice and joyful interpretation, adding a playful tone with a jazzy touch. The art of improvisation is beautifully represented by 'Catarina e Teresa', an improvised composition created in collaboration with the legendary Hermeto Pascoal and dedicated to Grossi's twin daughters. Other tracks include 'Banzo', which showcases a rhythmic dialogue featuring Cuban pianist Omar Sosa. 'Motion', with the brilliance of both Jacob Collier and Seamus Blake, merges jazz and pop in a seamless melodic conversation.

With an open mind and without boundaries, he invites us to explore a vast musical universe, embracing art with profound emotion and passion. This is what you will hear and experience in 'Plural': a deep love for the art of sound and a profound respect for musical diversity - qualities that have defined his career.

Vesu's goes dub!

Vesa-Matti Kivioja, aka Vesu's aka Torolf Stendik has been making waves as an integral part of the multi-faceted Ljudverket & Meltdown Deejays crews in his native Finland for many years. He is perhaps most recognised for his "List of Lizards" saga which began in 2019 on Brian Not Brian's Going Good imprint.

Tokage No Risuto, the third instalment in the lizard saga, sees Vesu's migrate deeper into the dub tradition. The beats have slowed down; the atmospheres thickened. Downtempo rhythms, ambient drifts, and dub-infused echoes weave through the landscape, joined at times by guest voices that shimmer and dissolve into the mix.

The 12-track album is available on a special edition cassette with a vibrantly riso-printed card housed inside a laser printed case, with a striking green cassette. Mastered for tape by Giuseppe Ielasi.

Tokage No Risuto has a number of guest appearances, most notably the legendary musical pioneer and woodwind instrumentalist Tapani Rinne of RinneRadio.

Oh No helped shape the texture of modern independent hip-hop, introducing the world to his turbulent lyricism with the 2004 Stones Throw classic The Disrupt before establishing himself as one of the world’s most dynamic beat architects. Ranging from soulful to sinister, hypnotic to chaotic, Dr. No’s psychedelic production has become a vital force in hip-hop, bringing the best out of artists like Mos Def, Action Bronson, Prodigy, Murs, Dilated Peoples, Danny Brown, Elzhi, Your Old Droog, and more. The California native has also released several acclaimed sample-themed instrumental collections, mining Mediterranean psyche funk, the work of jazz icon Roy Ayers, Italian library music, rare Ethiopian grooves, and more. Now, Oh No is back with Nodega, his first vocal album in more than a decade. Conceptualized as a corner store where microphone assassins stop through to lay down their street tales, the project finds Oh No cooking up a fresh batch of wild creations as the drama unfolds. While contributing a handful of memorable verses himself, Oh No mostly focuses on crafting soundscapes for a staggering array of guests, including Logic, Ghostface Killah, Talib Kweli, Tha God Fahim, Alchemist, Guilty Simpson, Blu, Crimeapple, Rah Digga, Esoteric, Vic Spencer, Wildchild, Big Twins, and more. “I work with some of the most dangerous emcees in the game,” he explains. “I wanted the album to be like a hip-hop play, with all these different geniuses showing how they steal the scenes.” This concept is brought to life by music Oh No describes as a “cinematic landscape ranging from dark stabbing pianos to melodic jazz interludes, raw gutter loops to funk grit, dirty synths to nighttime thrills.” A visceral experience elevated by immense collective talent, Nodega is a compelling one-stop shop for Oh No’s expansive artistry.

Ston Elaióna is John Also Bennett’s first album for Shelter Press since his 2019 solo debut Erg Herbe. The American born, Athens, Greece, based flautist, synthesist, and composer weaves a strikingly singular electroacoustic excursion for bass flute and Yamaha DX7ii, largely recorded in the golden haze of the early morning hours - bending time at the otherworldly juncture of consciousness and place. Translating from Greek as “in the olive grove”, Ston Elaióna is permeated with the ambiences of the ancient and present world, guided into form by a playfully rigorous approach to sound.
Initially emerging during the mid 2000s as part of Columbus, Ohio’s noise scene, before relocating to NYC around 2010, Bennett’s diverse activities picked up an increasing sense of pace over the following decade - performing and recording as a solo artist (JAB), with the trio Forma and with CV &JAB, his prolific duo with his partner Christina Vantzou, as well as playing in Jon Gibson’s ensemble among many other multifaceted collaborations. However, since 2020 the flautist and electroacoustic composer has existed in a semi nomadic state: drifting between Brooklyn, Brussels, extensive tours, and Greece, where he finally came to rest in Athens last year.

Drawing upon a carefully honed attentiveness to the environments and experiences of everyday life, Ston Elaióna is a suite of nine pieces (with an additional track exclusive to physical formats), many of them composed and played live as the early morning sun touched the Parthenon, in full view from Bennett’s studio window in Athens. Bennett’s refinement and restraint, honed over his years adrift, led him to adopt a limited palette focused on his primary instrument, the bass flute, and a Yamaha DX7ii synthesizer tuned to just intonation scales. Alongside a handful of other keyboards, digital oscillators triggered by his flute, and occasional field recordings, this simple palette is reflected by the deeply emotive sense of minimalism that permeates the album’s two sides. Following two solo albums defined by outward facing temperaments - 2022’s Out there in the middle of nowhere (Poole Music), which used a lap steel guitar and generative oscillators to evoke the surreal landscapes of the South Dakota badlands, and the largely synthetic atmospheres of the 2024 anthology Music For Save Rooms 1 & 2 (Editions Basilic) - the shift in Bennett’s worldly circumstances offered an intuitive return to the calm, inward states of creative exploration that have historically defined JAB’s sound. In parallel, context provided clear sources of inspiration for many of the album’s themes, as well as sources for some of its sounds. The aura of Greece, from the ancient to the present, from its stones and olive groves to its traffic, figures heavily across Ston Elaióna’s two sides. John Also Bennett’s Ston Elaióna forms an elegantly rigorous world of electroacoustic sonority, bridging the expanse of time with the immediacies of environment and happening in the here and now: a profound sonic mediation on the countless dimensions unlocked by life in Greece.

'The creation of the band African Fiesta, founded in 1963 by three well-known musicians, Nicolas Kasanda, Tabu Ley Rochereau and Roger Izeidi, and the contributions of the VITA label, established by Roger Izeidi, occupy an exciting chapter in the history of Congolese popular music. During the mid-1960s, African Fiesta consistently reached the top of the hit parade. The band, which back in the day positioned itself as a competitor to a current called ‘Fiesta Cubana’, breathed new life into Congolese Rumba, continuing the tradition of the African Jazz school started by Joseph Kabasele.
'The VITA label, with African Fiesta as their sole provider, besides four songs of Eduardo De Veracruz Vinagre et Son Orchestre, ran between May 1963 and early 1966. It created a spectacular legacy and back catalog full of tasteful sentiments and sensual melodies, deeply rooted in the Afro-Latin sound.
'This new compilation offers a few of the classic African Fiesta songs and complements them with an eclectic and original selection, divided into four thematic sides: Showcase, Rumba Lingala, Cha Cha Cha & Bolero. This double LP album comes with a 16-page booklet featuring the history of VITA and African Fiesta, song commentary by Congolese journalist Herman Bangi Bayo, and a written catalog of the VITA label. The heirs of Roger Izeidi kindly gave permission in Kinshasa to release this album of African Fiesta on Planet Ilunga.'