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Bob Marley & The Wailers' Rastaman Vibration Analogue Productions' UHQR, the pinnacle of high-quality vinyl! 45 RPM 2LP Ultra High Quality Record release limited to 4,500 copies Mastered from the original tapes by Ryan K. Smith at Sterling Sound Pressed on 180-gram at Quality Record Pressings using Clarity Vinyl® Includes "12 x 12" 8-page booklet featuring new liner notes by musician and Marley biographer Leroy Jodie Pierson (APO Records Direct-To-Disc AAPO 005), plus exclusive photos by Kim-Gottlieb Walker Purest possible pressing and most visually stunning presentation and packaging!

When Rastaman Vibration was first released in America in 1976 it did what some in the music industry considered nearly impossible at the time. It took Bob Marley into the Top Ten alongside disco records and corporate rock, points out Rolling Stone, which rates the album 4 stars. Despite the good cheer of the title track and the upbeat "Roots, Rock, Reggae," Rastaman Vibration contains some of Marley's most intense images of oppression, paranoia and despair. Tracks such as "Who the Cap Fit," "Crazy Baldhead" and "War" are offered by the Wailers with dire urgency as Marley's brutal visions are echoed by his own church choir, the I-Threes.

More than four decades later, neither Marley's music nor his message has lost its sting. Now, Analogue Productions presents perfection — Rastaman Vibration cut at 45 RPM in UHQR format on 180-gram 2LP Clarity Vinyl. This Ultra High Quality Record release will be limited to 4,500 copies, with gold foil individually numbered jackets. For Bob Marley, 1975 was a triumphant year. The singer's Natty Dread album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit "No Woman No Cry." The follow-up Live set, a document of Marley's appearance at London's Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for Rastaman Vibration (1976) at legendary studios run by Harry Johnson and Joe Gibbs.

At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. Of the material on Rastaman Vibration, "War," for one, remains one of the most stunning statements of the singer's career. Though it is essentially a straight reading of one of Haile Selassie's speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of "Rat Race,""'Crazy Baldhead," and "Want More."

These songs are tempered by buoyant, lighthearted material like "Cry to Me," "Night Shift," and "Positive Vibration." Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, "Cry to Me" seems like an obvious choice for a single and remains underrated. This UHQR is remastered at 45 RPM by Sterling Sound's Ryan K. Smith from the original analog master tapes. Each UHQR will be pressed at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center.

Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a custom clamshell box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. In addition to the UHQR booklet the package will contain a 8-page 12" x 12" booklet containing new liner notes by musican and Marley biographer Leroy Jodie Pierson as well as exclusive photos by Kim-Gottlieb Walker. Pierson is a past performer for Blues Masters at the Crossroads, the two-night historic blues festival at Blue Heaven Studios in Salina, Kansas. He's also recorded a Direct-To-Disc blues album for APO Records. (AAPO 005) Rastaman Vibration — now a landmark production on 180-gram 45 RPM Analogue Productions UHQR Clarity Vinyl!

Hidden Folder returns with its fourth transmission – HDF004 – featuring three original cuts and standout remixes from bullet tooth and K-LONE.

The EP further refines the label’s distinctive blend of UK-rooted club music and stripped-back dancefloor aesthetics.

Opening with ‘Matter of Time’, the title track is a peak-time speed garage weapon – driven by a menacing reese bassline, swing-heavy drums, and deep atmospheric pads.
‘Blurred Line’ follows with a more melodic, emotive touch, already turning heads with early support across the scene.
On the flip, ‘Can’t Get Over’ taps into classic UK Garage sensibilities, pairing housey drum grooves with lush Rhodes chords, chopped vocals, and a warm, rolling low-end.

Remix duties come courtesy of bullet tooth and Wisdom Teeth’s own K-LONE.
bullet tooth flips ‘Can’t Get Over’ into a modern house banger – punchy drums, a snarling peak-time bassline, and undeniable floor energy.
K-LONE takes a more minimalistic route, layering intricate percussion, loopy vocal cuts, and Rhodes stabs with his signature swing and subby finesse.

A forward-facing entry in the Hidden Folder archive – continuing the imprint’s streak of genre-fluid, system-ready club gear.

Berlin-based Colombian DJ, producer, and curator Edna Martinez presents a sonic journey into the electrifying world of Picó—the vibrant and dynamic sound system culture that has defined the streets of Cartagena and Barranquilla for decades. More than just a musical movement, Picó is a way of life, a bold expression of identity, community, and resistance. From its roots in the working-class neighbourhoods of Colombia’s Caribbean coast to its deep connections with Africa and the Caribbean, this compilation captures the pulse of a culture where music is played at full volume, rhythms travel across oceans, and dance is both a form of celebration and storytelling. For those unfamiliar, Picós are hand-painted sound systems, often adorned with dazzling colours and striking imagery, each with its own name and sonic identity. These mobile discos became the heart of neighbourhood bailes, where the sounds of champeta, highlife, soukous, mbaqanga, zouk, soca, and cumbia would turn every street corner, market, and terrace into a dancefloor. Initially built by local craftsmen using modified speaker components, Picós became legendary for their powerful bass and exclusivity, with DJs sourcing rare vinyl from African and Caribbean ports and rebranding them with unique piconemas—new names adapted to local slang, making the tracks instantly recognisable within the community.

This compilation brings together a carefully curated selection of these rare and sought-after tracks, tracing the deep-rooted musical exchanges between Colombia, West and Central Africa, and the Caribbean. Featuring artists like Los Corraleros De Majagual, Peacocks International Highlife Band, Pedro Lima, Zaïko Langa Langa, and more, the album also includes edits by Edna Martinez, reimagining these timeless rhythms for contemporary audiences while staying true to their original spirit.

Strut presents ‘Picó! Sound System Culture From The Colombian Carribbean’ across 2LP Vinyl, 1CD & Digital focusing on a celebration of the raw, undiluted energy of Picó culture. Through Edna Martinez’s curation, and extensive liner notes, this compilation offers a powerful and authentic glimpse into one of the most vibrant musical traditions of the Colombian Caribbean

Limited Edition 12” of the Remix Contest Winners!

In November 2024, 2 Flying Stones organized a remix contest. Four of the winners are featured on this 12” record.
The Funkhauser remix is already making waves in the jumpstyle scene. It is regularly played on harddance radio shows and festival main stages.
The Andy Cley remix is more downbeat and a great addition to the club circuit. Another winner, young talent Junotheoriginal, his remix takes a more artistic approach and could resonate well within the Gen Z scene.

Rounding out the release is a credible, club-oriented version by Antwerp-based producer Groove 81.

These four different versions, each growing within their own scenes, make for an impactful 12” release!

Following their debut album, Bay Area industrial duo Gridlock quickly pushed their creative boundaries. They restructured their live setup, incorporating new technology that expanded their sonic possibilities.

Their first experiment with upgraded digital tools resulted in the track Enzyme for Pendragon Records’ Quadraphobia compilation. Soon after, they embarked on a short West Coast tour before returning to the studio to craft their next album, Further.

Embracing real-time audio editing, Further developed rapidly, defined by its signature distorted percussion. Initially met with little feedback from their label, the album gained final approval after a live performance at the CMJ festival.

Released in early 1999, Further exceeded expectations, earning critical acclaim and charting in the the RPM charts. It became a landmark in the evolution of industrial music, blending emotional depth and cerebral complexity with brute force.

Gridlock continued evolving through two more albums before disbanding, leaving their work rare and highly sought after. Now, in tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s music with the blessing of Wells’ family.

Following the 2024 reissue of The Synthetic Form, Further will be released on July 11th on clear vinyl with greyscale splatter. Half of the proceeds will go to the American Foundation for Suicide Prevention in Wells’ honor.

Analogue Productions' UHQR, the pinnacle of high-quality vinyl! 45 RPM Ultra High Quality Record release limited to 5,000 copies Mastered from the original tapes by Ryan K. Smith at Sterling Sound Pressed at Quality Record Pressings using Clarity Vinyl® Purest possible pressing and most visually stunning presentation and packaging!

By the time Bob Marley died, he was one of the world's first global superstars, famous and lauded from Europe through Africa and the Americas. Some even saw him as not just a reggae singer but as a folk hero, a sort of freedom fighter, and to this day his enduring image feels greater than the music he made, writes Pitchfork. In the 21st century, Bob Marley is a global cultural icon and the first Jamaican inducted into the Rock & Roll Hall of Fame. 1977's Exodus — recorded in London exile after a failed attempt on his life — turned out to be Marley's biggest-selling studio album.

Time magazine named it the greatest LP of the 20th century. Other Marley discs had bigger hits and still others had better album tracks, but the balance Marley strikes between politics, religion, and romance on Exodus — compare and contrast the urgent title track and the laid-back "Jamming" — shows a pop star at the peak of his powers.

Now, Analogue Productions presents perfection — Exodus in UHQR 45 RPM format on Clarity Vinyl. This Ultra High Quality Record release will be limited to 4,500 copies, with gold foil individually numbered jackets. After the success of 1974's Natty Dread and 1976's Rastaman Vibration, Bob Marley was not only the most successful reggae musician in the world, he was one of the most powerful men in Jamaica. Powerful enough, in fact, that he was shot by gunmen who broke into his home in December 1976, days before he was to play a massive free concert intended to ease tensions days before a contentious election for Jamaican Prime Minister.

In the wake of the assassination attempt, Marley and his band left Jamaica and settled in London for two years, where he recorded Exodus. Exodus represented a subtle but significant shift for Marley; while he continued to speak out against political corruption and for freedom and equality for Third World people, his skill as a songwriter was as strong as ever, and Exodus boasted more than a few classics, "including the title song, 'Three Little Birds,' 'Waiting in Vain,' and 'Turn Your Lights Down Low,' tunes that defined Marley's gift for sounding laid-back and incisive at once," writes AllMusic. This UHQR is remastered at 45 RPM by Sterling Sound's Ryan K. Smith from the original analog master tapes. Each UHQR will be pressed on 180-gram vinyl at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a custom clamshell box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

AV1 is the new project of Chris Carrier & Le Loup. With countless releases under their belts, the parisian producers are long time heroes of many around the globe. It’s an honor to welcome these two with a release that merges the different sounds they listened over their long-spanning careers. From trancy tech house, to dark techno beats and a more slowed-down electroish piece on the B-Side, here is a first solid appearance on the label as a duo. Are they done with us? Probably not.

Joe Bataan's extensive discography was expanded in 2022 with the release of some old recordings from the King of Latin Soul that had never been previously published. After the success of his album "Riot!" (1968), Bataan had easy access to a studio whenever inspiration struck to record a new song sketch or even a complete track. Sometimes, he would finish the recording entirely and offer it in its final version to Fania for release. This usually worked, although on some occasions, the song was rejected. In the case of 'Drug Story,' the track was recorded without a clear final purpose, even though Bataan hoped it would become part of an album. When the Fania executives heard the result, they immediately rejected it, thinking it promoted drug use. The tapes were filed away and lost in oblivion until they ended up in a thrift store in New York. From there, they were rescued by a Latin music specialist and later sold, eventually making their way to the Vampisoul archives. The song was finally released in its entirety in 2022 on the LP "Drug Story" by Now Again. It features a long, slow vocal intro that evolves into a more uptempo track with two very distinct parts, to the point that it almost feels like two different songs. It transports us to the best moment of Joe Bataan's career, with all of his classic ingredients, delivering a track as good as his most famous songs. Bataan himself takes on the lead vocals and piano, Bobby Rodríguez handles the flute, sax, and bass, Pete 'Choki' Quintero plays the drums, and William Howes Jr. plays the electric guitar with wah-wah effects. Vampisoul strongly believes that the song deserved to be released as a single as well, and that its structure was perfect for each side to have a separate identity. So here it is, for the first time on a 45, 'Drug Story,', parts one & two, the long lost track by Joe Bataan. Pure Latin soul, recorded at the peak of the artist's career!

"tilt your back
pay respect
hand on heart

we were raised without table,
without manners,

where is it we gather this time?


In ‘Of No Fixed Abode,’ Saint Abdullah and Eomac extend their experimentation with genre dissolution to press upon the tensions that exist between culture, place, and migration. This fourth collaborative LP addresses the inherent fluidity of cultural memory, accepting our inability to remain fixed in the past, and explores how best to carry its spirit forward into an ambiguous future.

Through extensive research into 50 years of Persian pop, they meticulously reinterpret the legacies of artists like Andy, Hayedeh, and Fereydoun Farrokhzad, refracting samples by way of gritty beat work-outs akin to more contemporary musicians like Rezzett and Madlib. Through extensive archival research and sampling, they recontextualise these iconic melodies, placing reverie and frenetic drum programming in conversation with one another in a fashion that seeks to express a sense of two disparate tendencies cohabiting together, all while refusing homogenization. This reimagining extends beyond mere homage, serving as a conduit for exploring the narratives of migrant experiences, both in the UK and globally.

Sonically ‘Of No Fixed Abode’ plays with new sampling techniques, utilising the quick-fire intensity of the Roland SP404 with the cool precision of digital DAWs, and features collaborations with drummer Jason Nazary, sound artist Aria Rostami (both New York based), New Zealand-based mHz, and a vocal collaboration with London-based artist and musician Raheel Khan."

"Stop & Go", released in 1973, is o)en considered one of Hamilton Bohannon's finest works. This album showcases a dis6nct and primal funk sound, different from his later, more disco-oriented material. It is a highly regarded funk album, characterized by its deep grooves, inven6ve arrangements, and a unique blend of instrumental funk with soulful vocal touches. It stands out as a more nuanced and varied offering compared to some of his later, more direct disco releases, making it a must-listen for fans of early 70s funk.

Oliver Dollar presents Contemporary Part Three on Rekids The third instalment features collaborations with Ben Silver, Boogs, and Hazmat, and features Apropos and Boog Brown.

Berlin’s Oliver Dollar unveils part three of his ‘Contemporary’ series, releasing on Radio Slave’s Rekids 4th April 2025 and following up last year’s parts one and two, which featured the likes of Harvard Bass, Brillstein, ADMN, and Austin Ato, and won support from the likes of Nightmares On Wax, Anja Schneider, Laurent Garnier, Carista, Jennifer Cardini, Dam Swindle, and more.

Part three of Contemporary sees Oliver Dollar invite another cast of hotly tipped collaborators, kicking offthe EP with Melbourne DJ and producers Ben Silver and Boogs - both resident DJs at Revolver Upstairs - for ‘Cosmic Weapon’. Their track features lush, poignant chords underpinned by a rolling groove, with vocal samples warped, chopped, and sliced above for a mind-melting trip. Up next, ‘What Cha’ Gonna Do?’ sees Dollar team up with Apropos, whose inimitable voice previously featured on ‘Contemporary Part One’, and talented Detroit vocalist and Dilla’s Delights’ Boog Brown for a soulful duet. Last up is another Motor City link-up featuring Hazmat Live on production alongside Oliver Dollar for the infectious House energy of ‘Ought To Be Love’, joined by the earworm vocals of Members of the House front vocalist William Beaver, aka Billy Love, known for his work bringing Motown-style gospel vocals to Techno and House with notable Detroit artists like JeffMills, Theo Parrish, Moodymann, Kevin Saunderson, and many more.
drum work. Closing out the ‘I Feel’ EP, Tal Fussman works with fellow producer 8-AN to drop the dream-like strings of ‘Life Itself’, another deep track that is as club-ready as it is introspective.

One of the most outstanding Bossa Disco Jazz productions from West Germany at the beginning of the 80s! This masterpiece captivate with their stylistic perfection and journey from brazilian Bossa Nova to Jazz with a boogieesque Disco influence. Its still on of the most DJ spinned Bossa Jazz dancefloor tunes from W.-Germany in the last 30 years!

The two highly talented, creative and sensitive artists Judy (Jude Enxuto) and Ximo (Ximo Gregorio) had lived in Germany since 1980 and performing in several clubs, small art stages and festivals.
In 1982 they recorded their Debut album "Via Brasil" in Frankfurt am Main. It was released in the same year by the small private record label called Rillenschlange. In the meantime coveted by music lovers, collected by vinyl connoisseurs and and happy to play in DJ sets, the great composition of the Brazilian Izio Gross will be an absolute Evergreen and catchy tune remain. This music production is one of the most essential productions of this genres from West Germany and has more than earned its place on the Sound Essence label. An absolute groovy Bossa Jazz Trip and Tip!

odh Teri is back with a brand-new chapter.
The Return of Neela Devi kicks off a vinyl-only series where the iconic characters from Deep In India finally take center stage. With the Sampadan era behind us, a bold new sound is rising.
Leading the way is Neela Devi herself, across three genre-spanning tracks that cover everything from vintage disco to spaced-out synths and slow-burning indie dance. There’s something here for every kind of listener – the groover, the dreamer, and the deep digger.
We open with “Maalgaadi 54” – a relentless disco heater drenched in ’70s glam, trippy layers, and hands-in-the-air energy.
Next comes “Cosmic Dirt” – dusty, mysterious, and dripping with attitude. Think desert synths, dark disco grooves, and a mood straight out of an Indian spaghetti western.
Closing the record is “Beauty Blues” – a dubby slow-burner that gently builds before locking into a bouncing, blissed-out groove. A cheeky take on a classic that’ll leave you smiling from start to finish.Those who dig a little deeper into the wax will uncover a secret locked groove Visually, the record is a stunner. The artwork is helmed by Soju Aduckathil, with creative direction by Manoj Kurian, the visionary behind Masala Movement.
Marking the sixth release on the Masala Movement label, this vinyl-only beauty is just the beginning – with plenty more surprises lined up for 2025.
The new era has arrived. Ready to dive in?

Jeroen van der Smut launches the 2nd volume of Smutty Edits. The crew from the first release DJ Mawashi, Tom Bolas and MLiR are joined by Italian Dama and Japanese crew C.O.M.P.A.S… The second edition carries through the concept of 3 electronic and House edits on one side with more disco and synth-pop leaning offerings on the flip.

Friss is a turntablist at heart. Inspired by legends like C2C, The X-Ecutioners, Cut Chemist, A-Trak, D-Styles and many more, he always dreamed of creating music in that same spirit. For years, he searched for his own unique sound. The search is over, it’s been found.

GENERATION CMD+Z is a tribute to the art of turntablism, filled with battle record references. Soulful, jazzy hiphop beats accompanied with scratches by friss., DJ Robert Smith and Kypski. The warm, distinctive touch of Amsterdam-based keys wizard Soul Supreme shines through on "Beep Aaah Fresh" and "Use Head. After years of rocking clubs and touring with side projects, Friss is taking it back to the roots: beats and scratches, turntables and a mixer, a computer and CMD+Z. At the end of the record there is a "hidden" scratch sentence containing all scratch samples used on the record to complete the turntablism feel.

Following his journey into the 45 scene with Deejay Irie as It Takes Two since 2020, this marks Friss’s first-ever solo release — a personal and powerful debut.

Limited to just 200 copies.

The Gold is inspired by the true story and theories of the 1983 Brink’s-Mat robbery, which saw
the theft of £26 million worth of gold bullion, and the decades-long chain of events that followed. First aired in February 2023, the first series of The Gold garnered 8.7 million viewers for the first episode and was nominated for a BAFTA. Series Two is inspired by theories around what happened to the other half of the gold.

Simon Goff’s work sits at the intersection of contemporary classical, electronic, and cinematic
music. His albums Vale and Spark Like Living Mothers have received critical acclaim for their immersive, textural soundscapes and compositional depth. He has also worked with some of the world’s most acclaimed musicians as a collaborator and sound engineer on Joker and Chernobyl - both of which earned him Grammy Awards.

“In series one of The Gold, the score developed around using the sound pallets of strings and electronics, acting themselves as characters in the narrative. The subject of class permeates the whole story and we used these sound worlds to represent two worlds, divided at first but becoming more and more intertwined as the series progressed. The ways in which the worlds have collided and merged in series two is even more complex. The tension is even higher and the neurosis that torments the characters runs deeper.” Simon Goff

In the world of Pharaoh Overlord, little is ever as it seems. This band is less comprised of tricksters or mischief makers than fearless obsessives whose musical instincts take twisted and wild pathways. Now, fresh from forays into Italo-disco and synth-pop, they have thrown another still more mighty statement of intent into the universe. Louhi is a thunderous and majestic epic of joyful repetition and earth shaking power. A two-track minimalist-rock monolith forged from guitars, synths and hurdy-gurdy, inspired by the band’s eternal touchstone influence Outside The Dream Syndicate by Tony Conrad and Faust, and constructed around a single riff and melodic idea, it builds and evolves to fearsome pinnacles of elemental intensity.Luminaries and constant compatriots in the Pharaoh Overlord
headspace were recruited for this voyage into the ether. Vocalist and longtime collaborator Aaron Turner (SUMAC, Isis, Old Man Gloom)and Tyneside maverick Richard Dawson were equally keen to get on board, the former taking a spontaneous and improvisatory approach to his vocal parts, and the latter largely playing a part consisting of one guitar chord. Yet whatever routes Pharaoh Overlord take to their destination, a common theme is the consciousness-warping singularity of the riff and the mantra, and the temporal disorientation this can provoke mirrors the broader designs of this record, which takes traditional folk elements and transports them in the band’s singular time machine. “It’s our 25th Anniversary this year, and from time to time we hear wishes that if just we could play more of the stuff that we did twenty or more years ago” relate Jussi and Tomi. “We totally understand this. You could say we used Louhi to reset ourselves to the past, to be able to continue again to the future.” Aaron puts it another way, evoking simplicity in the chaos – “The world of Pharaoh Overlord is a magical one - every album is an invitation to enter that place and rejoice in doing so…”

HEMELBESTORMER have been a commanding entity in the heavy music scene for over 10 years, with their idiosyncratic take on the merger of post-rock, doomgaze and black metal. Made up of veterans from the Belgian hardcore and metal community, the four piece from Hasselt, Belgium create intricate sonic journeys through space and time built over punishing riffs and spine-chilling climaxes. With their fourth full-length The Radiant Veil HEMELBESTORMER take their songwriting and production to new heights, honouring their name as trailblazers on the intersection of dark and light, the crushingly heavy and the hauntingly beautiful. Having appeared at many of Europe's finest music festivals - ranging from Roadburn festival to Dunk! festival to Graspop Metal Meeting - HEMELBESTORMER feel right at home on stages with a wide variety of heavy, experimental and ethereal acts. The road combining ethereal post-rock with seething black metal has been travelled by many acts, but with HEMELBESTORMER that winding path has taken a different turn. Facing away from shoegaze or indie rock influences, the band find a more sophisticated way of incorporating unsettling melodies, blast beats and lo-fi synthesizers to emulate the dark void of space and eerie cold light of stars. HEMELBESTORMER are a sight to behold on stage, and with The Radiant Veil they penetrate deeper than ever into the farthest reaches of their sonic space ethos. Once more the Belgians capture the cavernous expanse between the cold lights of the universe, but also our power as humans to explore it, proving their greatness as masterclass storytellers in sight and sound. FOR FANS OF Neurosis, ISIS, Year of No Light, The Ruins of Beverast, WuW

HEMELBESTORMER have been a commanding entity in the heavy music scene for over 10 years, with their idiosyncratic take on the merger of post-rock, doomgaze and black metal. Made up of veterans from the Belgian hardcore and metal community, the four piece from Hasselt, Belgium create intricate sonic journeys through space and time built over punishing riffs and spine-chilling climaxes. With their fourth full-length The Radiant Veil HEMELBESTORMER take their songwriting and production to new heights, honouring their name as trailblazers on the intersection of dark and light, the crushingly heavy and the hauntingly beautiful. Having appeared at many of Europe's finest music festivals - ranging from Roadburn festival to Dunk! festival to Graspop Metal Meeting - HEMELBESTORMER feel right at home on stages with a wide variety of heavy, experimental and ethereal acts. The road combining ethereal post-rock with seething black metal has been travelled by many acts, but with HEMELBESTORMER that winding path has taken a different turn. Facing away from shoegaze or indie rock influences, the band find a more sophisticated way of incorporating unsettling melodies, blast beats and lo-fi synthesizers to emulate the dark void of space and eerie cold light of stars. HEMELBESTORMER are a sight to behold on stage, and with The Radiant Veil they penetrate deeper than ever into the farthest reaches of their sonic space ethos. Once more the Belgians capture the cavernous expanse between the cold lights of the universe, but also our power as humans to explore it, proving their greatness as masterclass storytellers in sight and sound. FOR FANS OF Neurosis, ISIS, Year of No Light, The Ruins of Beverast, WuW

Repress!

More ultra rare disco-soul from the sunshine state! Phillip Wright only dropped 1 45 single under his own name on TK Disco`s tiny Dash label in 1976. Long sought after & coveted by lovers of rare disco & modern soul "keep her happy" has never been reissued in its original 45 format, until now!

Often fetching around the $200 mark for a used copy this sublime slice of funk deserves to be heard by a wider audience, sadly Phillip never achieved the commercial success of his sister Betty but perhaps now this obscure single of his will make people hit the dancefloor in 2015!

Repressed, remastered & re-released in it`s original dinner 45 rpm format with all original Dash records artwork intact in conjunction with Joe Stone / TK Disco, Miami FL.

While the drama continues and we keep fighting the demons of our daily struggle,.. a man from another place locked himself down in a black lodge, conceiving new material to share with the world. 214 isn't just a number, it's music from an extradimensional place, high up the North Bend mountains. Frequencies coming from a red room, filled with electronic circuitry parallel connected to our inner soul. Lyle At Dawn is Chris Romans third offering for the Frustrated Funk familia. Setting the pace for more to come, as we connect to the Shipwrec multiverse for a full album release to follow shortly after this mind bending EP. You have been warned..

2025 Repress

Bite the Day is a new Idjut Boys label imprint. We do an occasional London Party of the same name.....the concept is that there isn't one, musical anythingness and more often than not intending to involve collaborative collision with a hitlist of audio gymnasts whose talents can mask our lack of
said talent.

From the vaults of Idjut time past, Dominican Dolla Man delivered a lyric we thought boots some cold reality into today. The mighty Emperor Machine man was called upon to deliver his ministry of musical justice take. If you can figure out the words they are better than your average Christmas
rap song.

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

We reunited for this second EP two best friends who have been shaking up the South of France techno community for a few years now. They started as a duo named Flyov before exploring their solo projects. Tibahuult has since been touring all over Europe with his explosive live set, blending Techno, Electro, and Punk music. Nathanaël, on his side, has grown into one of the DJs you don’t want to miss when partying in Marseille.

We’re thrilled to bring them back together on this project, where you can witness how a shared universe can evolve in two very different ways as each artist grows. To highlight this evolution, we selected for each of them one track produced a few years ago and one track created more recently with this project in mind.

On the A-side, Nathanaël opens the EP with a mysterious, trippy, jazz-infused house track, revealing all his finesse as the bass comes to embrace you like a big warm morning hug. For his second track, Cosmic Messenger, Nathanaël dives into a much darker space with a banger designed to destroy any dancefloor it hits

With Bass in the Sound, Tibahuult expresses his love for Punk music and flawlessly merges both worlds into an addictive ear-worm that will stick in your mind all day long. Tibahuult closes the B-side with one of his all-time festival anthems—the track that made me fall in love with his music. This high-energy piece will make anyone dance like the devil has taken over their body.

Hot Chocolate’s ‘Every 1's a Winner’ now on 1LP Black vinyl, is the fourth studio album by British band Hot Chocolate, released in April 1978. Selling over a million copies in the U.S. The album features nine tracks, including the hit singles "So You Win Again"—the band’s first UK number-one and "Every 1's a Winner".

Following on from 2018's "Wires" LP, their first studio album in over 25 years, and following up with "Humbucker" in 2020, and "in the Dust" in 2023, "Red Eyes" is the latest highly anticipated instalment in the reborn band that even a global pandemic couldn't stop , MOVING TARGETS! MT in the 21st century is a powerhouse, having toured US, Europe and Japan extensively since their reformation, and their latest album couples the next-level songwriting craft of Kenny Chambers with the cast-iron rhythm section of Yves and Emilien in arguably their most complete offering since reforming, "RED EYES" manages to sound reassuringly familiar and new and dynamic at the same time , and is everything you would want and expect from a MOVING TARGETS record, and more. Recorded with J ROBBINS (JAWBOX) at the helm (who also adds some percussion and backing vocals) "RED EYES" continues the MOVING TARGETS rebirth!

Editrix is a Massachusetts-rooted trio known for their wild, gnarly take on experimental rock. Blending jagged guitar riffs, unpredictable rhythms, and bursts of cartoonish eccentricity, the band creates a sound that's both chaotic and compelling. Composed of singer and guitarist Wendy Eisenberg, drummer Josh Daniel, and bassist Steve Cameron, Editrix thrives on musical risk-taking, often veering into noise-rock territory with a playful edge. On their latest release, The Big E, Editrix unleashes their fangs, resulting in a demonic wall of scuzz. But for as intense as Editrix sounds, the act is convivial and easygoing _ ingrained in deep friendships and speedy, yet jovial recording sessions. Editrix's most pummeling moments seem to be founded on a heartfelt connection, adding emotional resonance to their most feral noise. In the three years since their second LP Editrix II, Eisenberg, Daniel, and Cameron have thrived in individual states of motion _ in and away from music. New York City-based Eisenberg is an accomplished solo artist in the avant-garde realm, receiving recent acclaim for their album Viewfinder (released by American Dreams in 2024). They are also a prolific collaborator, performing in a handful of projects alongside the likes of romantic partner more eaze, Bill Orcutt, David Grubbs, and others. Cameron relocated from Massachusetts to New York City around the same time Editrix II came out, taking a slight step away from music to return to school. Daniel is the only member of Editrix left living in Massachusetts, and performs with the eclectic bands Landowner, Hot Dirt, and The Leafies. Due to Editrix being scattered, the band's new album, The Big E, found them toying with a fresh process. Editrix was quick to write off the idea of collaborating remotely, as the act relishes the warmth of happy accidents that only happen in person. The Big E sparked with Eisenberg, Daniel, and Cameron compiling a list of albums they each admire to establish a self-professed "vibe" up front. King Crimson, My Disco, and Horse Lords were a few key touchstones that shine through, their grounded grooviness balancing erraticism. Eisenberg also found themself infatuated with `70s outlaw country and Van Dyke Parks production. The Big E is titled after a comedic bit between band members, sharing its name with a prominent regional fair in Western Massachusetts, although the title-track aptly features massive E chords. When held up alongside Editrix II _ which found the act toying with Finnish death metal and harsh noise _ The Big E feels settled in its skin. Editrix recorded The Big E with legendary tech death producer Colin Marston (Krallice, Behold_, Dysrhythmia) at his soon-to-be-shuttered studio in Queens. Though these tracks sound toiled over and technical, they are very spontaneous. The majority of The Big E was captured live, with a handful of overdubs added after the fact and came to life over the course of four focused, but rewarding days. Eisenberg uses zen words like "meditative" and "evocative" to describe Editrix's methods, but the end result is crunchy, intricate, and impressively baffling. Easygoing as the band's operation may be, The Big E is a strong jump forward for Editrix inching them towards the center of the avant-rock constellation.

This is a tribute & was made during a place of sadness & grief for two amazing humans we lost last years, Rob Maguire on 18 december 2023 & Lea-Rose Besson aka Radical Softness on 15 February 2024.

They were the most unconditional loving persons I ever met, sharing love, breathing love, teaching us so much about being better everyday, leaving us as their mission on Earth were completed.

Still, the ones who stay, stand still. With only our memories to remember their souls, being infused by their aura of life forever. Its from those people when you feel instantly good around, making you feel comfortable, loving yourself more, accepting yourself & being vulnerable while powerful.

From all over the world and especially in Berlin, many of us where impacted so much by their kindness and souls, offering us a space to be heard & seen, when so many of us couldn't. We all know that it was such a privilege to knew them & shared wisdom with and timeless experiences, being kids around old souls, teaching us how to love beyond time & space.

Its from this place that most of the tracks of this EP were created, fighting for resilience through dark times. I felt the need to make them this tribute while healing from pain to find love in myself and others. Being grateful for everything that happens in life even if it never last.

Gaman, from the Japanese means, perseverance. That illustrate never giving up on ourselves, our dreams, our life, keep shining one day after the other, because being alive is the most unique privilege we will ever have.

While everything is temporary, music still belong, making them heard a little bit longer through vibrations.

My dear Rob, my dear Lea, may you rest in peace, may we see us again in another realm. We love you.

Release 18 on Atom Trance Force, this time from label favourite Micropulse. Here they deliver three rip roaring hard trance tracks in the form of 'Ecco', 'Evil Twin' and title track 'Heaven's Gate' that take no prisoners, with an ode to yesteryear, just how we like it!

Heaven's Gate & Ecco channel classic hard trance energy with high pace and melodic. Evil Twin slows it down to 140 for a more serene yet driving take.

Support from:

Adam (Last Of The Mohicans) Apple FM, Ben Corner Love Summer Radio, DJ Panda, DJ Strahl Discover Trance Radio, DJs Present, Devastate Gabberhead / Uprising, Dimitri Kechagias, Giuseppe Ottaviani, Hellraiser, J.O.E Tomorrows World, J.O.E Tomorrows World, Jake Nicholls [Uprising], James Brolly, Loki [Terminal Trax], Louk / Hidden Identity, Matt Handy [Contact], Mind Control [Noise Pollution], Paul Nineham [Brisk], Paul-O [Uprising], Remnis, Renegade System, Rennz [Distorted Dreams], Rocco Jonsson [Collide / The Carnival Sweden], Spaceman [Tuned Flow], Tjerk Coers, TripleXL.

Worldwide renowned for his artwork, Brooklyn based artist / producer Dom Dirtee’s debut album THE HARDCORE COMPOSER is OUT NOW everywhere on the legendary Duck Down Music. It boasts 10 songs of all-original music composed and played by Dom Dirtee and features only heavyweight MCs like Lil Fame (of M.O.P.), Paul Wall, Termanology, Millyz, Planet Asia, Nems, UFO Fev, Anoyd, Illa Ghee, and more.

When Casey Lowery’s grandfather passed away in 2023, he inherited a caravan on the English coastline, which became a retreat that helped him reconnect with his past and create his debut album, lekkerland. The album reflects Casey’s journey of recalibrating his career and reconnecting with the kind of community the music industry had promised him but failed to deliver.

Through his growing fanbase of 6 million online followers, Casey has carved out a space where he can be himself, keeping his shows affordable and supporting local creative communities on his tours. lekkerland is the culmination of a busy 2024 and 2025 releasing singles (including Kebab Tune, Blue Corduroys and Low Mood Season), headline shows and international festival appearances. From the caravan, Casey is building a more intimate, inclusive world for his fans - one where he can truly be himself.

When you’re immersed into something you never actually realize if the essence will project as bright as the efforts, as deep as the process and as loud as the intentions. WOW, the Roma Est duo of China and Leo Non, have never had to create magic or delve into mystique along their meandering path, it’s just been a long solemn wait for what life throws at them and actually sticks. Cause and reaction, because the essence is quietly there when the clamour fades away. Their new album ‘Rosa di Luce’ is as pure as they come, a crystalline documentation of a new family, new meanings and new languages where the only rule is to gently adapt and just let things flow.

Welcoming Mina Wow, a tiny creature, into the fold was never going to be easy for a life lead on the road and for a band as radical as WOW where nothing is sugar-coated or constructed behind the scene, a different approach was desperately wanted, needed and searched. Almost total disarm, doing the small things, undress, get rid of the unnecessary feedback. That’s why ‘Rosa di Luce’ more than ever showcases WOW’s other-worldy spectral capability of creating songs that contain immense and minimal emotions, raw but welcoming, sincere but cutting and could play out to be a career defining album. Loosely recorded between their house in Rome and a campsite in Southern Puglia (where WOW organizes their yearly Shawala Festival) these songs are masqued my a minimalist entendre that leaves space for China’s stellar vocal delivery, a haunted range with frequencies to tickle a soul and pierce hearts, with Leo’s resolute guitar playing leading a timeless revolution.

The center-piece ‘Le Montagne E Noi’ is a perfect example of their stripped-back nakedness hiding complex arrangements (the beautiful sax played by Ryan Spring Dooley and celestial flutes by Alessandra Lazzarini) that sound effortless and imperative. Spiritual orchestrations that match our times and most importantly their new family and definition of space. Peaks that can always be reached, forests that need crossing (La Radura) in order to find a sound. There is no pretension or conceit to WOW’s style, it is entrancingly vibrant yet melancholy, taking notes from the most visceral strand of Italian traditional music, yet, still, walking down a trail that is very much their own. A planet where Branko Mataja and Alice Coltrane are backed by Emahoy Tsege Mariam Gebru and Mina on a perennial quest for the ethereal. Music to remember the essence, this is what we are, like the ocean. “

Australia’s Winston Surfshirt shares his fourth studio album, WINSTON, gifted to the world on July 25 via Sweat It Out. The semi self-titled record is complete with 11-tracks of doting adoration and tidbits of love told through the playful, unique sonic fusions that Winston does so well. Seamlessly sliding between smooth R&B tones and hip hop inflections to juiced up disco-house, WINSTON delivers an homage to his foundational sound while refining a new chapter in territory untouched. As the name suggests - this record is Winston to its core, more than ever before.

As part of Ace 50 BGP has hooked up with our old friends at Concord Music to reissue one of the most important albums in our story. In 1987 as the dance jazz scene morphed into acid jazz Billy Hawks ‘Oh Baby (I Believe I’m Losing You)’ was filling the dance floors where either Gilles Peterson or Baz Fe Jazz were playing.

The Prestige Records album, “Heavy Soul!”, that featured the track, was impossible to find, and frustrated DJs were desperately trying to find a copy. BGP - the Ace label that the two DJs helmed - reissued the album and put the in-demand track onto a 12 inch single. With supply sufficient it became a club smash, crossing over to become a mod classic and one of the most important cuts from our scene.

In the ensuing years the track's status has remained undimmed and the album has never turned up in significant numbers, and yet it has never been reissued since. With an attention to detail that has always been the Ace way, we have carefully mastered the record to be as close as possible to the sound of the original Van Gelder mastering of 1967, and created and accurate representation of the album and label cover art.

Hawks never lived to be rediscovered, but through our musical detective work we tracked down his brother and found out as much of his story as feasible and we also unearthed a couple of pictures. The Virginian born organist with the amazing voice was a fixture on the North-Eastern lounge bar circuit, which was the entertainment backbone off Black American music at the time, and his full story is told on the illustrated inner sleeve that comes with this release

Originally released In July 1970 “Wil Malone”, a typically idiosyncratic supper-club/chamber pop take on the singer/songwriter genre that was so in vogue at the time. Featuring such earnest/facetious nuggets as 'I Could Write A Book' and 'At The Silver Slipper', the album has many admirers these days.
The original release is considered a rare collector's item, with some original copies fetching high prices. This reissue on Morgan Blue Town is available as a limited edition 180-gram yellow coloured vinyl pressing.

Sometimes when artists from different musical worlds come together, they create something that feels revolutionary. SAMANTHA E ADRIAN, the collaborative album by Brazilian actress and singer Samantha Schmütz and American composer ADRIAN YOUNGE, captures that magic by blending musical influences from Brazil and the United States with a deep, soulful take on the '70s. Produced and recorded at Younge's Linear Labs, one of the last analogue studios in Los Angeles, the album represents a new chapter in the musical dialogue between Brazil and the United States-an exchange that is celebrated by record DIE-C collectors around the world.

Originally released in 2010, "The Body"s All The Waters Of The Earth Turn To Blood" is a watershed album that changed the landscape of heavy music. Buoyed by the eclectic cast of musicians, from the undeniably potent collaboration with The Assembly of Light Choir as led by now longtime The Body collaborator Chrissy Wolpert, to guest contributors that include members of Dead Times, Fang Island, Lichens (aka Robert Aiki Aubrey Lowe), Human Beast, and many more. The album"s singularly bleak, yet beautiful atmosphere not only set the tone for The Body"s career in breaking the mold, but set a new standard for what extreme music could do.

Originally released in 2010, "The Body"s All The Waters Of The Earth Turn To Blood" is a watershed album that changed the landscape of heavy music. Buoyed by the eclectic cast of musicians, from the undeniably potent collaboration with The Assembly of Light Choir as led by now longtime The Body collaborator Chrissy Wolpert, to guest contributors that include members of Dead Times, Fang Island, Lichens (aka Robert Aiki Aubrey Lowe), Human Beast, and many more. The album"s singularly bleak, yet beautiful atmosphere not only set the tone for The Body"s career in breaking the mold, but set a new standard for what extreme music could do.