Search:music inc

Assault & Battery is the second studio album by Australian hard rock band Rose Tattoo and was released in 1981. Like the first album it was produced by the Vanda & Young team, who are most known for producing AC/DC's classic 70s albums).

Rose Tattoo (or The Tatts, as they;'re affectionately called) play peerless, street-level heavy blues with the emphasis on slide guitar and strident lyric statements.

After years of touring in Australia, Europe and America opening up for acts like ZZ Top and Aerosmith, the band started writing/recording their second studio album, Assault & Battery.
It includes fan favorites:"Out Of This Place" & "Rock n Roll Is King" & "Suicide City"
The album is noted for its "hard as nails," no-prisoners approach, described as a mix of AC/DC's power-chord style with a faster, punk-infused intensity.

Assault & Battery is available as a limited numbered edition of 1000 copies on black/white swirl vinyl.

Kicked in the Teeth, relies primarily on rip-roaring punk rock & roll guitar riffs and hardcore drum beats. Zeke does one thing, and that one thing they

do very very well - incredibly fast, out of control punk rock & roll, executed with exceptional lead guitar work.

Kicked In The Teeth is available as a limited edition of 500 individually numbered copies on crystal clear & turquoise marbled vinyl and includes an insert.

Somewhere between krautrock, noise rock, decaying psychedelia, and pagan proto-punk, Dééfait makes music like one performs a ritual: in trance, on repeat, and without a safety net. From the chaotic arteries of Mexico City to the basement venues of the Paris suburbs, Dééfait sculpts noise rock in apnea. Their self-titled debut EP is a noise rite: a wall of guitars, incantatory percussion, and possessed voices. With Dééfait, sound twists, repeats, stretches, until exhaustion and ecstasy. Formed in 2023, Dééfait brings together the Valero brothers (Lucas on guitar / Pablo, ex-Pays P, on drums), Enir Da (bass - Temir Alcy, Dali Muru & the Polyphonic Swarm), Grégoire Couvert (guitar), and Riki Lara, a Mexican-born vocalist and performer whose lyrics _ chanted, whispered, shouted _ alternate in three languages: English, Spanish, and French. Active on the Paris underground scene since 2024 (La Mécanique Ondulatoire, Le Cirque Électrique, Nouveaux Sauvages_), Dééfait imposes a ritual tension, physical, almost hallucinatory. No choruses to hum along to, no comforting melodies _ just a dense sonic flow that seeps and vibrates. This debut EP, set for release in December 2025 on Ici, d'ailleurs (Zëro, Matt Elliott, Bruit Noir_), lines up six long tracks resembling pagan litanies. Six extended pieces forming a possessed monologue, as if a camera had been slipped inside a burning body. Everything pants. Everything overflows. From We Love Each Other So Much That We Won't Belong To Any Species Anymore, love exceeds expected forms and becomes an organic pact, a ritual of species departure: "Cut me like you want, in bloom your fire," "We scratch consanguinity / We don't belong to any species anymore." It quickly suggests a call to ecstasy, to trance. The EP as a whole navigates unstable zones where desire, sacrifice, and alienation entwine like serpents on acid. Molokh 8 chants an offering to a carnivorous deity, between severed tongue and chemical body. In Bondbondbond, voices entangle, seek each other in a delirious, sensual chiaroscuro where pleasure derails into compulsion. It's a dogma-free ceremony, a game of inverted masks. Alether _ a live-explosive track and perhaps the most powerful of this first project _ shatters frameworks: convulsive dancing, possessed rhythms drowned by waves of guitar. Finally, Ferreri, cook for us closes the EP as a dark farce: a deviant homage to Italian filmmaker Marco Ferreri, the track chews and regurgitates words as if digesting an overfed world. Recorded in the chaos of DIY and mixed as a raw work, the record captures Dééfait's electric discharge in its purest state. The sound is dirty, visceral, possessed. Think Terminal Cheesecake, Boredoms, Nick Cave-era Birthday Party on acid, but also CAN impaled on an autopsy table, or a Giallo under a strobe light_ Yet it emerges as a singular work.

Ocean Cage is a live recording of Tianzhuo Chen nd Siko Setyanto’s performance Moyang & Seaman – a forking stage work that evolved from the immersive theatre performance project Ocean Cage, sharing the same title.
Directed by Tianzhuo Chen, aka Asiandopeboys, the immersive performance Ocean Cage merges scenography, installation, choreography, and live music into a unified whole. Inspired by the complex whaling traditions in Lamalera, an Indonesian village that preservers ritualised whaling practices and ancestral beliefs, the work unfolds through interconnected trinities – Moyang (ancestor), Lera Wulan (god), and Seaman – all incarnated by Siko Setyanto. It tells a porous story of unlocking the cage of the ocean: receiving ancestral blessing while becoming entangled with misjudgement, misunderstanding, ecological grief, and temporal displacement, until the sacrifice and life cycles move toward equilibrium.

Factory Benelux presents a blue vinyl edition of Short Stories for Pauline, the ‘lost’ fourth album by cult Manchester group The Durutti Column. Limited to just 500 copies, this edition also features a new cover image by photographer Mark Warner.
 Originally recorded by Vini Reilly in Brussels in November 1983, the 14 track album features several key Durutti works including College, A Room in Southport and (best of all) Duet. Recorded with Tuxedomoon viola player Blaine L. Reininger, this poignant instrumental proved - ironically – to be the downfall of the album, after Factory founder (and Durutti manager) Tony Wilson insisted that Duet form the basis of an entire neo-classical album. Thus Duet became Without Mercy in 1984, and Short Stories for Pauline was shelved.
Other guest musicians on the album include drummer Alain Lefebvre, harpist Anne van den Troost and sax player Eric Sleichim.

A super-powerful mashup where a female vocal shines over the groove of “Ain’t No Stoppin’ Us Now”!

This 7-inch release extracts the backing track from McFadden & Whitehead’s legendary 1979 Philly soul classic and layers it with Qubiko’s “Set Me Free,” resulting in a deeply groovy rework.

This release features two powerful tracks by French prvoducer Assal, who energetically delivers killer dance tracks mainly in the digital distribution field. The tracks are selected from the extensive catalog of the French label Plaizir Muzic, run by Stephane Deschezeaux, who also releases music by T-Groove.

The A-side reconstructs the hard-hitting rhythm track and lush, memorable string sections of the dance classic-famously covered by artists such as Biz Markie-and overlays them with the soulful female vocals from Italian producer Qubiko’s “Set Me Free,” creating a truly magical tune.

On the B-side, the tempo of Merry Clayton’s 1980 mid-tempo boogie is pushed up and the rhythm intensified, updating it into a fully floor-ready version.

Born in the Washington, DC area and raised in West Virginia, Miller has built a reputation as a thoughtful, boundary- pushing voice in alt- country and Americana, drawing from punk, traditional Appalachian music, and less conventional rock influences. For this record, he left his comfort zone behind and traveled to Tulsa to record at the legendary Church Studio, drawn by the city's deep musical legacy and its ties to artists like J.J. Cale. Co- produced with longtime collaborator Adam Meisterhans , the album was tracked live with a band of Tulsa- based musicians, including Grammy- nominated John Fullbright, under the steady hand of veteran engineers Gary Laney and Mike Prado. The result is John R. Miller 's most ambitious work to date - a spacious, textured collection that expands on the critically praised Depreciated and Heat Comes Down, blending road- worn storytelling, fuzzy atmospheres, and reflections on movement, memory, and change. Rooted in his West Virginia past yet shaped by constant travel and new collaborations, The Great Unknowing captures an artist trusting the process, embracing risk, and letting the groove lead the way.

The complete album + 2 bonus tracks - limited edition pressing 180g red coloured vinyl Contains new specially prepared liner notes by Penguin Guide to Jazz's writer Brian Morton and by Paris' prestigious Jazz Magazine . Unique cover photograph by renowned American jazz photographer Bob Willoughby (1927-2009). The complementing talents of Chet Baker (1929-1988) both as a trumpet player and as a singer are now well known. His trumpet and voice are extensions of the same musical personality, and once you have become familiar with both facets of Baker, you expect to hear them both. However, Chet Baker Sings was a revelation at the time and won Baker new fame and a new audience, which was less familiar with jazz than with pop music. Includes the bonus tracks "Let's Get Lost" and "Just Friends"

With Love Is Simple, Jeremy Pelt returns to the art of balladry, distilling eight deeply felt performances into his first vinyl-only anthology and shining a light on one of the most quietly persuasive sides of his artistry Drawn from his HighNote recordings, the set favors emotional honesty over grandstanding, pairing a few familiar titles with lesser-known gems that reward close listening.

They disbanded in 2015, much to the chagrin of their dedicated fanbase, leaving behind a highly influential body of work, including two gold- selling albums (United Paper People and Hymns for the Nonbeliever) and a slew of hit singles such as "Opinions Won't Keep You Warm at Night," "Do-Do's and Whoa-Ohs," and "Dinosaur." In mid-2025, alongside the vinyl reissue of Hymns for the Nonbeliever-- which reentered the Australian Album and Vinyl charts at #1-- Kisschasy released their first new music in sixteen years. "Lie to Me" and follow- up single "Parasite" both offer a modern edge to the band's trademark sound: blistering guitars, hammering drums, razor-sharp lyrics and, of course, irresistible hooks. It can now be revealed that these two songs form part of a larger body of work: a long-awaited fourth album.

Titled The Terrors of Comfort, the collection of ten brand-new songs finds Kisschasy at the peak of their creative powers. Band member Daz Cordeux describes the album as "raw, alive and commanding" and "the closest you're ever going to get to the true essence of our band." The Terrors of Comfort, Kisschasy's first new album since 2009, will be released on February 13, 2026

‘They went beyond punk before punk had properly started…the entire album is a controlled explosion of ideas. Nearly fifty years on, This Heat’s debut is something the world has still not completely caught up with.’ - Simon Reynolds

‘Over the years, there have been bands to play as aggressively, or even as strangely, but very few have been able to rise from their collective influences and histories to create music so singularly distinctive and inspiring.’ – Pitchfork 9/10

‘This Heat sounded like the future then ... and still do now.’ - Dan Snaith (Caribou)

Although widely considered to be Post-Punk’s finest, This Heat actually began performing and recording their music in 1976, the early days of London’s punk era. Within their two albums and an EP they perfected a strange and volatile new strain of avant-garde rock that time has proved to be massively influential, a blueprint for much that would follow: post-rock, math rock, homemade musique concrète, experimental electronica.

Numerous critics have recognised the band's influence on the music of Sonic Youth, Glenn Branca, Steven Wilson, Public Image Ltd., Radiohead, Swans, Shellac, Young Knives, Black Dice, Lightning Bolt and numerous other experimental and post-rock bands. Disbanding in 1982 they have left an undeniable legacy that has only continued to grow in stature and relevance.

The album This Heat, also known to fans and critics as the ‘Blue and Yellow’, was their eponymous debut release, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation (producing for example the proto-drum and bass ‘24 Track Loop’) with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did – including gigs – and tracks such as “Water” were entirely improvised in the studio.

Having recently passed the 50 year anniversary of their first gig, and the recording of material that appears on their debut album, the group’s surviving members Charles Bullen and Charles Hayward, true to their DIY roots, have set up an imprint to release their recordings for their growing fan base that is increasingly recognising their influential place in music history. 


‘Michael: Songs From The Motion Picture’ is the official companion album to the brand new biopic ‘Michael’. This album highlights 13 songs showcased in the film, from The Jackson 5 to The Jacksons to Michael’s chart-topping solo success with “Off The Wall” and “Thriller.” This collection includes smash hits like “Billie Jean,” “Don’t Stop ’Til You Get Enough,” “Human Nature” and more.

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

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 10

A1) GusGus - Crossfade (Maceo Plex Remix) (Original Release 2014)

Released in 2014 on the German label KOMPAKT, this remix by Maceo Plex features Ten Walls-like horns, vocals, and pumping drums, making it a true Ibiza floorkiller. The vocals are by Konstantin Sibold. This remix was only released as a white label (Kompakt Exclusive) and has yet to have an official vinyl release. Despite this, it remains a favorite among DJs and clubbers worldwide, regularly played at festivals and clubs.

A2) Plaything - Into Space (Original Release 2001)

This groovy track, released in 2001, contains a sample from Sheila & B. Devotion's Spacer, with Nile Rodgers as one of the producers. The original trackSpacer is an iconic disco hit from the 1970s, and Plaything put a contemporary spin on this classic. The track was a hit in Belgian clubs in the early 2000s, often played by prominent DJs. It has since been released on various labels and remains a timeless favorite in the electronic music scene.

B1) Ion - W.B. (Original Release 2002)

This trance classic by DJ Ion was first released in 2002 on the Belgian label B². The track quickly became a beloved classic within the trance community. Danny Casseau, the producer behind this track, is also known for other legendary works, including the trance classic Ion 98 - Tructure, which had a significant impact on the trance scene. W.B. is a pure, old-school trance track, crafted in the way only tracks from that era were!

This vinyl is extremely rare and hard to find, making it a sought-after item for collectors and trance lovers. It is still played in the sets of DJs who cherish the older trance sound, and it fits perfectly in contemporary sets as well!

B2) Subaltern - Forever (Ledge Forever Remix) (Original Release 2007)

This club banger was released in 2007 on the French label Voices Records and was a popular track in well-known Belgian clubs like Illusion and La Rocca. The Ledge Remix added an energetic, infectious vibe that made it a true hit on the dancefloor. It received an official vinyl release in 2007, but it is now difficult to obtain. Subaltern's Forever remains an unforgettable club classic still appreciated by electronic music lovers.

C1) Lykke Li - No Rest For The Wicked (Joris Voorn Remix) (Original Release 2014)

Swedish singer-songwriter Lykke Li scored a worldwide hit with I Follow Rivers, but also had great success with the powerful track No Rest For The Wicked. The Dutch producer Joris Voorn gave his own tech-house spin to the track in his known style!

Voorn's remix keeps the atmospheric mood of the original but adds a new, dancefloor-friendly dynamic that makes it suitable for the electronic music world.

This is the first time this remix is being released on vinyl since the original release in 2014, making it a rare and desirable item for both collectors and DJs. Thanks to the powerful mix of melody and rhythm, this remix of No Rest For The Wicked remains a timeless favorite that has found its place both in clubs and in vinyl collections of music enthusiasts and DJs.

C2) The Roc Project feat. Tina Arena - Never (Filterheadz Luv Tina Remix) (Original Release 2002)

This Spanish dance track hit Europe in 2003, thanks in part to the legendary remix by the Belgian techno duo Filterheadz. Brothers Bert and Maarten Wilmaers, known for their distinctive techno sound, gave the track their own twist with strong beats and an uplifting bassline, creating a timeless club hit that was heard everywhere in the early 2000s.

The vocals by Tina Arena add an emotional layer, while the Filterheadz Luv Tina Remix has stood the test of time and still gets everyone moving. At 12 Inch Lovers parties, this track never goes unnoticed and often brings the night to a high point. This track is a must-have for both collectors and DJs who love a mix of emotion, energy, and a solid techno sound.

D1) Soul Syndicate - Inside Of Me (Steel Union Remix) (Original Release 1995)

Speaking of a trance classic, this one is a true gem! Inside Of Me was released in 1995 during the golden years of Belgian trance music on the legendary Belgian label Aquatic Records. The Steel Union Remix by Zzino is an absolute favorite among trance lovers.

With its iconic sound and unmatched energy, this track is a true ode to the Belgian trance scene. It remains an unadulterated classic that still makes an irresistible impact, not only at retro trance events but also in the sets of contemporary DJs. Since its release, this remix has been hard to find, making it an even rarer piece of trance history. A track that has stood the test of time and is a must-have for collectors and fans of old-school trance.

D2) Ken Laszlo vs. Disco Dice - Hey Hey Guy (House Dub) (Original Release 2003)

Ken Laszlo, the Italian singer who became globally famous in the 1980s with the iconic Italo-disco hit Hey Hey Guy, received a re-release in 2003 on the house label Dubmental. This version was reimagined by Disco Dice, who gave the track a fresh house vibe with a more modern sound. Belgian DJ Jean, known for his influence on the Belgian nightlife scene, introduced this track into the clubs and transformed it into a club classic.

This release, although released in 2003, is now very rare and hard to find on vinyl. It's a hidden gem that continues to withstand the test of time, making it a valuable collector's item for lovers of both Italo-disco and house.

D3) Icehouse - Hey Little Girl (Infusion Remix) (Original Release 2002)

The Australian band Icehouse released the iconic track Hey Little Girl in 1982 on the British label Chrysalis. This synth-pop track was a big hit and still remains one of the classics from the 1980s. The original track was later included in the remix album Meltdown in 2003, where the Australian duo Infusion created a contemporary electronic remix that gave the track a new dimension.

The Infusion Remix adds a modern, danceable twist to the original synth-pop sound. This version surprised both fans of the original hit and lovers of electronic music, remaining a sought-after track in DJ sets.

This track has been unavailable on vinyl since its original release in 2003, making it a rare collector's item.

Incl. Pryda, Dexter Connection, Superfunk feat. Ron Carroll, Dave Swayze, Chris Bangs feat. Rita Campbell, Hyper Pearl, Daniel Bovie & Roy Rox, The Disco Freaks, The Mackenzie feat. Jessy



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

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 9

A1) Pryda - Allein (Original Release 2012)

Pryda, the legendary alter ego of Eric Prydz, has earned iconic status in the electronic music scene with his refined productions and epic tracks. Under this name, he has released several hits that have stood the test of time, including Allein. This track is a progressive house masterpiece built around a sample from Polarkreis 18's Allein Allein and is infused with the characteristic Pryda sound: grand, hypnotic, and emotionally powerful.

With its timeless and universal appeal, Pryda - Allein has captivated fans worldwide. The track is an absolute floor-filler that forms a highlight in any DJ set. Notably, this iconic track has never had a vinyl release, making this edition extra special for both collectors and lovers of true electronic music history.

A2) Dexter Connection - Baby Be Mine (Original Release 2003)

Released in 2003, this delightful groover samples Michael Jackson's Baby Be Mine and Brothers Johnson's Stomp. The track combines funky basslines with a tight, rhythmic groove that immediately invites dancing. The nostalgic vibes from the classic samples provide a familiar sound, while the modern production gives it a fresh, contemporary twist. Ideal for DJ sets where you want to get the crowd in the right mood.

A3) Superfunk feat. Ron Carroll - Lucky Star (Original Release 2000)

This track needs little introduction. Released in 2000, with soulful vocals from Ron Carroll, it quickly became an iconic hit within the house scene. Lucky Star was the breakthrough single of Superfunk, a French house group,and sold over 500,000 copies worldwide. The track reached number 42 on the UK Singles Chart and has since become a staple in house and dance sets.

With its funky basslines, catchy melody, and infectious groove, it's a perfect mix of disco, house, and soul. The track includes a sample from Chris Rea's Josephine, adding to the recognizable and nostalgic vibe. Lucky Star became not only a floor-filler but also an anthem of the French house movement, alongside acts like Daft Punk and Cassius who dominated the world in the same period.

B1) Dave Swayze - Goldwave (24K) (Original Release 1996)

This 1996 trance classic needs little introduction. Goldwave is a timeless track that continues to resonate with trance lovers, thanks to the unique combination of dreamy synths, hypnotic rhythms, and epic build-up. The track is a true ear-candy and touches anyone who hears it. Originally released in 1996 on Belgium's DiKi Records, it quickly became a classic in clubs like La Bush, Illusion, La Rocca, and many more.

To this day, Goldwave is still played in the sets of many DJs, and remains a favorite at retro trance events. The track has stood the test of time and remains a key track for fans of old-school trance. It's a piece of electronic music history that makes people dream on the dancefloor with its dreamy Goldwave.

B2) Chris Bangs feat. Rita Campbell - Warm Weather (Ibiza BeachBall Vocal Mix) (Original Release 2000)

Warm Weather by Chris Bangs feat. Rita Campbell is a summery, uplifting track that perfectly evokes the atmosphere of Ibiza. The song blends house and trance with the infectious vocals of Rita Campbell, creating a warm, relaxed vibe. The Ibiza BeachBall Vocal Mix adds a touch of Balearic energy, with a calm rhythm and melodies that immediately remind you of sunny beaches and carefree days. Originally released in 2000 on the UK label INCredible, it remains a hidden gem for many trance lovers.

C1) Hyper Pearl - Can You Feel The Pain (Up & Vox Version) (Original Release 1995)

This 1995 trance classic made a lot of noise in clubs like Illusion, La Bush, Lagoa, and At the Villa. Pure old-school trance with emotion and drive like only that era could produce. A fantastic track, produced by Carl Drake, Matt Spinner, and Zzino, originally released on Belgium's Aquatic label.

C2) Daniel Bovie & Roy Rox - Stop Playing With My Mind (Dub) (Original Release 2008)

Daniel Bovie (aka Danny Van Wouwe) is a versatile producer with dozens of tracks to his name, many of which are considered classics. This track is no exception. Originally released on the legendary Strictly Rhythm label, co-produced with Dutch producer Roy "Van Luffelen" Rox, this track quickly became a floor-filler and charted in Belgium and the Netherlands. The vocals wereprovided by the talented Nelson.

D1) The Disco Freaks - Make My Dreams Reality (Chord Memory Mix) (Original Release 1997)

Originally released on an EP by The Disco Freaks, the alter ego of producers Bart Grinaert and Lajos Meszaros. This mix, which is much stronger than the original, quickly became a club classic and was played extensively in clubs like Illusion, Carat, and Extreme. A delightful, groovy, and uplifting track that combines disco elements with house. The Chord Memory Mix adds a nostalgic touch by using warm chords, funky basslines, and uplifting percussion.

D2) The Mackenzie feat. Jessy - I Am Free (Marino Stephano Club Mix) (Original Release 1997)

I Am Free by The Mackenzie needs little introduction and is a must in every DJ and vinyl lover's collection. This mix, often played at our parties, is something special. The man behind many legendary trance classics, Marino Stephano (RIP), hasreworked this version in his unmistakable way. The remix has an energetic and captivating vibe, with deep, hypnotic beats and floating synths. A beautiful track in its original version, it continues to fascinate.

Luke Una introduces a new series of original, dancefloor-focused productions on his É Soul Cultura imprint, in partnership with Mr Bongo. True to the label’s ethos, the series pushes sonic boundaries into deeper, more expansive territories, delivering forward-thinking music for discerning dancefloors. The first release brings together UK garage royalty Zed Bias and the underground talents of MJK, as we’re served up a double hit of hypnotic, futuristic techno and house.

Zed Bias is an artist that needs little introduction. The main moniker of Manchester’s Dave Jones, over the past 25+ years he’s cemented himself as a crucial figure in UK garage and dance music as a whole. He’s remixed hundreds of artists including Whitney Houston, The Streets and Azymuth, been nominated for a MOBO award and, through his more experimental take on 2 step garage, helped lay the foundations for the development of bass music into dubstep. For this new release he teams up with Ghanaian-British producer and DJ, MJK. Earmarked as ‘One To Watch’ by DJ Mag, and similarly championed by Mixmag, MJK’s sound draws from the worlds of bass, grime, house and beyond.

Opening track ‘Keep On Livin’’ sees Zed Bias and MJK coming together in the studio. Passed to Luke by his manager If Khan, it’s a sonic alchemy rooted in black heart soul music yet seen through a prism of bass futurism. A heads-down cut of driving techno, with nods to Detroit, and firm UK foundations, that is both bass-heavy and otherworldly. It’s a simple yet effective, entrancing combination of percussion, bass, and keys, peppered with old soul samples that lock you into a groove and never let go. A track built for dancefloors big or small.

On the flip, MJK steps up solo with ‘Late to Camberwell’, diving into deeper, late-night territory. Known for his three-deck DJ mixing style, MJK has a real understanding of how to layer elements to keep people moving. A swirling cosmic feel reverberates through ‘Late to Camberwell’. Drum hits, shakers and synth loops are weaved together in style, creating a dose of deep, immersive rolling house. In Luke’s own words, “I found it very exciting to hear a new artist create such a beautiful sound that reminded me of Detroit and Artwork's late ‘90s techno alias Grain. It’s stripped-back raw house music of the highest calibre”.

"Amor y libertad" (1981) is the LP recorded by an erotic disco project fronted by actress and model Susana Estrada, with Josep Llobell (Oliver's Planet, Enterprise_) serving as the visionary producer working behind the scenes. From this album, we have selected two of its finest tracks to be reissued for the first time on 7-inch format. On 'Mi chico favorito,' Susana Estrada's sensual voice rides over a musical backing clearly inspired by 'Good Times' by Chic, likely via 'Rapper's Delight' by The Sugarhill Gang, making it just as irresistible. On the B-side, we release '¡Quítate el sostén!' as a single for the first time-a funky disco-rap anthem packed with feminist statements. On "Mi chico favorito," Susana Estrada's sensual voice is set against a musical backing clearly inspired in "Good Times" by Chic, most likely via "Rapper's Delight" by The Sugarhill Gang-resulting in a track every bit as irresistibly infectious as those classics . On the B-side, we reissue "¡Quítate el sostén!" as a single for the first time, an anthem filled with feminist declarations ("the time for girls has come_") and messages of sexual liberation ("let them say what they want, it's freedom-our freedom_"), which the singer delivers in a proto-rap style over a funky disco beat.

Grammy award-winning titan of dance music Purple Disco Machine joins the illustrious list of Defected House Masters with a celebratory compilation. The German producer, DJ and global household name Tino Pointek, AKA Purple Disco Machine, is the blueprint for what makes a successful dance music artist in the modern age; respected on the underground scene while achieving major crossover success with remixes for the likes of Sir Elton John, Dua Lipa and Mark Ronson. The crate digging kingpin of house and disco first landed on Defected over a decade ago, and has since delivered remixes of iconic tracks like Fatboy Slim’s ‘Praise You’ and the London label’s top tracks including Shakedown’s ‘At Night’ and ‘Coma Cat’ by Tensnake – as well as striking originals like ‘Beat Fantasy’. From edits of the classics to remixes of the modern, as well as uplifting originals, Purple Disco Machine has birthed a distinct sound that is instantly recognisable, one that is not afraid to reference or not reference and is always bursting with joy. Across Defected presents House Masters: Purple Disco Machine, the full breadth of the iconic German selector’s sound is felt from the 2019 smash hit ‘Dished (Male Stripper)’ to deep cuts like his re-work of Fallout’s ‘The Morning After’ as well as remixes of legendary tracks like ‘Lola’s Theme’ by The Shapeshifters and Spiller’s ‘Groovejet’ featuring Sophie Ellis-Bextor. Defected presents House Masters: Purple Disco Machine is here to showcase the sound of a bona fide electronic maverick in full.

Never Sleep charity tape series focuses on the North East's Valenican musical obsession with the man who started it all.

Trendsetter DJ Scott commands respect with a blend of Makina, Hardcore and Bounce. A trance laced session filled with the resonating compere styles from MC Stompin, MC Jet and MC Natz.

Bringing the energy, heart on the sleeve lyricism and maximal Mackem love for the late night surreptitiously crew. Lacing the backdrop with rapid fire crossfade technique, jump up tonal flair and high pace anthemic signals. Scott brings authenticity alongside the finest MC's in the land.

MC Stompin shows the naysayers who owns the night, MC Jet streamlines quality on the mic and MC Natz brings his own signature tones to the prestigious event.

Literally bringing the first ever Makina records back from Spain (8 of them) and starting Hangar13, this mix showcases an incredible time for the localised sonica and the rise of a cultural defining era in the North East.

DJ Scott is known for his huge cultural contribution, youth work and working class pioneership. A true UK legend and local hero.

All proceeds go to The Macmillan Cancer Support who help people across the UK and and provides specialist health care.

A1 – Natural Calamity – Vibeka
A2 – Jimetta Rose – Ebb & Flow
A3 – Dea Barandana – Licik (Tribute) (Love Injection Edit)

B1 – We Are Echo People – Bird Brain
B2 – Ensemble Entendu – Wasp Jam
B3 – Fatback – Is This The Future? (Disco Version)

C1 – Mind Fair – Hiding From My Shadow
C2 – Gigi Testa – Oriental Express

D1 – Gayance, Dal Bò – Liberation Lullaby
D2 – Kaoru Inoue presents Chari Chari – Tidal Wave
D3 – ICAN – Pa' Mi Gente

E1 – Angela Johnson – Inclusion (The Soul Feast Cosmic Arts Dub)
E2 – Jimi Tenor – The Duel

F1 – Antonio Ocasio – Love For The Loft
F2 – Ken Ishii ft. Metropolitan Harmonic Formulas – Can You Feel It

暗く湿った夏の夜、小さなボートはあてもなくさまよう。不穏さと美しさが同居するこの海は自分自身のようでもあり遠く離れたどこかのようでもあった。

Shinichi Koboyashi’s music as Bot1500 has such a beautiful signature to it. Using the layers and language of ambient IDM, artfully arranged pads & chords and crisp vectored breaks, he’s been creating a beautiful and highly individual sound.

The Black Sea, His first album since 2022’s Surreal on AD93’s sister label Lith Dolina, spaces things out more and focuses inward with a palette of minimalism and increased emotional resonance. It’s been a focus for Shinichi across his self-published studio work in the last few years.

The album’s tracks feel increasingly rooted in the principles and logic of dub. Utilising more space, more silence, and more focus on the simplicity and elegance of the composition folded into radiant arrangements of melody, snare, shade and echo.

The sea is both an inner landscape and a geographic image that hangs over the record’s mood. A dark humid summer night, like that on Japanese coasts. A small boat sails aimlessly. An eerie tone, but with a glimpse of beauty. The water is melancholic, enveloping, and endless.

Each track is written at 140bpm save for last track “White Flocks” at 120, for the image of heading south to close out.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

Tol & Tol are the Dutch musical duo made up of brothers Cees Tol and Thomas Tol. In the 1990s, they gained wider recognition with their music, featuring melodic pop songs with a distinctive Mediterranean and world-music influence. Their music gives a warm, summery sound which became quite popular in the Netherlands and beyond. The duo is also known for their collaboration with the popular Dutch group BZN (Band Zonder Naam), of which they both have been of part of. This compilation album presents the most popular and succesful songs of the duo, including their popular songs "Eleni", "Sedalia" and "Recuerdos de la Alhambra".

Tol & Tol: The Very Best is available as a limited edition of 500 copies on orange vinyl.

Composer Vasco Mendonça presents his third album “Third Places”. The album brings together a collection of landmark performances and features some of the leading names in international contemporary music, including countertenor Iestyn Davies, mezzo-soprano Barbara Kozelj, the Porto Casa da Música Symphony Orchestra, the ensemble Het Muziek, and conductors Brad Lubman and Ernest Martínez Izquierdo.

More than just a record, “Third Places” stands as a space for artistic and political reflection on the present. Inspired by Ray Oldenburg’s concept of the ‘third place’ – a space beyond home and work where community life takes place – the album’s title refers to the venues where these works came to life, Casa da Música and the Muziekgebouw aan ’t IJ in Amsterdam: spaces for encounter, dialogue and cultural resistance. For Vasco Mendonça, these spaces symbolise “the ability to elevate the way we communicate with one another and to resist our most primitive and violent impulses”.

The voice lies at the heart of this work. The compositions explore the theatrical, intimate and political dimensions of vocal expression, drawing on texts of great social and emotional weight to create a shared space for listening and questioning the current state of the world.

One of the album’s central works stems from a profound contemporary concern. Inspired by the turbulent political climate in the United States following the 2016 elections and by his discovery of the poetry of Terrance Hayes and Tracy K. Smith, Vasco Mendonça composed a cycle of songs initially conceived for voice and percussion, later transposed for orchestra. The result is described by the composer as “a kind of imaginary American folklore”, where excess, transcendence, fascination and fear coexist.

The album also includes a reworking of material from the opera “Bosch Beach”, created in 2016 to mark the 500th anniversary of the death of Hieronymus Bosch, commissioned by the Dutch foundation Stichting Bosch 500. Based on a libretto by the writer Dimitri Verhulst, the work reflected on the European migration crisis through a scathing portrait of human indifference. In “Third Places”, Mendonça revisits some of this musical material to construct an incisive reflection on contemporary political discourse, transforming the opera’s numbers into archetypes of election campaigns, populism and performative communication.

Straddling contemplation and confrontation, lyricism and political tension, “Third Places” stands as one of the most ambitious recording projects in contemporary Portuguese music, offering an experience that is both aesthetic and critical, where music and thought intersect in a visceral way.

The digital version of the album will include a bonus track, “Marathon”, which explores the analogy between music and long-distance running, creating a piece in which time is transformed through breathing, the heartbeat and the ritualised repetition of movement and the body, in a constant tension between exhaustion and survival.

‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ NEWLY UNEARTHED EARLY RECORDINGS BY THE FIRST LINE-UP OF MUSICAL YOUTH Mastered from the original tapes by Guy Davie at Electric Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ – an album of rare and unheard early recordings by Musical Youth, the Birmingham reggae group propelled to worldwide fame with the release of their chart-topping single PASS THE DUTCHIE. ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ combines songs from Musical Youth’s first John Peel session, recorded in 1981 with newly unearthed recordings taken from quarter-inch reels stored for over 40 years by the group’s mentor and producer Toney Owens. The project was seeded as early as 2020, when Paphides sent a speculative message to Owens, after he saw his producer credit on the group’s independently released 1981 single Generals/Political. Paphides wanted to know if Owens had made more recordings of the group in a similar heavier roots reggae vein to those on their debut single. Happening upon the message by chance three years later, Owens allowed Needle Mythology access to his archive of quarter-inch tapes, dating back as far as 1978. The recordings gathered together on ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ shine a light on the exceptional musicianship inculcated into the group by their first frontman Frederick Waite, formerly singer with revered Jamaican rocksteady group The Techniques. Backing Frederick Waite in the early lineup of Musical Youth (originally billed by Toney as Cultural Musical Workshop Youths, were two pairs of brothers) Patrick and Junior Waite, and Kelvin and Michael Grant.

Lifeforce is the 1985 sci-fi horror cult film directed by Tobe Hooper, responsible for the 1974 horror classic The Texas Chain Saw Massacre. Based on Colin Wilson's 1976 novel The Space Vampires, the film is about the remnants of a race of intergalactic vampires who are brought to London, where they soon begin to infect its population.

Legendary composer Henry Mancini has soundtracked this apocalyptic descent into chaos. He is widely regarded as one of the greatest composers in film history exemplified by his impressive trophy wall: he won four Oscars, a Golden Globe, and twenty Grammy Awards, plus a posthumous Grammy Lifetime Achievement Award. He is most famous for "Moon River" performed by Audrey Hepburn in Breakfast at Tiffany's and of course The Pink Panther.

James Horner was first asked to compose the score, but Mancini was brought in instead and crafted a piece of music both bombastic and ambient (and sometimes even atonal), employing the London Symphony Orchestra. Sit back and feel the fear...

The soundtrack of Lifeforce is available as a limited edition of 500 individually numbered copies on purple marble vinyl, and includes a 4-page booklet containing an alternate cover, film stills, and a fold-out movie poster replica.

Best known as one half of KIASMOS alongside Ólafur Arnalds, the Faroe Islands born, Reykjavik based producer Janus Rasmussen has consistently refined an elegant sound that marries sonic precision with emotional depth. Over the past decade, he has built a wide-ranging body of work through collaborations across multiple genres as a producer, songwriter, musician, and mix engineer.

As a solo artist, Janus has crafted compositions that balance immersive sound design, subtle melodic shifts and rhythmic drive, drawing on his diverse musical appreciation and studio experimentation. These experiences have shaped a creative identity that now comes into sharp focus on his most ambitious solo project to date - Inert.

The album marks a bold step forward, thematically exploring the act of breaking free from inertia through embracing creative freedom. With his new work, Janus incorporates his own vocals more than ever, weaving them seamlessly around intricate electronics as he expands his sound into new territory, while retaining the subtle restraint that has defined his output. Drawing inspiration from the dance music spectrum, Inert reflects a renewed sense of momentum, vulnerability and adventurousness in his sound.

o black heavyweight LPs
o 39 tracks from the expansion to Monster Hunter: World
o Rigid board outer box
o Printed inner sleeves

The fearsome co-op team of Laced and Capcom have hunted down more rousing music from the Monster Hunter series.

Monster Hunter World: Iceborne was a significant expansion to the hit action role-playing game, introducing players to the icy environs of Hoarfrost Reach and pitting them against intimidating foes including Velkhana and Zinogre.

The sound team for Iceborne comprised Akihiko Narita, Akiyuki Morimoto, Zhenlan Kang, Yuko Komiyama (comymusic), and Tadayoshi Makino (SpinSolfa Co., Ltd.). In true series fashion, the composers used rip-roaring orchestral and percussive instrumentation to alternately rouse and soothe players; from the propulsive "Spark of Blue - Zinogre" to the homely, Celtic folk-inspired "Theme of Seliana".

This vinyl set features artwork by Capcom highlighting the game's key monsters, with tracks pressed to heavyweight vinyl.

All music has been specially mastered for vinyl by Joe Caithness.

**LIMITED 500 UK COPIES ON BLACK VINYL** VINYL ONLY RELEASE for RSD: Rival Consoles, UK producer Ryan Lee West, shares his original score for MindsEye, the highly anticipated narrative-driven game from Build A Rocket Boy, the studio led by visionary game director Leslie Benzies. The industrial techno score doesn’t just accompany the game, it’s embedded in the code of the world they have created together. The full score sees its debut on vinyl for the first time as a limited-edition Record Store Day 2026 release.

Set in Redrock, a sprawling desert metropolis ruled by surveillance and automation, MindsEye follows Jacob Diaz, an ex-soldier haunted by fractured memories. As his personal mission escalates, he’s forced to navigate a world shaped by rogue AI, militarized tech, and a fragile grip on control, all while confronting the truth about his past. "In MindsEye, sound is a critical storytelling layer, from ambient detail to emotional drive, every element is designed to shape how players feel inside the world," said Craig Conner, audio director at Build A Rocket Boy. "Rival Consoles’ tracks brought something truly special to that vision. Ryan’s music adds a distinct emotional charge and texture that elevates key moments. It doesn’t just accompany the game, it sharpens its edge, deepens its atmosphere, and perfectly complements the world we’ve built." The score was produced over the span of three years in his London studio, and contains some of West’s most ambitious and heaviest compositions to date.

To coincide with today’s release of the game, the 10-track score is now available to stream in its entirety. MindsEye follows West’s previous scoring work, including bespoke music for 2019’s Black Mirror episode Striking Vipers, featuring ‘I Love This, I Love You’, 2022’s Netflix feature doc El Caso Figo about the legendary football player Luís Figo, and Alexander Whitley’s contemporary dance production Overflow, which was released as a studio album with the same name in 2021. The most recent Rival Consoles album, Landscape from Memory, was released in July 2025 to critical and fan acclaim. A world tour continues into mid-2026.

Nobody knew. Not the crowd packed into Circolo Kessel that Sunday evening, not even the six musicians on stage. When Giardini di Mirò played on March 19, 2023, it was supposed to be just another homecoming show in Cavriago, the kind of night where you play for the people who’ve known you longest. Some were missing from the audience, though: “Our closest friends stayed home to watch the football match tonight,” Jukka quipped from the stage. “But that’s fine, we’ll deal with them tomorrow.” In hindsight, even Juventus fans who celebrated their 1–0 victory over Inter made the wrong choice.

Seventy minutes in, all the instruments converged into a one-chord riff, driven by the drums and punctuated by screaming guitars. A repetitive rhythm that paired brutal volume with hypnotic precision. Even those at the back of the room felt it: that trance-like state where sound becomes physical. Then the wall of sound collapsed. Guitar feedback lingered in the air for a few seconds before fading into nothing.

This was the last sound Giardini di Mirò made. They haven’t played since, and there are no plans to do so again. But in that moment, nobody knew.

The closing song that night was also the opener of their debut full-length, recorded more than two decades earlier. Its title, A New Start, carries an unintended irony the band would likely appreciate. It is also oddly fitting that their final show took place in the same building where they began. Circolo Kessel, previously known as Calamita, served as the band’s rehearsal space for many years. Yet since their rise to becoming one of Europe’s defining post-rock acts, they had never performed a concert there.

In a fortunate coincidence, Markus Mathis – a longtime fan who had recorded several of their shows before – also captured this final concert using two room microphones and a feed from the mixing desk.

Quasi Casa is the complete, unfiltered document of that night: an “official bootleg” spanning over 70 minutes of purely instrumental music, drawing on material from across their entire career, from the earliest releases to Del Tutto Illusorio. It captures, with striking clarity, the intensity that defined the band’s live performances.

Rather than simply uploading the recording and calling it a day, the band chose to assemble a physical release as a parting gift to their fans. The double LP includes a 16-page booklet with extensive liner notes and visual material.

Strut presents the second studio album from Brian Auger’s Oblivion Express and a firm favourite with Auger aficionados, the “little known masterpiece” A Better Land from 1971. Marking a clear evolution from their more jazz-rock leaning debut, the band shifts into a mellower direction on these tracks, echoing the feel of Befour released in the Trinity's later years. A Better Land embraces warmer, more melodic and understated compositions, primarily written by guitarist Jim Mullen. With its languid and spacious approach, the album brings an grounded message to make the most of the simple pleasures in life with a hopeful, but wary, eye to the future. Musically, Auger brings acoustic guitars, country rock melodies and three-part vocal harmonies into his musical palette. Key tracks include the groove-driven title track ‘A Better Land’, the sparse ‘Dawn of Another Day,’ (sampled by Air and Black Milk among others) while ‘Fill Your Head With Laughter’ returns to Auger's trademark driving Hammond-led sound, akin to early Traffic.

The record features the Brian Auger’s unique sound on organ and electric piano, joined by Jim Mullen on guitar, Barry Dean on bass and Robbie McIntosh on drums and percussion, with Auger, Mullen and Dean all contributing vocals. Mullen co-wrote seven of the album’s nine tracks, with additional contributions from Alan Gorrie (later of Average White Band). These songwriters should take immense pride in their work as Auger’s favourite singer of all time, Sarah Vaughan, recognised the quality of these compositions by covering three of them; ‘Trouble’, ‘On “Thinking It Over’, and ‘Tomorrow City’ for her 1972 album A Time in My Life. This new official Strut reissue is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered by Cosmic Audio, it is presented as a high-quality single LP replica edition.

Erased Tapes are proud to re-issue The Red Book by Penguin Cafe, with an expanded vinyl track list which now includes the CD and digital-only “And Yet…” plus two tracks from the limited-edition Umbrella EP. This new edition will be available on limited translucent vinyl and CD, both with updated art from Studio Torsten Posselt utilising the original drawing from renowned British sculptor and Simon Jeffes’ partner Emily Young.

Penguin Cafe was founded by Arthur Jeffes in 2009, bringing together a talented and disparate group of musicians initially to perform his father Simon Jeffes’ legacy of world-renowned Penguin Cafe Orchestra music, ten years after his untimely death in 1997. Following the release of A Matter of Life shortly after founding, The Red Book was released in 2014 to critical and fan acclaim.

“The name The Red Book comes from the book by Karl Jung of the same name. The book is about, among other things, the way our subconscious interacts with and intrudes into our daily lives. I thought this fitted what we were trying to achieve with the second album quite neatly — namely, exploring musical worlds that are at once both familiar and strange. There is another meaning which is that the main mastered disc you end up with, the one from which all other copies will be made, is called the Red Book Master — so somewhere at some point there will be a disc on which will be written “The Red Book — Red Book Master.”

The tracks on the album all fall on some point along a scale going from gently Apollonian at the one end to perhaps a bit more Dionysian at the other. For our purposes this would be the ‘spacey’ end — with tunes like 1420 and Aurora, and the ‘imaginary folk’ end — with tracks like Odeon, Radio Bemba and Black Hibiscus. The tracks between these extremes are, perhaps with Silent Sun in particular, an attempt to blend these two parts.”

Younger Than Yesterday is The Byrds' fourth album and was originally released in 1967. As on its predecessor, the album features elements of psychedelic rock like experimenting with new musical textures, including brass instruments and reverse tape effects.

On the other hand, the first country and western influences can be found on the album, being early indicators of the country rock direction the band would pursue on their later albums. Younger Than Yesterday is considered one of The Byrds' finest albums., as illustrated by the fact that Rolling Stone magazine, who ranked the album at #124 on their 2003 list of The 500 Greatest Albums of All Time.

Younger Than Yesterday is available as a limited edition of 1500 individually numbered copies on turquoise vinyl.

Incubus is an American rock band from Calabasas, California. The group was formed in 1991 by vocalist Brandon Boyd, lead guitarist Mike Einziger, and drummer José Pasillas while they were students at Calabasas High School. The lineup later expanded to include bassist Alex “Dirk Lance” Katunich and Gavin “DJ Lyfe” Koppel. Both were eventually replaced, Ben Kenney took over on bass, and DJ Kilmore joined as the band’s turntablist. In 2024, Nicole Row replaced Kenney on bass.

Incubus’ sound has been described as a blend of rap metal, funk, jazz, and post‑grunge, often incorporating elements of hip‑hop. This eclectic style helped them become one of the most popular alternative metal bands of the early 2000s.

The band has achieved significant commercial success, earning multiple multi‑platinum releases and producing several hit singles. In 2017, they released their eighth full‑length studio album, 8, with Skrillex contributing to production and mixing.

Chet Is back! is the 1962 studio album by the undisputed master of the trumpet, Chet Baker. The album was recorded in Rome, Italy at RCA's studios. Chet is backed by a group of then up-and-coming European jazz musicians, which included Belgian saxophonist Bobby Jaspar, Belgian guitarist Rene Thomas, Italian pianist Amedeo Tommasi, French bassist Benoit Quersin, and Swiss drummer Daniel Humair

Chet Is Back! features compositions by Chet's contemporaries, like Thelonious Monk's "Well, You Needn't", Charlie Parker's "Barbados" and Sonny Rollins' "Pent Up House". The album also includes an original composition by Amedeo Tommasi entitled "Ballata in forma di blues". Although Chet's sweet and tragic vocals are not featured on this album, his soaring and lyrical trumpet playing makes up for it.

Chet Is Back! is available on audiophile black vinyl.

Knocked Loose have announced their hotly anticipated new album, A Different Shade of Blue -- a mammoth of a sophomore release and massive step forward for the band and for hardcore and metal as we know it. Recorded by producer Will Putney, the new LP was approached slower and more methodically. Abandoning the previous 'live in studio' recording approach for something more deliberate, the band cranked out twelve new tracks that deal with all manner of anger, especially loss in lieu of absence. While some musical influences are easily identified - Pantera, Hatebreed, Obituary and more - the band's palette and canvas has expanded by leaps and bounds, incorporating Gothenburg-style death metal (At the Gates, early In Flames), slam metal (Devourment, Dying Fetus), blood-thirsty thrash (Sodom, Kreator), black metal (Craft) and the mind-boggling complexity of latter noisy hardcore like Snapcase and Bloodlet. Clocking in at a lean and mean 37 minutes and featuring guest vocals from Emma Boster of Dying Wish and Keith Buckley of Every Time I Die, A Different Shade of Blue grabs the listener by the throat from the jump and slowly tightening that grip for the duration.

"Chance animates the smallest parts of the universe: the scintillation of the stars is its power, a wildflower its incantation."
—Georges Bataille, Le Petit

"Even on my way to the gambling hall, as soon as I hear, two rooms away, the clink of the scattered money I almost go into convulsions." —Fyodor Dostoevsky, The Gambler

Video gambling addicts, academic researchers, and industry professionals alike describe the trancelike state into which problem gamblers suspend themselves with remarkable consistency: they unanimously call it the machine “zone,” a kind of inner experience during which the rhythmic flow of human-machine collusion borders on mysticism. Time is abolished in the act of contemporary video gambling —simulated slot reels roll, virtual poker decks deal, and all worldly concerns are lost—leaving only the aura of total zone immersion in its wake. Sometimes characterized as the crack cocaine of gambling, the intensity of the machine zone is a symptom of casino ergonomics: emotionally manipulative fragrance-saturation, mesmerizing lights, subtly controlling walkways and, as captured here, meticulously engineered sonic environments all play a role in evoking the timeless void of the zone.

Although I was not yet aware of the extent to which casinos tailor their environments for maximum comfort (and, correspondingly, profit), I did know as I crossed the threshold of my first casino floor last year that I would be back for more. Hit by a cornucopia of slot machine tones, triggering aleatorically and coalescing into shimmering masses, I was struck by the need to return and record the sounds that so entranced me. It wouldn't prove to be easy—casino security is intense—and due to the clandestine nature of the operation, my recording techniques were by no means sophisticated. Equipped with nothing but an Olympus LS-11 recorder's internal microphone stashed in a sweaty coat pocket, I allowed the lure of the zone to guide me through a series of ambling recording sessions, the best of which are included here.

I learned a lot about casino sonics in the process: game designers, for example, once tuned all their machines to the key of C major in order to optimize harmonic cohesion (strict adherence to the key is no more but C still dominates the game floor); one team of designers, the story goes, even spent a month perfecting a single 'ding' sound on one machine. In the interest of preserving the true ambient sounds of the casino these recordings are untreated, but lost in the sea of chance I did exert some affirmative control by means of meandering intent and my actual playing of the machines. And by participating in the games myself I got a taste of the financially debilitating consequences that accompany the enchantment of video gambling. The cassette in your hands represents my endeavor to bring you the zone experience without the harsh comedown of its unfortunate reality.

—Adrian Rew

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

Written, recorded and produced by Coxon, it saw the musician explore a heavier, more punk sound than its predecessor across 10 tracks, including the song 'Ooochy Woochy'. The 12-track album also includes two covers, 'Fame and Fortune' and 'That's When I Reach For My Revolver' by American post-punk band Mission of Burma. The Golden D features original cover artwork by Graham Coxon. The Sky Is Too High and The Golden D are the first in a comprehensive reissue of Coxon's complete solo catalogue, spanning 9 studio albums and 2 soundtracks, to be released across the next 12 months.

With its sunny pop, hypnotic groove and elegant synth-rock, French saxophonist, keyboardist and composer Laurent Bardainne brings together the Poni Hoax team featuring Pupajim & Melissa Weikart on Prologue EP Laurent Bardainne's eclectic musical career includes Poni Hoax (the best French rock band of its generation), Limousine (five albums of cinematic jazz between 2005 and 2023), via Lost (with Camelia Jordana) and Tigre d'Eau Douce with its comforting saxophone. Much like its iconoclastic and delightfully offbeat cover, created by one of the rising figures of the comic book scene, Salome Lahoche, Bardainne shares a taste for sidestepping norms, fertile ambiguity, and joyfully blurred boundaries.

Incest Songs is the final chapter of the Murder Ballads trilogy, and its most fully realized expression. Where Drift and Passages explored the post-isolationist frame through voice and single instrument, this third volume dispenses with that approach entirely, opening instead onto a more labyrinthine sonic architecture - one built from overlapping, saturating, blurring voices, all of them Martyn Bates'. The decision feels both inevitable and quietly inspired. Bates' vocalizations unfold as layered calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resolving into a mesmeric conversation of musical inferences and correspondences. There is a mellifluous, dream-like quality to the whole - infused with that characteristic stillness that slow, hypnotic unfolding of gossamer subtlety - yet never quite losing a certain drugged, disquieting beauty beneath its surface.

Incest Songs pushes the post-isolationist form further out than either of its predecessors, innovating and extemporising with a dazzling assurance. And yet, remarkably, this remains a territory still almost entirely unexplored by other artists - the sole province, it seems, of M.J. Harris and Martyn Bates.

As Bates himself reflects: "I feel, in personal terms listening to it, I think it's easy to detect that the whole thing has been a truly exhilarating experience for the both of us, realising and developing this strange, sublime creature of ours and now I guess it's up to others to take up the challenge, to build on what we've done and I think that there are still SO MANY fantastic possibilities "