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LOUISVILLE, KENTUCKY has had more than its share of out-of-nowhere bands following from the second big bang that was punk rock. The Babylon Dance Band, Circle X, Your Food, Squirrel Bait, Bastro...these are but some of the exceptional music acts originating in Louisville after 1977. Now it"s time for the great secret of the Louisville first-wave punk scene to be revealed: The Endtables. The Endtables were the crazed brainchild of guitarist Alex Durig, brooding chess-master of the amplified freak-out, and singer Steve Rigot, a flamboyant transgender giant from the shores of southern Indiana who reinvented himself as a Warhol Factory superstar. Like Scarlett O"Hara wrapped in a green velvet curtain, Rigot crafted his own glamorous reality from what was available in the blasted cultural landscape of 1970"s Kentucky. Gold spray paint, duct tape, Ace bandages ... a spectacularly other trailblazer who caused folks to toss their received ideas of beauty and go with the new thing instead. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979 they recorded six tracks at a Louisville studio, four of which came out on a 7" EP on their own Tuesday Records. The two remaining tracks ("White Glove Test" and "Trick or Treat") were issued as a single on Self Destruct records in 1991. Both records are among the rarest of any American punk release - more sought after than seen, passed on disintegrating cassette tapes and shouted over upon impact. The music of The Endtables is another chapter in pure American weirdness, as jaw-locking today as the day it was recorded. The scent of modern can be detected in Steve Rigot"s remote vocalese, set against Alex Durig"s guitar outbursts, while drummer Steven Jan Humphrey and bassist Albert Durig (age fifteen!) supply frenzied rhythm. The band rocks its fevered vision to a ferocious degree while Rigot grimly rhymes the truths that remained locked out of the public"s pop tastes in "79-"80. Thirty years of rap and roll later, The Endtables seem inevitable.

Willkommen in der Welt von Bruce Haack. Nicht nur für Menschen im ,Schulalter".,Ein elektronisch-musikalisch-poetischer Leckerbissen für Grundschüler und Gymnasiasten das weitere Wunder unseres Erdenschiffs offenbart." Bruce Haack war ein kanadischer Komponist und Pionier der elektronischen Musik, dessen kreatives Schaffen von den 1950er bis in die 1970er Jahre unterschätzt wurde. Heute gilt er als seiner Zeit um Jahrzehnte voraus, Bruce Haack schmiedete seine Musik aus glitzernden ,neuen" Computerlandschaften, die er selbst erfand, lange bevor die Welt wusste, dass so etwas überhaupt möglich war. Willkommen in seinem wunderschönen Schmelztiegel elektronischer Klänge, in dem er seines unzähligen Interessen an der Wissenschaft, den Wundern der Kindheit und der menschlichen Verfassung in einen musikalischen Wandteppich verwebt, der wie eine explodierende Sonne schimmert.

Orange/Black/Sunburst Vinyl "Choice Quality Stuff/Anytime," released in 1971, marked the third studio album by It's a Beautiful Day, a band celebrated for their eclectic blend of rock, jazz, folk, classical, and world-beat influences. Formed in 1967 in San Francisco during the height of the city's vibrant music scene, the band initially featured vocalist Pattie Santos, violinist David LaFlamme, and keyboardist Linda LaFlamme. Their distinct sound, highlighted by David's five-string violin, set them apart from their contemporaries, even though they never reached the same level of fame as Jefferson Airplane or Santana. By the time of this album, the band's lineup had shifted significantly. Founding members Mitchell Holman and Hal Wagenet had departed, replaced by bassist Tom Fowler (later known for his work with Frank Zappa) and guitarist Bill Gregory. The album, recorded amid these transitions, reflects both the band's creative maturity and their ability to evolve while staying true to their signature style. Tracks like "Creed of Love" and "Anytime" exemplify their musical diversity and lyrical depth. "Choice Quality Stuff/Anytime" was a continuation of the band's legacy, cementing their place as a unique voice in the late 60s and early 70s rock scene, even as their lineup and fortunes changed.

Purple Vinyl. "Choice Quality Stuff/Anytime," released in 1971, marked the third studio album by It's a Beautiful Day, a band celebrated for their eclectic blend of rock, jazz, folk, classical, and world-beat influences. Formed in 1967 in San Francisco during the height of the city's vibrant music scene, the band initially featured vocalist Pattie Santos, violinist David LaFlamme, and keyboardist Linda LaFlamme. Their distinct sound, highlighted by David's five-string violin, set them apart from their contemporaries, even though they never reached the same level of fame as Jefferson Airplane or Santana. By the time of this album, the band's lineup had shifted significantly. Founding members Mitchell Holman and Hal Wagenet had departed, replaced by bassist Tom Fowler (later known for his work with Frank Zappa) and guitarist Bill Gregory. The album, recorded amid these transitions, reflects both the band's creative maturity and their ability to evolve while staying true to their signature style. Tracks like "Creed of Love" and "Anytime" exemplify their musical diversity and lyrical depth. "Choice Quality Stuff/Anytime" was a continuation of the band's legacy, cementing their place as a unique voice in the late 60s and early 70s rock scene, even as their lineup and fortunes changed.

Red vinyl. Released in 1982, III Wishes marked a new chapter for Shooting Star, as it was their first album without founding keyboardist Bill Guffey. Despite the lineup change, the band continued to refine their signature blend of melodic rock and soaring instrumentation, further establishing themselves in the AOR scene. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still leading the charge, III Wishes showcased powerful hooks, tight musicianship, and the band's signature violin-infused rock sound. While it didn't achieve mainstream superstardom, the album reaffirmed Shooting Star's underrated brilliance and commitment to delivering heartfelt, high-energy rock.

Red/Black splatter vinyl. Released in 1982, III Wishes marked a new chapter for Shooting Star, as it was their first album without founding keyboardist Bill Guffey. Despite the lineup change, the band continued to refine their signature blend of melodic rock and soaring instrumentation, further establishing themselves in the AOR scene. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still leading the charge, III Wishes showcased powerful hooks, tight musicianship, and the band's signature violin-infused rock sound. While it didn't achieve mainstream superstardom, the album reaffirmed Shooting Star's underrated brilliance and commitment to delivering heartfelt, high-energy rock.

Two new faces on the label with the two-faced eagle! Both artists have been much respected forces on the international club circuit for a while. IDA ENGBERG is best known for her affiliation with Stockholm’s Drumcode and Truesoul labels. For her Speicher debut though, she’s tapping into a quite different sound territory. “Nothing Feels The Same” will go down in history as the first 2 Step track ever released on KOMPAKT EXTRA. It’s as sensual as it’s booming. Definitely one for those late morning hours. With “Pink Monkeys” is an EBM/sawtooth trance amalgamation of the highest order with enough psychedelic headroom for the festival season.

MARCO RESMANN’s deep involvement with the late Berlin club legend Watergate has made him one of the German capital’s beacons of house and techno. He’s one half of Lunar City Express and former member of Pan-Pot which speaks volumes about his stylistical versatility.”“RIMA feat. Laatz” he delivers a frenetic rollercoaster ride of a techno track. It’s radical, it’s menacing and super fun all at once – A truly one of a kind techno track. “Dimensions” is a low-slung electro bulwark full of intricate details to keep head and feet going in unison.
Zwei neue Gesichter auf dem Label mit dem doppelköpfigen Adler! Beide Künstler sind seit einiger Zeit angesehene Größen in der internationalen Clubszene. IDA ENGBERG ist vor allem für ihre Zusammenarbeit mit den Stockholmer Labels Drumcode und Truesoul bekannt. Für ihr Debüt auf Speicher betritt sie jedoch ein ganz anderes Sound-Territorium. „Nothing Feels The Same“ wird als erster 2-Step-Track, der jemals auf KOMPAKT EXTRA veröffentlicht wurde, in die Geschichte eingehen. Es ist ebenso sinnlich wie dröhnend. Definitiv etwas für die späten Morgenstunden. Mit „Pink Monkeys“ ist eine EBM/Sägezahn-Trance-Verschmelzung der höchsten Güteklasse mit genug psychedelischem Headroom für die Festivalsaison entstanden.

MARCO RESMANNs tiefe Verbundenheit mit der jüngst verstorbenen Berliner Clublegende Watergate hat ihn zu einem der Fixpunkte der deutschen Hauptstadt in Sachen House und Techno gemacht und weit darüber hinaus. Er ist eine Hälfte von Lunar City Express und ehemaliges Mitglied von Pan-Pot, was Bände über seine stilistische Vielseitigkeit spricht. Mit „RIMA feat. Laatz“ liefert er eine frenetische Techno-Achterbahnfahrt, die gleichermaßen radikal, bedrohlich ist und ungemein Spaß macht – ein wirklich einzigartiger Track für die Ewigkeit. ‚Dimensions‘ wiederum ist ein tiefgründiges Electro-Bollwerk voller komplexer Details, das Kopf und Füße sicher im Einklang hält.

This new 45 RPM single is the lastest from Pyramid Blue, a group known for their Ethio-jazz fusion.

This time, the Spanish band has teamed up with Habiba Chaouf, an Arab singer rooted in Spain's flamenco scene, who lends her beautiful vocals to the A-side. The song blends Arab melodies with deep afro-funk rhythms. Habiba's soulful vocals elevate the track, which reflects on the emotional journey of longing, uncertainty, and the search for change. "Amal" (meaning "Hope" in Arabic) reminds us of the power of hope as both a guiding light and a source of inner strength, even in the face of doubt and longing.

On the B-side, La Esperanza (Hope), Pyramid Blue delivers a hypnotic, instrumental journey, featuring a bold horn section and a guitar riff that evokes the feeling of crossing a vast desert—an atmospheric, cinematic soundscape that could easily score a film.

When it comes to musical discovery, sometimes the stars just align. DJ and record collector, Steve KIW, put Mr Bongo onto this amazing Chilean cover version of Jamie Principle & Frankie Knuckles' all-time classic 'Your Love'. Despite being originally released 13 years ago, it had recently started to prick the ears of house and Balearic connoisseurs in the UK, further cemented by inclusions in the Idjut Boys epic sets. Steve heard them play it, tipped us off and it soon became a favourite at Mr Bongo HQ.



By pure chance when the Mr Bongo DJs joined Luke Una to play at La Paloma ballroom in Barcelona a few weeks later, Luke dropped this incredible interpretation at the peak of his set. A good friend of his, Michelle from Huddersfield, had also put him onto the track and he instantly fell in love. A serendipitous coming together, 'Tu Amor' seemed like the perfect next instalment in the E Soul Cultura discography. The version in question was released in 2012 as part of a digital-only EP.



It came courtesy of the Chilean DJ, producer and singer Mamacita (Carolina Vallejos) and producer Sebastian Roman, aka Persona RS. Meeting Sebastian while out partying in Santiago during a boom time for electronic music in Chile, their shared passion for making house music in Spanish and their admiration for Frankie Knuckles led to the creation of this raw and unique cover version. Recorded on lo-fi equipment, including an old Windows laptop and a borrowed Neumann microphone, it nods to the DIY ethos of the early Chicago productions. The result is a stripped-back, quirky cosmic take on a stone-cold classic, full of squelching synthlines and Carolina's stunning Spanish vocals, that became a club hit on Chile's underground circuit. However, aside from some Latin American and US DJs picking it up, it never got the international recognition it deserved.



Fast forward to 2025, and E Soul Cultura is proud to present the glorious 'Tu Amor' on vinyl for the first time, backed with a new, extended, club re-edit by E Soul Cultura captain Luke Una and Luke Solomon (Classic Music). On first hearing 'Tu Amor' Luke Una recalls, There was a real charm to it, it was quite an unorthodox arrangement, a huge wonkiness and just sounded so DIY in a brilliant way. I was chatting to Luke (Solomon) about how much we loved it and we decided to re-edit it together. Accentuating the wonk of those crazy synths, we've extended it to make a fiercer underground club tool, without taking away that very charming cosmic feel.

Electronic pioneer Sasha links up with Artche for dramatic new single 'Hold On', Artche also provides his own version of the track.

Last Night on Earth founder Sasha sits in his own world after more than 30 years of innovation as a DJ and producer. His meticulously crafted sounds have constantly redefined the underground, and with this label, he has spearheaded the melodic movement with his own music and careful A&R of exceptional contemporary talents. This latest release finds him working again with Newcastle-based producer and vocalist Artche, who has already collaborated to great effect with the likes of Franky Wah and Cristoph on Eric Prydz's Pryda Presents and also released solo on SHÈN Recordings. His mix of deep house and techno has won fans like Pete Tong and Lane B, and he asserts his skills once more here. Says Artche of his return to LNOE.

The fantastic 'Hold On' is a dramatic ride lit up with sweeping, spine-tingling synths. It has a grand architecture and widescreen atmosphere with profound melodies and moody bass rolling down below. Angelic vocal sounds shimmer amongst the epic chords and the whole sophisticated track makes an inescapably emotional impact. The Artche Mix works the drums into airy, dusty broken beats that bring a different vibe while the original vocals and lush synths remain in place and tugging at the heartstrings.

44th Move is the combined creative force of pianist & composer Alfa Mist, alongside drummer & producer Richard Spaven. As individuals, the duo have solidified their unrivalled reputations as world class Jazz talents, as exemplified by Alfa’s hugely influential albums such as ‘Antiphon’ & ‘Variables’ and Richard's legendary drum work with the likes of Flying Lotus and Goldie. Initially causing a stir back in 2020 when their joint project first emerged with their genre busting forays into Dance and Hip Hop.

Moving into 2025, they now prepare to elevate the levels, and unleash their debut collaborative album ‘Anthem’ via trailblazing Bristolian label Black Acre. Presenting their debut LP, the pair strive to continue the tradition of adopting a mindstate centred around research and development - pushing themselves to continually learn and grow, raising the bar and uplifting the art form.

Launching with first single ‘The Move’, cascading chords elegantly pave the way for Detroit-based rapper Quelle Chris to take centre-stage and deliver purpose-driven lyrics, calling for grit and consistency through life’s challenges. Second single ‘Free Hit’ deploys a scattered junglist break, punctuated by mysterious chord progressions and an enticing, gradually unfurling brass section. Also featuring guest appearances from Bristol turntablist royalty Awkward, ‘Anthem’ moves seamlessly through diverse sonic terrains, the LP traverses Hip-Hop, Techno & DnB, whilst remaining firmly its Jazz-centric sensibilities. On the album’s creation, Richard Spaven says - "The essence of 44th Move is to take the traditional disciplines of live musicianship into electronic forms and compositions. Alfa and I have an aligned appetite to break new ground with every project we do and this is the core ethos of the album".A refined, shifting and accomplished album, it highlights the moment of magic waiting to happen when great minds meet

I talk quite regularly with Basic Rhythm about all sorts of topics and he regularly sends me music that he's working on, of varying styles and sounds. When he sent me Gargantua last year, there was something about it where even though it wasn't very sonically similar to a lot of the other music I've put out on Future Retro London, there was something about that piqued my interest. I played it out a few times and noticed that there was an energy to it that I enjoyed and I eventually got over my hesitations and signed it for the label. I also did my own remix of Gargantua to try out a few ideas I had for how it could sound a bit different but still maintain the spirit of the original.

Selectors Convention was initially made for a forthcoming joint label project (which is to come hopefully next year, fingers crossed) but was better suited for coming out on a release with Gargantua, as I thought it was similar in the hard edge dancefloor approach that is embodied in Gargantua. I also did a VIP of Selectors Convention, based off wanting a special version of it to play at a Future Retro London event.

Thanks to Basic Rhythm for Gargantua (and letting me remix it) as well as supplying the source images for the artwork.

A soothing collection of piano pieces, blending timeless classics from the traditional repertoire with captivating works by today’s leading neo-classical artists. Immerse yourself in a serene soundscape where elegance meets modern simplicity, offering moments of calm and introspection.

Imbued with the spirit of their late uncle, the qawwali master Nusrat Fateh Ali Khan, Rizwan-Muazzam Qawwali have returned with another deeply accomplished, moving collection of songs that ache with the frenzied anxiety of falling in love and dreamy desire of devotion, At the Feet of the Beloved. Their vocals and arrangements are refined and, together with their party, they build a world that helps the listener connect to another one. Brothers Rizwan and Muazzam Ali Khan are the contemporary torchbearers of the rich Qawwali musical tradition using their extraordinary voices to transport listeners to another, spiritual dimension. Performing together since the late 1990s, Rizwan-Muazzam Qawwali have developed a devoted worldwide following with their exceptional live shows and acclaimed albums, including A Better Destiny and Days of Colour. In great demand with global followers, Rizwan-Muazzam Qawwali have performed at festivals and venues including Barbican London, WOMAD festivals in the UK, Australia and New Zealand, and some of North America’s most prestigious performing arts centres.

Der Grammy-nominierte Charley Crockett veröffentlicht sein neues Album ”Lonesome Drifter”, das er
gemeinsam mit Shooter Jennings produziert hat.
Innerhalb von 10 Tagen entstanden in den Sunset Sound Studios in Los Angeles 14 Songs, die seinen
unverwechselbaren Stil zwischen Americana, Country und Blues einfangen

Der kanadische Starpianist Jan Lisiecki bringt die vielfältigen Klänge des fantasieartigen Instrumentalwerks
des Präludiums auf seinem neuen Album zum Strahlen und zeigt, dass es weitaus mehr ist als nur ein
Vorspiel zu etwas anderem. Frédéric Chopins außergewöhnliche 24 Préludes op. 28 sind dabei Inspiration
und Ausgangspunkt der vorliegenden Aufnahme. Chopin war laut Lisiecki ein „Meister der Kurzform,“, der
„das Präludium aus dem Schatten ins Rampenlicht“ brachte. Verbunden und kontrastiert werden Chopins
Stücke mit ausgewählten Präludien weiterer Komponisten aus über drei Epochen, die jeweils Höhepunkte
in der Geschichte des Genres markieren - von Bach, Messiaen, Rachmaninoff bis Górecki. Damit möchte
Lisiecki „die vielfältigen Möglichkeiten des bescheidenen Präludiums aufzeigen“ und nimmt „das Publikum
auf eine musikalische Entdeckungsreise“ durch den Kosmos dieser abwechslungsreichen Miniaturen.

Auf Lullaby stellt der norwegische Trompeter Mathias Eick sein frisch eingespieltes Quartett vor und
präsentiert ein Programm, das dessen improvisatorische Qualitäten in den Vordergrund stellt. Mit den
ECM-Vertrauten Kristjan Randalu und Ole Morten Vågan an Klavier und Bass sowie Neuzugang Hans
Hulbækmo am Schlagzeug werden zutiefst melodische Linien erörtert, welche die Musiker elegant zwischen den Harmonien fließen lassen, um gemeinsam aus den Formen heraus Schwung aufzubauen. Eicks
unmittelbar erkennbares, weiches Horn-Timbre steht oft in markanter Gegenüberstellung zu Randalus abwechselnd lyrischen und ausladenden Tastenerkundungen, die sich über eine treibende, immer einnehmende
Rhythmusgruppe erheben. Das Album wurde im Rainbow Studio in Oslo aufgenommen.

Julia Hülsmann erweitert ihr Quartett mit einer frischen norwegischen Stimme am Horn und präsentiert
ein Programm gruppeneigener Stücke, die im Quartett- und Quintettgefüge nachdenklich und kreativ ausgelotet werden. Wie auf den vorherigen Alben steuert jedes Quartettmitglied Musik zur Session bei, wobei
die Bandleaderin selbst für die Hälfte des Programms verantwortlich ist. Saxophonist Uli Kempendorffs
Einführung in Julias Trio auf Not Far From Here (2019) brachte bereits eine neue Dimension in das
Zusammenspiel der Gruppe – dieses Gefühl wird durch die Ergänzung um die norwegische Trompeterin
Hildegunn Øiseth, die sich der Band auf der Trompete und dem Ziegenhorn für fünf Stücke anschließt, um
ein Mehrfaches verstärkt und ausgebaut. Fesselnder Lyrismus und spielerische rhythmische und melodische
Kniffe durchdringen Under The Surface – ein weiteres Juwel in Julia Hülsmanns zunehmend beeindruckendem ECM-Werk.

Auf Taking Turns, vor einem Jahrzehnt im New Yorker Avatar Studio aufgenommen, trifft der dänische
Gitarrist Jakob Bro auf eine generationenübergreifende Gruppe eigenständigster Improvisatoren. Lee Konitz,
Andrew Cyrille, Bill Frisell, Jason Moran und Thomas Morgan injizieren ihre besonderen Energien in eine
Session, die die Konventionen der „All-Star“-Band umgeht und den Schwerpunkt auf Teamwork legt. Bros
raumgreifende Musik provoziert innovative Erwiderungen der Musiker: ein atmosphärischer Impuls oder
Fragmente dezenter Melodien eröffnen neue Wege, die auf elegante Weise gemeinsam erkundet werden.
Im Kontext der Aufnahme meinte Jakob Bro: „In meinen Kompositionen geht es darum, ein Gefühl oder
einen Eindruck einzufangen, das zu skizzieren und es dann während der Aufnahme zu entfalten“.

An der Seite von John Coltrane und Archie Shepp hatte Altsaxofonist Marion Brown ab 1965 bei Impulse!
Records zur Speerspitze der avantgardistischen ”New Wave in Jazz” gehört. Von einer vollkommen anderen
Seite - sehr entspannt, meditativ und melodienselig - zeigte sich Brown dagegen 1975 auf ”Vista”, seinem
vierten und zugleich letzten Album für das Label.

Repressed! Archival reissue of the garage-psych Zamrock masterpiece (1974)

PRESSED ON OPAQUE GREEN VINYL

“Electrified by a diet of James Brown, the Stones and Deep Purple, WITCH were the stadium-filling kings of 70s Zamrock.” - MOJO
This landmark recording from Now-Again’s comprehensive overview of Zambia’s premier garage-, psych-, prog-, funk-,afro-rock ensemble WITCH, We Intend To Cause Havoc! is now available in a never before seen color variant. The audio is nigh-perfect – restored and remastered from the original master tapes. WITCH’s musical arc is contained to a five year span and, in retrospect, is a logical one. The band’s first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry – are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. In The Past, their second album, is the perfect follow-up for anyone exposed to the WITCH band through their landmark Introduction.

PRESSED ON BLUE SPLASH COLORED VINYL!

Executive Producers: Benny the Butcher & ElCamino

Benny the Butcher Presents: The Outcome, the new compilation from B$F and Buffalo-based producer ILL Tone Beats, is now available on vinyl. The project boasts star-studded features from artists such as Benny the Butcher, Conway the Machine, and Westside Gunn, who provide hard-hitting verses over Tone’s dynamic production. The album’s 14 tracks, produced entirely by ILL Tone, showcase the distinct sound of B$F that has drawn acclaim from critics and fans alike.

Repress as neon green vinyl!

Non Phixion drops a re-realse n of the group’s classic debut “The Future Is Now.” Available exclusively through Fat Beats. “Utilizing beats that would do Dr. Octagon-era Dan “The Automator” proud and rhyming schemes that bring to mind early Wu-Tang Clan or mid-’90s Gang Starr, Non Phixion exposes the sound of true underground hip-hop. This is music that reflects the sound and attitude of countless rappers selling their albums out of the back of their cars or in booths on the street, cutting together dirty and disjointed sounds with a confidence and quality that is unique to this particular genre. This would all be for nothing if it wasn’t for the excellent raps from Ill Bill, Goretex, and Sabac Red, a trio of rappers who have a Tribe Called Quest-like chemistry. Their clever lyrics, respectable skills, and rough voices make this an intense and dark landmark in alternative rap.”

"The journey from Belfast to Los Angeles, entwined with a lifetime spent at the coalface of bona fide rock n roll, has made for a heady cocktail of creativity and popularity. Ricky Warwick, founder of The Almighty, Black Star Riders, The Fighting Hearts, acclaimed and respectful frontman of Thin Lizzy since 2011, remains unstoppable.
This time he’s on a solo run with the release of his new album Blood Ties. "

Pioneering electronic harpist Lara Somogyi and award-winning pianist/composer Jean-Michel Blais present their new album, désert. The album emerged from a serendipitous encounter at Lara’s remote studio amidst the serene expanse of Joshua Tree. Entirely improvised, it captures the natural, organic interaction between the two artists, reflecting both their intuitive musical connection and the true essence of the moment in which they recorded it. Inspired by the passage from dawn to dusk, their improvisation distilled into eleven tracks – mirroring a journey from illumination to obscurity, from simplicity to intricacy, and from strangers to kindred spirits. Melodies convey transcendence and harmonies channel synchronicity – weaving an unforeseen, timeless narrative.

Simon McBride hat sich in kürzester Zeit zu einem der gefeiertsten Gitarristen der letzten Jahre entwickelt. 2023 trat er als neuer Gitarrist von Deep Purple ins Rampenlicht und machte damit einen Schritt, der wie aus einem Rock’n’Roll-Märchen klingt: von den kleinen Bühnen der Pubs in seiner Heimat Belfast zu den größten Arenen der Welt. Innerhalb weniger Wochen zierte er die Cover von über 20 renommierten Musikmagazinen und feierte im letzten Jahr mit Deep Purple seine erste Nummer-1-Platzierung in den deutschen Albumcharts. Mit makelloser Performance und außergewöhnlicher Produktionsqualität ist diese Sammlung seltener Tracks ein Muss für alle Rock-Enthusiasten. Für Fans, die McBrides Stil und Persönlichkeit bei Deep Purple schätzen, bietet dieses Album einen aufregenden Einblick in seine Vielseitigkeit und musikalische Brillanz

Nach dem Black Star Riders 2023 von Nuclear Blast zu Earache wechselten, wird nun auch das neue Soloalbum ihres Sängers Ricky Warwick beim englischen Metal/Rocklabel Earache erscheinen. "Blood Ties" beinhaltet Gastbeiträge von Lita Ford, Billy Duffy (The Cult) und Charlie Starr (Blackberry Smoke). Große, kathartische Gitarrensounds und lebensbejahende, oft positive Hymnen, machen dieses Album zu einem herausragenden Werk in einer Karriere, die sich mittlerweile schon über vier Jahrzehnte erstreckt.

Unter Federführung des neuen Labelpartners RPM-ROAR steht am 14.03.2025 nun die Veröffentlichung des 3. Albums mit dem verheißungsvollen Titel "Resurrection" an. Auf 10 Tracks bieten BLACK & DAMNED wieder eine einzigartige Mischung aus melodischem Power Metal und düster stimmungsvollen Klängen.
Brachiale Gitarrenriffs, intensive Rhythmen, kombiniert mit den für die Band charakteristischen, eingängigen Gesangslinien - ein Sturm aus Kraft und Emotionen. Erneut sind Daniel Galmarini und Sven Vöhri als Gäste vertreten. Der fantastische Albumsound entstand erstmals unter der Regie von Stefan Leibing (Ex-PrimalFear).

You may not require any introduction to the members of ROACH SQUAD, or at least one or two of the band. Needless to say, Hugo Mudie (The Sainte Catherines), Frankie Stubbs (Leatherface), Graeme Philliskirk (Leatherface) have all graced the Paradise Gutters around the Punk Rock world for some time. Joining them is Alex Keane (The Murderburgers), along with another local Sunderland Lad, Sim Robson. As with many of the members previous works, a DIY approach to writing and recording the album was taken. The bulk of the recording took place at their own Rocket Studios in Sunderland, UK with the exception of Hugo laying down the vocals from his home in Montreal (Quebec, Canada). Some of you will have noticed the line-up contains two vocalists, and indeed this is the case. For this new Band, Frankie wanted to take some time out from vocal duties and concentrate on playing his guitar. This sees Hugo taking front stage... Not for every song, though! Who knows what you expect, but what we do ask of you before listening is that you find your comfortable spot, abandon any preconceptions, and as always play it loud.

AM Higgins, the project of American singer-songwriter Annie Meredith Higgins, based in France, blends mystical poetry with influences from Kate Bush, Low, and Fiona Apple. Her new album, The Dream Trap, explores dreamy and deep atmospheres, fusing folk, electronics, and sonic experimentation. Recorded in a barn and a mill converted into a studio, the album captures contrasting dynamics, with arrangements combining organs, drums, synthesizers, and silences. Annie's warm, intimate, yet cosmic voice is at the heart of the project, supported by both organic and electronic instruments. For this album, she reunites with collaborator Casey Foubert (regular contributor to Sufjan Stevens, among others) for production and mixing, with contributions from sound creator Tana Barbier. The Dream Trap, set for release in February 2025 on the We Are Unique! label, promises to be a significant step forward in their musical evolution, both introspective and expansive.

Eins, Zwei, Drei, ... Iti Eta No. Hier nun das kommende und mit Spannung erwartete neue Heimat-Album! Eingehüllt in das erstaunliche und faszinierende Coverartwork der gefeierten Illustratorin Anouk Ricard, gibt es hier eine handvoll schwer zu klassifizierender Deviant-Pop-Songs von den Olivier Demeaux (Cheveu, Accident du Travail) und Armelle Oberlé (The Dreams, Badaboom). Manchmal sehr martialisch wie Marschmusik, manchmal sehr lyrisch und sanft, tauchen die Klänge von Heimat tiefer in diese verrückten Landschaften ein, indem sie kinematografische Partituren und Samples über Schichten urbaner Kulturen legen und so die Tore der verträumten Blicke und der schattenhaften Geschichten zu öffnen. Das gut produzierte und lesbare, überraschende und explosive Material ist ein echtes Art Brut-Manifest der collagierten Musik. Heißen wir dieses seltsame Paradies willkommen.

A Lost Hi-NRG Gem Returns – After 38 Years!

Another iconic diamond of German electronic disco is finally back on vinyl after 38 years! This is no ordinary reissue – it’s a Mike Mareen production, the mastermind behind the legendary “Love Spy”. Released under his Night’n’Day Records, a label that ruled the ’80s dancefloors, this track is pure Hi-NRG gold.

Enter “Roadrunner”, a high-energy banger from Jeff Harrison, this time hiding behind the alias U.K.. Packed with playful synths, an electrifying tempo, and Jeff’s dynamic vocals, this track is made for the dancefloor—like a fitness trainer hyping you up for that final rep!

But that’s not all! This special edition also includes never-before-released versions straight from the original recording session. Stored on tape, buried in a drawer for 38 years, and now – FINALLY – ready to hit your turntable.

Get it. Spin it. Feel the energy!

Wellen.Brecher is an electronic band with punk attitude, which has been transcending and subverting electronic music genre boundaries for the past 6 years. After the release of Tierisch Verboten, which can confidently be described as the "soundtrack to inclusion", and a strong second release on our label Killekill, LIEBESERKLARUNG is the band's first full length album. Including a series of first-class remixes.
Refreshingly, the entire release is not based on the corny bad trance traditions loved by contemporary Buffalo shoe wearers. Instead - intentionally or not - it follows a series of almost historical musical quotations from over the last 40 years with each track on the album feeling like a new adventure.
The album opens with TUROFFNER, which has a kind of an Afrika Bambaataa intro, before turning into a wonderfully tresoresque/Detroit techno beast, always commented on or counteracted by the vocals - just like (almost) all the tracks on the album: a new round, a new crazy ride - bumper car lyrics on a powerful stomping reduction of a 90s track.
From here we leap backwards in time into grey West Berlin of the 80s with ROBOT GIRL which shifts and drifts like a bug in buttermilk somewhere between Grauzone and Alan Vega. Next track KAPUTT kicks in with a bang and smashes everything in the best EBM tradition - this could have been played in a techno club in Frankfurt, both in terms of lyrics and sound. Line up for Elektropogo please!
After all the stomping Wellen.Brecher bring in something completely different with VOICE OF A GENERATION: dramatic vocals over delicate breaks which gradually dissolve into arpeggios on a high-quality trance carpet. Challenge complete!
JULIA takes us back to the late eighties in the dark but fun Belgian-Detroit early trance with new beat appeal. TUNNEL TRANCE would have been a good fit for dancing around the Berlin Siegessaule in, let's say, 1998. Relentless 4/4 beats with a hook-line on speed surrounded by acidophilic bows and, on top, the vocal commentary arriving as if from the man behind the glass of the Ferris wheel. In
your mind's eye, you can see fur-shoed gym ravers in bright neon jumping through the Tiergarten like rubber balls. The cover version of the classic TECHNO DJ is an hommage to good old punk - torn apart and reassembled in true Wellen.Brecher style. The closer TIERISCH VERBOTEN brings all the emotion rushing back: fat beats beckon slowly from afar, before the curtain comes up for an epic synth finale.
The harsh, albeit true words really drive you in. It's not necessary, but perhaps it's good to point it out: Inclusion can easily be experienced with music like this. Fuck AfD!

Wellen.Brecher is an electronic band with punk attitude, which has been transcending and subverting electronic music genre boundaries for the past 6 years. After the release of Tierisch Verboten, which can confidently be described as the "soundtrack to inclusion", and a strong second release on our label Killekill, LIEBESERKLARUNG is the band's first full length album. Including a series of first-class remixes.
Refreshingly, the entire release is not based on the corny bad trance traditions loved by contemporary Buffalo shoe wearers. Instead - intentionally or not - it follows a series of almost historical musical quotations from over the last 40 years with each track on the album feeling like a new adventure.
The album opens with TUROFFNER, which has a kind of an Afrika Bambaataa intro, before turning into a wonderfully tresoresque/Detroit techno beast, always commented on or counteracted by the vocals - just like (almost) all the tracks on the album: a new round, a new crazy ride - bumper car lyrics on a powerful stomping reduction of a 90s track.
From here we leap backwards in time into grey West Berlin of the 80s with ROBOT GIRL which shifts and drifts like a bug in buttermilk somewhere between Grauzone and Alan Vega. Next track KAPUTT kicks in with a bang and smashes everything in the best EBM tradition - this could have been played in a techno club in Frankfurt, both in terms of lyrics and sound. Line up for Elektropogo please!
After all the stomping Wellen.Brecher bring in something completely different with VOICE OF A GENERATION: dramatic vocals over delicate breaks which gradually dissolve into arpeggios on a high-quality trance carpet. Challenge complete!
JULIA takes us back to the late eighties in the dark but fun Belgian-Detroit early trance with new beat appeal. TUNNEL TRANCE would have been a good fit for dancing around the Berlin Siegessaule in, let's say, 1998. Relentless 4/4 beats with a hook-line on speed surrounded by acidophilic bows and, on top, the vocal commentary arriving as if from the man behind the glass of the Ferris wheel. In
your mind's eye, you can see fur-shoed gym ravers in bright neon jumping through the Tiergarten like rubber balls. The cover version of the classic TECHNO DJ is an hommage to good old punk - torn apart and reassembled in true Wellen.Brecher style. The closer TIERISCH VERBOTEN brings all the emotion rushing back: fat beats beckon slowly from afar, before the curtain comes up for an epic synth finale.
The harsh, albeit true words really drive you in. It's not necessary, but perhaps it's good to point it out: Inclusion can easily be experienced with music like this. Fuck AfD!

Experience the dramatic pulse of Italian crime cinema with the first-ever vinyl reissue of Bruno Nicolai’s iconic soundtrack for "L’Onorata Famiglia (Uccidere È Cosa Nostra)", the 1973 masterpiece directed by Tonino Ricci.

Renowned for his prolific work in Italian film scores, Nicolai blends atmospheric jazz-rock, brooding fusion, and haunting melodies to perfectly capture the tension and intrigue of the era’s mafia-centric storytelling.

This long-overdue release brings new life to the score with Luca Barcellona meticulous restoration of the original artwork, preserving its bold, cinematic aesthetic, along with vinyl mastering handled by Davide "Bassi Maestro" Bassi, lending his mastering expertise, ensuring the music resonates with modern audiophiles while maintaining its vintage warmth.

Whether you’re a collector of Italian soundtracks, a fan of dramatic jazz-rock fusion, or an appreciator of timeless cinematic artistry, this vinyl is a must-have for your collection. Dive into the world of suspense and style that defines "L’Onorata Famiglia", limited to 500 copies!

©℗ 1973 – Beat Records Company. Reissued by Holy Basil Records under license by Beat Records.

Vinyl Reissue 36th Anniversary des Godfl esh Klassikers. Godflesh ist das bahnbrechende Industrial Metal Projekt von Ex-Napalm Death Member und Gründungsmitglied Justin Broadrick. Das wegweisende Debüt Album "Street Cleaner" enthält 10 atmosphärische und minimalistische Industrial Metal Tracks, die genre-defi nierend waren und die Band in eine Liga mit Acts wie Ministry oder Type Of Negative beförderte

Original 2019 note: Little is known about the ensemble that is Sun Atlas. It's not certain whether you'd find them in Los Angeles, New York, Addis Ababa, Marrakesh or northern Germany. Maybe non, maybe all of the above. Their only proof of existance is banned on this 45. Their razor-sharp mixture of afrobeat, ethiojazz, surf, cinematic soul, crime jazz & funk/hiphop breaks speaks for itself. Only on vinyl.

Brand new double LP on orange vinyl limited to 300 copies worldwide from Tyla (The Dogs D’amour) featuring the latest single ‘Cadillac Man’ - 'It’s becoming a bit of a cliche these days to say 'I dreamt this idea, song, story film book etc' But that's exactly what I did with the song 'Cadillac Man' the lyrics and the video idea and the melody as it was just after noon I jumped out of bed and scribbled the lyrics an picked up my trusty black Gibson J200 the guitar I've written nearly every song on since the day I bought it brand new in 1991. It was then I realised id dreamt the chords too!' I was 62 years old when I began writing and recording this album in the Autum of 2023 and I'm lookin' at 64 this July. I sent some of the songs to Simon (Hanson) who slapped on the drums then I sent them to Jamie Turnbull ('In Vino Veritas' / Tyla’s Dogs D'amour producer) knowing he was a great guitarist, but I didn't know just how good! This is the first album I have ever done that you can and even I do, play air guitar too! The songs flowed and i seemed to have captured most if not every human emotion in a Genie's lamp which I am now putting in your trusty hands and ears and eyes and soul. I beg you pop the cork, and I can guarantee that some if not all of your wishes will come true.' 'Gilding the Lily' Is the album I've been trying to write wanting to write, all my life.'

Since 1972, the group has remained quintessential bearers of the tradition, releasing
nearly two dozen albums that cast a wide net for inspiration and repertoire. Remains
to Be Scene is no exception, delivering stirring takes on bluegrass standards and
providing their signature interpretations on deep cuts from the likes of The Kinks, Bob
Dylan, and Jim Croce. The album is the first to be released since the passing of
founding member and trailblazing banjo player Ben Eldridge, who contributes
impassioned liner notes to the release. Beneath the album's title lies a plain truth:
more than fifty years in, The Seldom Scene are looking ever forward.
Original Seldom Scene are Bluegrass Hall of Fame inductees
"It goes without saying (but I'll say it anyway), the Seldom Scene is one of the most
influential and durable bands in modern bluegrass history." - Bluegrass Unlimited

Steven Osborne's unerring command of the elusive ambiguities of Debussy's
piano-writing has already been amply confirmed by his earlier recording of
the two books of Preludes; these lustrous new accounts of the Images,
Estampes and Children's Corner are every bit their equal

Haii Usagi is a two piece electronic/exerimental band from Columbia, MO

Members consist of Pete Hansen (Drums and Keyboards) and Eric Burch (Keyboards,
Synths, and Programming).

"Electro-thrash, calling up the ghost of Brainiac, sans vocals and guitar. Haii Usagi brings
the bleeps and blips that drives and veers as opposed to superficially just addressing
your need to dance the night away". - Beer and Pavement
"Haii Usagi approaches it with an emphasis on songcraft, focusing on the hook rather
than the tracks being simply a groove you can dance to. They also manage to hint at a
number of styles from rock to ambient while staying true to their electronic vision. I
know some of the more punk than thou types may find problems with Haii Usagi's
sound, but for those willing to open their minds you'll find a group who manages to make
their own vision of what the genre should be and proves that not all electronic dance
music has to sound generic". - TTWN

Its sound veers away from raw black metal intensity, opting for expansive, dreamy
atmospheres. Damian Anton Ojeda's signature approach tempers the harshness of
black metal's usual bleakness with a delicate sense of beauty and melancholy. The
album builds around shimmering guitars and lush soundscapes, creating a sense of
longing rather than the frostbitten aggression typically associated with the genre.
A key characteristic of "I Want to Be There" is how the screamed vocals--reminiscent
of depressive black metal--are mixed to blend seamlessly with the instrumental layers.
This intentional obscuring of vocals, pushed toward the back, transforms the vocals
into another textural element rather than a dominant force. This aesthetic decision
diffuses the emotional weight usually carried by extreme metal vocals, steering the
listener away from despair and toward introspection.
The balance between black metal's darker elements and post-rock's ethereal qualities
gives this record its emotional depth. The opening and closing tracks, "In the Distant
Travels" and the title track, lean more heavily on black metal structures but never fully
embrace the genre's typical harshness. Instead, the fuzzy guitars and crashing
cymbals are imbued with hope and uplifting energy. The post-rock influence becomes
more pronounced in tracks like "I Want to Be With You," which forgoes black metal
vocals entirely in favor of a choral atmosphere, evoking a serene and heavenly quality.
Ojeda also demonstrates his talent for creating immersive soundscapes, drawing
comparisons to *Sigur Ros*. Both artists employ sweeping melodies that evoke
feelings of transcendence. Still, where *Sigur Ros* tends to embrace more overtly
uplifting and sentimental tones, Sadness anchors these grand moments in
melancholy, avoiding overindulgence. The album is a delicate dance between light and
shadow, making the listening experience emotionally rich and layered.
While it may not have the raw emotional punch of *Deafheaven* or the nostalgic
charm of *Alcest*, *I Want to Be There* stands as a polished and thoughtfully
composed entry into the post-blackgaze genre. Ojeda's ability to fuse the weightless
hypnosis of black metal with the airy beauty of post- rock results in a sound that is
both familiar and new. Sadness offers a captivating and often beautiful exploration of
blackgaze, making the album a worthwhile listen for fans of atmospheric and
introspective metal.

K L P S has garnered a reputation for their immersive soundscapes and heavy
riffs, blending elements of post-metal and sludge to create a unique auditory
experience
Fans can expect a collection of tracks that not only showcase the band's signature
style but also push the limits of their musical exploration.
This new album promises to be a compelling journey through sound, reflecting the
band's evolution and artistic growth. Each track is crafted with intention, aiming to
resonate with listeners on various emotional levels. The self-titled album serves as a
testament to K L P S's commitment to authenticity and creativity in their music.

The band is considered as a unique combination of the darkest sides of many
underground genres like grindcore, black/death metal, ambient, drone and of course
psychedelic music.

Tons formed in 2009 with members of hardcore bands from the 00's Turin scene (The
Redrum, Lama Tematica and NoInfo). Slow and heavy sounds take the place of
frenetic HC rhythms; the texts speak about weed in an ironic way, but also about a
certain tendency to esotericism that characterizes the city of Turin. In 2010 they
recorded a demo and in 2012 their first full length "Musinee Doom Session, Volume 1",
recorded by Danilo "Dano" Battocchio, was released for the Turin-based Escape From
Today (EFT050) and for the young Roman label, Heavy Psych Sounds (First non Black
Rainbows release, HPS005). In 2013 a split with Lento from Rome came out and Tons
began to plow the European venues, opening the stage for bands like Bongzilla,
Unsane, Church of Misery, Napalm Death, Pentagram etc ...

In 2015 the drummer Marco Dinocco left the band and was replaced by Andrea
Peracchia (Dogs for Breakfast/Slaiver). Paolo Paganelli (Woptime/Linea77) was also
added as lead guitarist. In 2018 the second full length of the band "Filthy Flowers of
Doom" was released for Heavy Psych Sounds Records, which would bring Tons again
around Europe in 2018 and in 2019. In 2021 they released a split record with the
mighty Bongzilla followed by a European tour together in 2022. On 7th October 2022
the band released a brand new album called "Hashension" and a repress for the 10th
anniversary of their debut album "Musinee Doom Session, Volume 1" with remastered
audio and a new cover artwork.

During these years Tons played in many important Festival, such as Desert Fest
London and Antwerp, Sonic Blast, Frantic Fest, Venezia Hardcore and HPS Fest.
QUOTE From the Band :"Three fun tracks for lovers of head banging who don't take
themselves too seriously like our friends Teo Segale (Rumore Mag.) and Ranch Sironi
(Nebula) to whom these songs are dedicated. "

This latest opus marks the band's studio comeback since 2018's "City Of Dope And
Violence", plus the opportunity to work with underground scene juggernauts like Tons
and Subsound Records and the consolidation of Alexander Lizzori as active producer
("Cyclops" / "2" era drummer and long time collaborator).

The band is considered as a unique combination of the darkest sides of many
underground genres like grindcore, black/death metal, ambient, drone and of course
psychedelic music.

Tons formed in 2009 with members of hardcore bands from the 00's Turin scene (The
Redrum, Lama Tematica and NoInfo). Slow and heavy sounds take the place of
frenetic HC rhythms; the texts speak about weed in an ironic way, but also about a
certain tendency to esotericism that characterizes the city of Turin. In 2010 they
recorded a demo and in 2012 their first full length "Musinee Doom Session, Volume 1",
recorded by Danilo "Dano" Battocchio, was released for the Turin-based Escape From
Today (EFT050) and for the young Roman label, Heavy Psych Sounds (First non Black
Rainbows release, HPS005). In 2013 a split with Lento from Rome came out and Tons
began to plow the European venues, opening the stage for bands like Bongzilla,
Unsane, Church of Misery, Napalm Death, Pentagram etc ...

In 2015 the drummer Marco Dinocco left the band and was replaced by Andrea
Peracchia (Dogs for Breakfast/Slaiver). Paolo Paganelli (Woptime/Linea77) was also
added as lead guitarist. In 2018 the second full length of the band "Filthy Flowers of
Doom" was released for Heavy Psych Sounds Records, which would bring Tons again
around Europe in 2018 and in 2019. In 2021 they released a split record with the
mighty Bongzilla followed by a European tour together in 2022. On 7th October 2022
the band released a brand new album called "Hashension" and a repress for the 10th
anniversary of their debut album "Musinee Doom Session, Volume 1" with remastered
audio and a new cover artwork.

During these years Tons played in many important Festival, such as Desert Fest
London and Antwerp, Sonic Blast, Frantic Fest, Venezia Hardcore and HPS Fest.
QUOTE From the Band :"Three fun tracks for lovers of head banging who don't take
themselves too seriously like our friends Teo Segale (Rumore Mag.) and Ranch Sironi
(Nebula) to whom these songs are dedicated. "

This latest opus marks the band's studio comeback since 2018's "City Of Dope And
Violence", plus the opportunity to work with underground scene juggernauts like Tons
and Subsound Records and the consolidation of Alexander Lizzori as active producer
("Cyclops" / "2" era drummer and long time collaborator).

Known for his indie-folk-inspired singer-songwriter music that envelops emotions and
moods in intimate, breathtakingly beautiful soundscapes, Cunningham has built a
massive following over the years, amassing more than half a billion streams.
With 'In Light', he wanted to push boundaries. Inspired - and unsettled - by the rapid
development of artificial intelligence, he sought to capture the essence of raw human
creativity. The result is a collection of ten tracks, recorded over five weeks in
Tottenham, North London. These songs-- captured as single takes with minimal
editing-- immerse the listener in a profound stream of consciousness. Cunningham
explores personal truths and reflects on the world's complexities, from the unsettling
grip of big data to the hope that genuine human connection still offers. As he sings in
'This I Know', "The best is yet to be / I believe." The album's title, 'In Light', reflects
Cunningham's optimism, shining through even in darker moments. "We're here right
now / Let's be here again tomorrow," he urges in New Symmetry, concluding with the
poignant affirmation, "I am leaving a light on".

The complete album - pressed on limited edition 180g vinyl

Tenor saxophonist Ben Webster (1909 - 1973) had already enjoyed a long and fruitful
career by the time this 1957 session was recorded. However, as Bob Blumenthal
explains in the original liner notes, he still wasn't known for the sensual ballad feeling
that became his trademark during the last two decades of his life. At that time, he was
still recognized for the hard blowing fast tenor sax style he played with both the Duke
Ellington Orchestra and his own multiple small groups.
Even though his repertoire was generally linked to that of Duke Ellington, this classic
Norman Granz produced session presents Webster playing four popular ballads and
two of his own bluesy compositions, Soulville and Late Date. On hand in support are
the incredible Oscar Peterson Trio (Herb Ellis, Ray Brown), and drummer Stan Levey.
"The by turns grizzled and vaporous-toned Webster really hit his stride on the Verve
label. This 1957 date with the Oscar Peterson Trio is one of the highlights of that
golden '50s run. After starting off with two bluesy originals, Webster gets to the heart
of things on five wistful ballads. Providing sympathetic counterpoint, Peterson
forgoes his usual pyrotechnics for some leisurely compact solos; his cohorts -
guitarist Herb Ellis, bassist Ray Brown, and drummer Stan Levey - are equally assured
and splendid. Newcomers shouldn't hesitate to start here." - ***** Stephen Cook,
AllMusic

The complete LP + 2 bonus tracks - pressed on 180g virgin vinyl - a limited edition of just 500 copies Ramon "Mongo" Santamaria Rodriguez ("Mongo" is Cuban slang for Ramon) is best known for being the composer of the jazz standard ' Afro Blue, recorded by John Coltrane among others. In 1950 he moved to New York where he became an integral figure in the fusion of Afro-Cuban rhythms with R&B and soul, paving the way for the boogaloo era of the late 1960s. Mongo's 1963 hit rendition of Herbie Hancock's 'Watermelon Man' wasinducted into the Grammy Hall of Fame. This release presents Mongo's complete LP 'Mongo Introduces La Lupe', on which he is joined on some tracks by singer Guadalupe Victoria Yoli Raymond, popularly known as, "La Lupe."

The complete album + 4 bonus tracks - pressed on limited edition 180g virgin vinyl

Baden Powell de Aquino, better known simply as Baden Powell (1937 - 2000), was one
of the most prominent and celebrated Brazilian guitarists and guitar composers of his
time. He combined classical techniques with popular harmony and swing, and
performed in many styles including bossa nova, samba, Brazilian jazz, Latin jazz, and
Brazilian popular music.
This release presents his second album as a leader, 'Um violao na madrugada',to which
four 1959 tracks have been added as a bonus, including a version of Powell's
composition "Consolacao" performed with American flutist Herbie Mann.

First worldwide reissue of this iconic album by Latin jazz master pianist, composer and bandleader Bebo Valdes

The complete LP + 4 bonus tracks - pressed on 180g vinyl, a limited edition of just 500 copies.

Pianist, composer, arranger, and bandleader, Bebo Valdes was one of the most nfluential figures in the history of Cuban music. In 1954, he began recording a series of albums for the Decca record label, which included: Your Musical Holiday in Havana, Music for the Girlfriend and Cha Chas Y Charangas , the latter presented here in its entirety.

[a] Ramona [Cha Cha Cha]
[b] Al Compas De La Charanga [Charanga]
[c] The Green Leaves Of Summer [Cha Cha Cha]
[d] Persian Shah [Cha Cha Cha]
[e] Marta Y Chekis [Charanga]
[f] Ay, Ay, Ay [Cha Cha Cha]


[i] Never On Sunday [Cha Cha Cha]
[j] Esta Es La Charanga [Charanga]
[k] Salsa [Danzon]
[l] Rojo Y Oro [Cha Cha Cha]
[m] Alla Por La Madrugada [Charanga]
[n] La Dolce Vita [Rock Cha Cha]

21 tracks - pressed on limited edition 180g vinyl.This special LP edition showcases all of Elvis Presley's 1957 rock & roll studio sides

The core group backing him on all sides are Scotty Moore on guitar, Bill Black on bass, and D. J. Fontana on drums, plus The Jordanaireson backing vocals.

All tracks recorded at Radio Recorders, Hollywood between January and September 1957. Additional musicians to core group: Gordon Stoker (piano) Tiny Timbrell guitar), Dudley Brooks (piano).

When I first heard Elvis' voice, I just knew that I wasn't going to work for anybody; and nobody was going to be my boss. Hearing him for the first time was like busting out of ail." - Bob Dylan

Elvis was a unique artist... an original in an area of imitators." - Mick Jagger

The complete LP + 2 bonus tracks - limited edition pressing on 180g vinyl

Although Chet Baker and Bill Evans were both highly lyrical and introspective players who could have made a fabulous partnership, they only ever recorded together on a couple or so occasions. By the time the recordings here were made, Chet Baker had been a star for less than a decade and this wholly instrumental album presents him accompanied by other great jazz stars with whom he would also rarely play and record with again.

"Chet Baker's penultimate session for Riverside produced an all-star lineup to support him, including jazz heavyweights Pepper Adams, Bill Evans, and Kenny Burrell. Each of them makes important contributions to the session. A good place to hear Baker's special way with the horn is made even more attractive with the presence and contributions of top jazz artists." - ***** Dave Nathan, AllMusic

Vinyl release of saxophonist Gary Smulyan's 2022 album 'Tadd's All, Folks'
This album is all about Tadd Dameron (1917 - 65), one of the most important
American jazz composer/musicians. The master baritone saxophonist and perennial
pole winner Gary Smulyan conceived the brilliant idea of recording Dameron
compositions with lyrics. The vocal part is phenomenally rendered by the young talent
Anais Reno. Three songs including the lovely This Night Of Stars have hitherto never
been recorded.
"While Smulyan solos brilliantly throughout, Reno is the real treat here." - Bill
Milkowski, DownBeat
"Smulyan here brings to light Dameron's heretofore unknown Library of Congress trove
of standard- quality off- Broadway gems." - Fred Bouchard, The New York City Jazz
Record

With his second album, 'All The Others', the award-winning German trumpeter
and composer Jakob Bansch cements his status as one of the most
promising musicians of the young jazz generation
Building on the success of his critically acclaimed debut 'Opening', the artist from
Pforzheim, Southern Germany presents himself as even more mature and versatile on
his sophomore release. 'All The Others' blends influences from classical music, jazz,
and film scores into a musical work that tells personal stories and resonates deeply.
Bansch's approach to this album is remarkable: "I wanted to musically portray
characters and themes that have personally inspired me - whether from literature,
films, and series, or from the real world," he explains. Alongside his impressive
trumpet playing, it is above all the narrative depth of his compositions that defines the
album. Highlights include the epic opener "Ouverture", inspired by classical
composers such as Maurice Ravel and Olivier Messiaen, as well as the rhythmically
driving "Mephisto", which showcases Bansch's extraordinary technique and his
penchant for complex structures. The album features nods to Avatar: The Last
Airbender, Ahsoka Tano - the Jedi Knight from Star Wars: The Clone Wars and Maeve
from the series Sex Education. The music reaches a particularly poignant depth in
pieces like "Vasudeva", a homage to Hermann Hesse's Siddhartha, where Bansch
conveys warmth and tranquility through the gentle tones of his flugelhorn.
His working band - pianist Niklas Roever, bassist Jakob Obleser, and drummer Leo
Asal - returns for this album, displaying an almost telepathic musical chemistry. The
ensemble is further enriched by Latvian guitarist Ella Zirina and vocalist Zuza
Jasinska, who add additional sonic nuances to the work. A standout moment is
Roever's composition "Kauai'o'o", which musically processes the tragic story of an
extinct bird, powerfully highlighting the importance of conservation.
With 'All The Others', Jakob Bansch delivers a remarkable second album that
demonstrates his artistic growth. It is not only a continuation of his journey but also a
bold step into new musical dimensions - a work that takes its listeners on an
emotionally moving journey.

Fifteen years after releasing two exceptional postpunk-meets-shoegazemeets-dream pop albums on Caroline Records, New York-based outfit
Springhouse (Mitch Friedland, Larry Heinemann, Jack Rabid) reconvened to
record a third album, From Now to OK, co-released on CD with Independent
Project Records in 2008
Now appearing for the very first time on vinyl, the record captures the three piece
exploring a more acoustic, folk rock- indebted sound: still showing their trademark
flair for dreamy melodic textures, the ever Anglophile Springhouse can be heard
embracing the late 60s influence of Nick Drake and The Beatles. This newlyexpanded edition of From Now to OK comes with a bonus CD of previously unreleased
demos and live recordings. Preserved in a beautiful package from master designer
Bruce Licher, this custom-cut metallic ink jacket is sure to be a collector's highlight.

All songs recorded and mixed by Pat Lilley at Nexus Recording Studio in Waukesha
Wisconsin between 1998-1999. Songs 1,2, and 4 originally appeared on Parallel
Chlorophyll Regions (Highwater Records 005) 1998. Song 3 originally appeared on
Akarso/Seven Days of Samsara Split 7" (Ricky Schroeder Fan Club 001) 2000. Songs
5-8 originally appeared on Akarso/Faraquet Split CD (404 Records 002) 1999.
Milwaukee's underground scene of the late 1990s harbored many hidden gems, and
Akarso is certainly one of its finest. Blending elements of post-hardcore, math rock,
screamo, and noise rock, the trio quickly made a name for themselves during their
short yet intense existence. Their chaotic and intricate sound earned them a loyal
following within math and post-hardcore circles, and they toured extensively, leaving
behind a legacy that would influence the Midwest's underground music scene for
years to come. With Leave Quietly: 1997-1999, Akarso's complete recorded catalog has
been unearthed, giving listeners a chance to experience the raw energy and innovative
sound of a band that was well ahead of its time. Released through Expert Work
Records, this LP collects Akarso's recorded output from their brief but impactful run.
Featuring Nathan Lilley on vocals and guitar (who would later gain notoriety with Call
Me Lightning), Joe Wong on drums (now a prolific composer for TV and film and host
of The Trap Set ), and Greg Roteik on bass (of Key of Evil fame), the trio's musical
chemistry is undeniable. Their dynamic interplay and knack for combining dissonance
with technical precision is immediately apparent, and this collection serves as both a
time capsule and sheer example of their musical skills.
The songs feel unpolished in the best possible way, full of jagged guitar riffs, off-kilter
rhythms, and aggressive vocals. It's easy to hear why Akarso garnered attention
during their brief career: their music demanded attention. Tracks from the collection
highlight their ability to balance complex structures with visceral energy, reflecting
their post-hardcore roots while pushing into more experimental territory. At the heart
of Akarso's sound is their seamless blending of math rock's technical precision with
the ferocity of post-hardcore and noise rock. The intricate guitar work of Nathan Lilley,
coupled with the driving rhythms of Joe Wong and the powerful basslines of Greg
Roteik, creates a tense and unpredictable musical experience. Time signatures shift
without warning, dissonant riffs collide with frenetic drumming, and Lilley's vocals
pierce through the chaos with a cathartic and desperate intensity.
It's a challenging, chaotic, and emotionally charged album that captures the intensity
of Akarso's live performances and the raw energy of their songwriting. More than two
decades later, Akarso's music remains as vital and relevant as ever, and this collection
that their legacy will continue to inspire future generations of musici

Elvis' debut LP, titled Elvis Presley, was the first rock album to reach number one on
the US charts. It was recorded for the RCA label, which had paid what was then a
king's ransom to buy his contract from Sam Phillips' Sun Records in Memphis. The
album was produced by Steve Sholes, head of RCA's Country & Western and Rhythm &
Blues division, and released in March 1956.
"This was as startling a debut record as any ever made, representing every side of
Elvis' musical influences except gospel - rockabilly, blues, R&B, country, and pop were
all here in an explosive and seductive combination. Elvis Presley became the first rock
& roll album to reach the number one spot on the national charts, and RCA's first
million dollar-earning pop album." - ***** Bruce Eder, AllMusic

Known as one of the leading voices in the European roots scene, Ina's explosive live
performances and powerful, honey- dripping vocals have captivated audiences for
over a decade. With this new release, she takes listeners on an emotional and groovy
journey of rediscovery and resilience.
Recorded in Helsinki with a team of Finnish musicians and produced by Michael Bleu
and Ina, After Dark Hour is steeped in Retro Soul, Funk, Motown-inspired grooves, and
R&B. The energy of live performance was a driving force behind the album's creation.
"I wanted to make songs that would be fun to play live, songs that would make people
leave my shows sweaty and smiling,"
The title track, After Dark Hour, was the spark that reignited her creativity after over a
year of writer's block. "I was going through it--what I call the postpandemic blues. I
couldn't get myself to write songs or even listen to music. Then one day, I wrote the
title song, and it was like magic. It was such a relief to know I still had it in me after a
year of not having it. After dark hour represents the first moment you see the light
coming through the blinds you've been keeping shut. It's the feeling
that things are finally getting better."
The album takes listeners through an eclectic mix of soul sounds, from sultry power
ballads to James Brown- style funk explosions, tender sweet soul, and uptempo
Motown grooves. The lush production includes cinematic strings, bold horns, and
gospel-like backing vocals, all serving as a backdrop to Ina's signature vocals.
Ina has been performing since she was 17, dedicating her career to crafting music
that blends classic soul with her unique voice and vision. With After Dark Hour, she
delivers an album that invites listeners to dance through life's darkest moments.

One the most prolific talents in the last forty years of house music, the ever-innovative Jerome Sydenham goes toe-to-toe against the emerging talents of Berlin's mysterious Cosmic Soldier, working together to deliver a potent two-tracker as the weighty first release of 2024 on Planet E.

Showcasing a new angle of the eternal, quintessential blend of house and techno on Carl Craig’s legendary imprint, ‘Deeplight’ soars on impressive layers of psychedelic texture and raw percussion as a querying, prophetic vocal leads towards a valley of urgent chords.

Mixed with the same undeniable weight and power, the hammering, insistent ‘Black Dog’ skirts with darkness before upending it with vintage Detroit keys, waves of euphoria rolling out of the gloom to move the dance.

compiled by tsunaki kadowaki
artwork by yoshirotten
mastering by kuniyuki takahashi

Tsunaki Kadowaki, a staff member at Kyoto’s record store Meditations, the supervisor of "New Age Music Disc Guide", and the founder of Sad Disco, curates the fourth installment of "Midnight in Tokyo" themed around Ambient Kayō.

The Midnight in Tokyo series by Studio Mule focuses on Japanese music, serving as a soundtrack for Tokyo nights—whether for home listening, club play, or as a driving BGM, transcending location and space. After a six-year hiatus, the fourth volume takes "Ambient Kayō" as its new perspective, compiling genre-defying tracks released between 1977 and 1999 to explore the intersection of Japanese ambient and pop music.

For this long-awaited fourth installment, selections were made regardless of record label status (major or independent), era, format (vinyl or CD), original release price, or prior reissues. Instead, the focus was on music that deeply moves the listener, is open-minded and evocative, brims with inspiration and spiritual insight, and embodies the "utagokoro" (singing heart) of Japanese artists.

Opening the compilation is "Umi e Kinasai" by Yōsui Inoue, a legendary Japanese singer-songwriter whose works have recently gained renewed interest as hidden gems of Walearic and ambient pop

Composed and arranged by Katsu Hoshi—who is also known for his arrangements on Inoue’s masterpiece Ice World—the track features renowned players such as Masayoshi Takanaka, Hiroki Inui, and Shigeru Inoue. The song embodies a yearning for Balearic horizons, tinged with youthful vibrancy and sentimentality.

Next, "Oritatamu Umi", compiled from Keiko Nosaka, a 20-string koto player, and George Murasaki, a pioneer of Okinawan rock, is an instrumental track from their album "Niraikanai Requiem 1945". As the title suggests, it carries themes of requiem and remembrance, conveying poetic lyricism even without words. Blending Ryukyuan/Okinawan harmonies and indigenous elements, it unfolds as an intimate and nostalgic piece of progressive rock.

Also featured is "Natsu no Kowareru Koro" by Higurashi, a folk-rock band led by Seiichi Takeda, formerly a guitarist of The Remainders of The Clover, the predecessor of RC Succession. Like the opening track "Umi e Kinasai", this song was also produced by Katsu Hoshi. It stands as a folk/new music piece that takes a step into an "otherworldly" realm, recommended for fans of Twin Cosmos and Masumi Hara.

From the enigmatic Blue, the only work left by the mysterious composer S.R. Kinoshita, comes "Mangrove", a hidden treasure of Japan's ambient/new age scene from the CD era. With an oriental and enigmatic atmosphere, the track evokes a mystical world of deep, uncharted jungles, unfolding as an otherworldly New Age Kayō.

"Yaponesia Sakura", selected from Rehabilual’s sole album New Child, is a masterpiece of Japanese new age music. Produced by Swami Dhyan Akamo, a disciple of Indian meditation teacher Osho and a renowned balafon player, the track features Michio Ogawa (Chakra) and Atsuo Fujimoto (Colored Music). Their collective artistry creates an exquisite spiritual ambient pop sound.

"Asa no Hitoshizuku", the opening folk song from Sachiko Kanenobu’s album Sachiko, is also included. Known for her legendary folk album Misora, produced by Haruomi Hosono, Kanenobu’s fourth album after resuming her career was inspired by her experiences living in San Francisco and revolves around the theme of "love." This track carries the same intimate poetic world as Misora, imbued with a pure, crystalline innocence.

From the synth-pop band E.S. Island, known for the Haruomi Hosono-produced *Teku Teku Mami", comes "Yume Fūrin ", selected from their long-lost new age classic Nanpū from Hachijo. Created while the band’s core duo was living in Hachijō Island, the album aimed to sonically capture "the high and happy vibrations of everyday island life." This track offers a dynamic, tribal-infused New Age Kayō experience.

Dubbed "the world's first Min’yō House Mix" "Esashi Oiwake (Maeuta) " comes from Kanazawa Akiko HOUSE MIX Ⅰ, a collaboration between Japanese house music pioneer Soichi Terada and Akiko Kanazawa, a renowned min’yō singer. Through the prism of club music, Hokkaido's Esashi Oiwake, one of Japan’s most iconic folk songs, is transformed into a futuristic ambient pop piece with intricate sound design.

The compilation also includes "Sweet Ong Choh", a track from Voice From Asia, a group active between 1989 and 1992 featuring vocal artist Shizuru Ohtaka. Taken from their imaginative minimal work Voice From Asia, released under Aoyama Spiral’s music label Newsic, the song presents a tranquil, tribal-minimal soundscape enriched by ethnic instruments.

Hailed by Haruomi Hosono as having “a shaman residing in her voice,” singer-songwriter Nami Hōdatsu also appears in the selection. Known for her collaborations with Henry Kawahara, her debut album featured "Asa-Hikari-Ame-Yume", a track that now stands as a precursor to modern vocaloid/synthesized vocal music—a hidden gem of post-choir aesthetics that deserves rediscovery.

Likewise, "Tennessee Waltz", from Naomi Akimoto’s album One Night Stand, supported by members of Mariah, serves as another early prototype of vocaloid/synthesized vocal music. The track weaves fragmented vocal samples, pastoral yet sweetly minimal synth sounds, and mechanical beats into a strikingly unconventional piece in the history of Japanese music.

Closing the compilation is "Heaven Electric", a track from Nav Katze’s album Gentle & Elegance, which featured remixes by Autechre, Seefeel, and Sun Electric. Merging elements of IDM, ambient techno, and chillout, the song embodies an optimism reminiscent of space music while seamlessly blending a mystical Japanese aesthetic—an ambient pop masterpiece.

---

The album presents 12 exquisite pop tracks infused with an ambient feeling, resonating deeply with the evolving landscape of the mid-2020s—a time of post-hyperpop and Y2K revival.

Tsunaki Kadowaki (Compiler)

Born in 1993 in Yonago, Tottori, Tsunaki Kadowaki is a staff member and buyer at Kyoto’s Meditations record store. He is the editor of New Age Music Disc Guide (DU BOOKS) and a contributor to Music Magazine, Record Collectors' Magazine, ele-king, and more. Kadowaki has written liner notes for multiple Japanese releases (Brian Eno, Masahiro Sugaya etc.) and runs the Sad Disco music label under Disk Union. He also curates Spotify’s official New Age Music playlist and performed as a DJ at YCAM’s Audio Base Camp #3 in 2024.

These two vinyl records showcase the legacy left by the boogaloo movement in Peru between 1966 and 1975. They comprise twenty-two songs by seventeen artists who recorded on the remarkable local label MAG more than five decades ago and now invite today’s new generations to dance body and soul to these re-releases. You will find outstanding tracks by the likes of Tito Chicoma, Melcochita, Los Kintos, Otto Rojas, Coco Lagos among many others. MAG was one of the most important and prolific labels in Peru and, though it also was involved in releasing a lot of other types of music, its specialty was the tropical variety, which coincidentally, DJs and collectors seem to crave most. Peru developed a major boogaloo scene in the mid-60s, far from the genre’s place of origin, New York, where iconic songs like 'Bang Bang' and 'El Pito', fused soul and funk with Latin sounds, conquering dance halls and winning extensive radio airplay. The music trend soon spread to Caribbean countries and from there made the geographical leap to the city of Lima. 'El Pito', the collective creation of the Joe Cuba Sextet, was particularly popular. Shorn of overelaborate arrangements, the improvisation and spontaneity of the song resonated with the young generation who were avid for new music after the U.S. placed an embargo on the distribution of Cuban music. In July 1966, Rebeca Llave´s label, Disperú, released the 45 RPM of 'El Pito' (and Joe Cuba's LP), promoting the single in the most prestigious newspaper in the country: El Comercio. The press information stated that the record had sold seventy thousand copies in New York and fifty thousand in Los Angeles. That same year local dance versions by the bands of Alfredo Linares (MAG) and Lucho Macedo (El Virrey) were released, followed by another by the band of the Argentinean musician Enrique Lynch who was based in Peru (Sono Radio). These records were a hit with a new generation that embraced Lucho Macedo's band and the garage rock of Los York's with equal enthusiasm. Although Joe Bataan claimed that boogaloo was killed off at the end of the sixties by the labels and their veteran musicians (who conspired against the new generation of singers), Pete Rodriguez, Richie Ray and the Lebrón Brothers continued to release boogaloo records in Peru, but salsa music soon took over.

Fourth Page: Meaning of a Nest is the highly anticipated fourth studio album, and second with Edition Records, by renowned South Korean/ Amsterdam based drummer and visionary composer Sun-Mi Hong solidifying Hong’s position as one of the most inventive and creative drummers and musicians of her generation. Meaning of a Nest, embodies the album’s exploration of home and community, reflecting Hong’s decade-long journey from South Korea to Amsterdam and her efforts to build new networks and establish roots in a vibrant new environment.

Musically, Fourth Page: Meaning of a Nest offers an inventive and spacious soundscape, seamlessly blending meticulously crafted compositions with elements of improvisation. This fusion ensures each track resonates with authenticity and emotional depth. Hong’s unique approach grants her band members creative freedom within her structured frameworks, resulting in adynamic and genuine listening experience. Fourth Page: Meaning of a Nest stands as a testament to Sun-Mi Hong’s artistic evolution and unwavering commitment to artistic integrity, positioning her as a formidable presence in the European music scene and beyond.

Of all the artists who recorded for the Black Jazz label, keyboardist and composer Doug Carn was the most prolific, releasing four albums for the imprint. 1972’s Spirit of the New Land was his second Black Jazz release, but the first one (of two) to co-feature his wife, vocalist Jean Carn. It’s the most collectible of the bunch, showcasing Carn’s innovative approach of adding lyrics to jazz standards like Miles Davis’ “Blue in Green” and Lee Morgan’s “Search for the New Land,” while originals like “Arise and Shine” and “My Spirit” soar with spiritual fervor on the wings of his wife’s five-octave range.

Along for the ride are a stellar cast of players, including trumpeter Charles Tolliver, co-founder of the Strata-East label; saxophonist George Harper, who played with Herbie Hancock and Jimmy Smith among others; trombonist Garnett Brown, who appears on albums by Roland Kirk, Albert Ayler, and Art Blakey among his hundreds of album credits; tuba player Earl McIntyre, whose discography spans from Carla Bley to the Band; and drummer Alphonse Mouzon, founding member of Weather Report. This beautiful, uplifting album also comes with liner notes by Pat Thomas, author of Listen, Whitey! The Sights and Sounds of Black Power 1965-1975, that feature excerpts from a freewheeling interview conducted with Doug Carn himself. Pressed in blue with black swirl vinyl limited to 750 copies!

The late, great Calvin Keys’1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists—Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash, who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green.

But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys became a fixture in the Bay Area jazz scene before he passed in April 2024; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog, pressed in blue with black swirl vinyl limited to 750 copies!

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

"The Sunlandic Twins" markierte 2005 einen Wendepunkt für Of Montreal, als sich Songwriter Kevin Barnes einem stärker elektronisch-tanzbaren Sound zuwandte. Die lebendige Mischung aus Synthie-Pop und Psych-Rock wurde zum kommerziell erfolgreichsten Of Montreal-Album mit mehreren kultigen Fanfavoriten. Zum 20-jährigen Jubiläum veröffentlicht Polyvinyl die "The Sunlandic Twins (20th Anniversary Edition)", von Miles Showell in den Abbey Road Studios auf halber Geschwindigkeit neu für Vinyl remastert. Sie enthält das auf 45rpm neu geschnittene Originalalbum sowie einen digitalen Download mit einer zusätzlichen Fundgrube an Bonusmaterial, darunter bisher unveröffentlichte Raritäten, B-Sides, Coverversionen, Remixe und Livetracks, die einen tieferen Einblick in den kreativen Prozess hinter dieser faszinierenden Platte bieten. Neu verpackt auf holografischem Goldpapier samt Booklet mit noch nie zuvor gesehenen Skizzen des Cover-Artworks von David Barnes und einem Vorwort von Kevin Barnes.

A few weeks ago, Brigade Loco officially announced that they will release their third album in the coming months. The band from Gipuzkoa, with seven years of trajectory, will release their new full-length under the title"Bide baten esanahia" ("The meaning of a road"). This new album will finally be released in February 2025. As usual, the album has been recorded at the Sound of Sirens studio in Iruña under the supervision of technician Julen Urzaiz. This album is a firm step forward for a band that wants to evolve and write its own trajectory without repeating chapters previously made. In view of this, the band says they are very excited about the project. It has been more than a year of work and effort before this ambitious project sees the light of day, and they are looking forward to sharing their new tunes with their audience. Brigade Loco are about to start a very important episode in their career. An episode with interesting paragraphs, plotsand characters. Stay tuned.

A few weeks ago, Brigade Loco officially announced that they will release their third album in the coming months. The band from Gipuzkoa, with seven years of trajectory, will release their new full-length under the title"Bide baten esanahia" ("The meaning of a road"). This new album will finally be released in February 2025. As usual, the album has been recorded at the Sound of Sirens studio in Iruña under the supervision of technician Julen Urzaiz. This album is a firm step forward for a band that wants to evolve and write its own trajectory without repeating chapters previously made. In view of this, the band says they are very excited about the project. It has been more than a year of work and effort before this ambitious project sees the light of day, and they are looking forward to sharing their new tunes with their audience. Brigade Loco are about to start a very important episode in their career. An episode with interesting paragraphs, plotsand characters. Stay tuned.

This new record from Black Swan evokes a desolate post-collapse world that is detailed with haunting choirs, mangled tapes and distant industrial sounds. The album unfolds like a requiem by pulling beauty from the ruins of a collapsed society. With an hour-long narrative, it shifts between rippling hums and plaintive quivers of old cassettes, slowly revealing a heart that beats beneath the crimson haze. Tracks like 'Overture' and 'Back to Dust' offer cinematic grandeur and mournful exploration, while 'Pseudotruth' and 'New Gods' introduce eerie uncertainty. In the end, the album serves as a haunting meditation on loss, memory and the fragility of civilisation.

Nels Cline, Gitarrist der US-Independent-Rockband Wilco, den der Rolling Stone in seiner Liste der “100
Greatest Guitarists of All Time” führt, ist in seinem „zweiten Leben“ Jazz-Gitarrist, und das seit 2016 auf
dem weltweit renommiertesten Label des Genres: Blue Note Records. Sein viertes in einer Reihe stilistisch unterschiedlicher Blue-Note-Alben hat er jetzt nach seinem neuesten Ensemble „Consentrik Quartet“
benannt - mit Ingrid Laubrock (Saxofone), Chris Lightcap (Bass) & Tom Rainey (Drums) - dessen Debü-
taufnahme dies ist.
„Consentrik Quartet“ ist Nels Clines bis dato stilistisch vielseitigstes Blue-Note-Werk, auf dem es ihm
gelingt, swingenden Modern Jazz und Avantgarde, Virtuosität und Coolness zu verbinden.

Terry Usher takes things deep on a new outing for Saint Wax that has spiritual overtones and Afro vibes exuding from every beat. '8 Hours' opens up with the sort of spine-tingling vocals and pensive pads that take any floor higher. 'Never Leave You' is a percussive groove with an infectious sense of skip and 'M' Pon' then picks things up with chanting vocals and warrior leads next to rousing horns full of soul. 'O' Wey' closes out with steel-plated drums and soft shakers bringing plenty of late-night magic.

R.M.K returns to NECHTO with his latest release, ‘NECH028’, following his previous solo record ‘NECH021’, his features on the label's VAs and numerous label event appearances. Hailing from London, R.M.K, the alias of Fossil Archive label head Roberto, brings a unique, evolving take on his sound. With over 20 years of experience, he has performed at iconic venues like Berghain, Tresor, and fabric, and collaborated with artists such as Trevino, Jamie Anderson, and Goldie.
‘NECH028’ marks a new chapter in R.M.K’s artistic growth, with the EP taking over a year to complete. The release includes four vinyl tracks, plus an additional digital-only track. R.M.K notes that while each track has its own distinct style, they collectively tell a cohesive story. He also
acknowledges the role of Nastia in pushing him to deliver the best possible quality, and he takes great pride in the result.
This release reflects the evolution of R.M.K’s sound, demonstrating his dedication to refining his craft and offering a compelling narrative through techno.

Bad news: Not much is known about pdqb, and what we do know is most likely either wrong or made up. The man who is credited for the productions is said to have gone insane due to being possessed by an alien parasite. His whereabouts remain unknown. Good news: Fortunately, Synaptic Cliffs owns about a dozen releases from whoever or whatever is behind the mysterious abbreviation and will publish every single one of them…because they are ultra awesome.

With the original tapes of this Mini-LP, pdqb left a fragmented note in the '90s stating that he decoded eight tracks originally produced with the NCO6.27 for test subjects who were all given some strange form of brain implants, and that a certain wetware could be unveiled in that manner, and that he conducted that research long before he developed a machine capable of hacking into the dreams of everyone who has ever lived.

However, the music could best be described as playful and dark, old-school Techno/Electro/Industrial blended with Chiptunes, IDM/Braindance, and Electronica. It is pressed on a beautiful green splatter vinyl.

The first 150 customers will be rewarded with a free leftover flexi disc from the '80s featuring two exclusive tracks composed by pdqb while he worked for Silvio Berlusconi's Mediaset TV production company. The flexi was originally included in the November 1985 issue of the Italian Playboy Magazine (cover girl: Grace Jones) and is extremely sought after.

Having built a solid reputation as a drummer over the years, Matt Stockham Brown is set to step into the spotlight with the release of his new project and self-titled debut album ‘6161’ (pronounced ‘Six One Six One’) set for release on 14th March 2025, via Bristolian label Severn Songs (run by Ishmael Ensemble, and home to Waldo’s Gift and Holysseus Fly).

6161 is the brand new project of Matt Stockham Brown who has previously received critical acclaim winning a Montreux Jazz Festival talent award in 2019, releasing two albums with Run Logan Run and most recently a 5 star Guardian review with Daniel Inzani’s triple release and sell out tour with Cosmo Sheldrake. He has also recorded/performed globally with the likes of Massive Attack, Rodriguez, This Is The Kit, Paraorchestra, Gregory Porter, Liz Lawrence, Cloth, Get The Blessing, Marc Ford, Squirrel Flower, Ghostpoet any many more.

“A well judged mix of Old-School acoustic values and contemporary Electro-Jazz” – Jazzwise

Die beliebte Compilation "The Very Best Of Talk Talk" wird in einer überarbeiteten und Karriere übergreifenden Fassung neu aufgelegt. Im Vergleich zur ursprünglichen Veröffentlichung von 1997 bietet die Neuausgabe die größten Hits der Band in chronologischer Reihenfolge. Zudem enthält sie eine überarbeitete Aufnahme vom letzten Album der Band, Laughing Stock.

Die Wiederveröffentlichung erscheint am 14. März als 2LP im schwarzen Klappcover sowie auf CD.
Gegründet 1981 von Mark Hollis, Lee Harris und Paul Webb, erlangte Talk Talk mit ihren ersten beiden Alben The Party's Over und It’s My Life weltweiten Ruhm. Songs wie "Talk Talk", "Today", "It’s My Life" und "Such a Shame" wurden zu zeitlosen Klassikern und erreichten die Top 40 der britischen Charts. Mit The Colour of Spring (1986) wagte die Band erste Schritte in Richtung experimenteller Klänge, die schließlich in ihrem gefeierten Meisterwerk Spirit of Eden gipfelten. Ihr letztes Studioalbum, Laughing Stock, erschien 1991 und markierte einen weiteren Wendepunkt hin zum Post-Rock.
Talk Talk wird oft als Pionier des Post-Rock angesehen. Ihr Einfluss erstreckt sich auf Künstler wie Kate Bush, Tears for Fears und Radiohead. Zudem haben viele Musiker die Werke der Band neu interpretiert, darunter No Doubt, die mit ihrer Version von "It’s My Life" einen internationalen Hit landeten.

SANHEDRIN hat das letzte Jahrzehnt an der Spitze der amerikanischen Heavy-Metal-Szene verbracht und traditionelle Metal- und Hard-Rock-Sounds mit einer frischen, modernen Energie und Perspektive vermischt. Mit dem von der Kritik gelobten Album Lights On aus dem Jahr 2022 schuf die Band ihr bis dato komplettes Werk. Mit dem Nachfolgealbum Heat Lightning liefert die Band eine abwechslungsreiche Sammlung von Songs, die ihre vielfältigen Einflüsse mit einem hohen Maß an Produktion einfängt. Im Gegensatz zu den drei Vorgängeralben, die alle von Colin Marston aufgenommen und abgemischt wurden, entschied sich SANHEDRIN für Heat Lightning für die Arbeit mit neuen Ohren und in einer neuen Umgebung. So landete die Band im legendären Utopia Bearsville Studio in Woodstock, New York. Matt Brown (Life of Agony, A Pale Horse Named Death) und Jerry Farley (Sick Of It All, Madball) waren für die Aufnahmen und die Co-Produktion verantwortlich.DEAF FOREVER (Germany) #1 in soundcheck * 9/10 review by Martin BrandtROCK HARD (Germany) #4 in soundcheck * 9,5/10 review by Ludwig KrammerHalten wir fest: "Heat Lightning" ist schon jetzt ein verdammt heißer Kandidat für das Metal-Album des Jahres. Und noch schöner: SANHEDRIN werden es uns an Pfingsten im Amphitheater eigenhändig vorspielen. Erste Reihe, wir sehen uns!Ludwig Krammer9,5

SANHEDRIN hat das letzte Jahrzehnt an der Spitze der amerikanischen Heavy-Metal-Szene verbracht und traditionelle Metal- und Hard-Rock-Sounds mit einer frischen, modernen Energie und Perspektive vermischt. Mit dem von der Kritik gelobten Album Lights On aus dem Jahr 2022 schuf die Band ihr bis dato komplettes Werk. Mit dem Nachfolgealbum Heat Lightning liefert die Band eine abwechslungsreiche Sammlung von Songs, die ihre vielfältigen Einflüsse mit einem hohen Maß an Produktion einfängt. Im Gegensatz zu den drei Vorgängeralben, die alle von Colin Marston aufgenommen und abgemischt wurden, entschied sich SANHEDRIN für Heat Lightning für die Arbeit mit neuen Ohren und in einer neuen Umgebung. So landete die Band im legendären Utopia Bearsville Studio in Woodstock, New York. Matt Brown (Life of Agony, A Pale Horse Named Death) und Jerry Farley (Sick Of It All, Madball) waren für die Aufnahmen und die Co-Produktion verantwortlich.DEAF FOREVER (Germany) #1 in soundcheck * 9/10 review by Martin BrandtROCK HARD (Germany) #4 in soundcheck * 9,5/10 review by Ludwig KrammerHalten wir fest: "Heat Lightning" ist schon jetzt ein verdammt heißer Kandidat für das Metal-Album des Jahres. Und noch schöner: SANHEDRIN werden es uns an Pfingsten im Amphitheater eigenhändig vorspielen. Erste Reihe, wir sehen uns!Ludwig Krammer9,5

o d1. Sealed Human (’m Remix)

Streng limitierte, remasterte Deluxe-Auflage zum 20-jährigen Jubiläum des vierten Albums "Wet From Birth" (2004) der US-Synth-Punk-Band The Faint, das den Puls des Berliner Undergrounds mit der DIY-Körpersprache Omahas verschmolz, wo Punk ebenso Rhythmus wie Rebellion war. Ihr Sound kombinierte die melodische Essenz von New Wave, die raue Kante von Post-Punk und den roboterhaften Futurismus von Detroit Electro, und mit der Hinzunahme des Death Metal-Gitarristen Dapose entflohen sie in ganz neue Sphären. The Faint brachen aus der bescheidenen Bequemlichkeit des Indie-Rock aus und lieferten den Schock, zu dem die Indieszene der Spät-90er/Früh-2000er bereit war. Die neue Deluxe Edition enthält das sorgfältig von den Originalbändern remastere Album, erweitert auf Doppelformat, mit zwei gänzlich unbekannten Sessiontracks, unveröffentlichten Demos und einigen Remixen, und erscheint auf transparentem Doppelvinyl mit Poster (18x24") im mit Metallfolie geprägtem Gatefold.

A new pressing of last years, end of year poll favourite album THE COURETTES `The Soul Of_' LP on ORANGE VINYL! "Ultra-catchy. A wicked side of garage soul" - CLASH // "One of their catchiest pieces yet, Sassy, groovy, toe-tapping" - CLASSIC ROCK // "A giddying rush of noise" - MOJO // "The real sound of now busting through my door, new songs that keep kicking the history forward. I can't imagine my turntable without The Courettes" - David Fricke, ROLLING STONE // And features SHINDIG MAGAZINES Single of the year 2024 `Keep Dancin'.

NOW Music proudly presents NOW That’s What I Call Gold – The Ultimate Hits – this essential 3-LP set brings together 46 tracks by legendary artists with timeless anthems, celebrating some of the greatest hits of all time, including chart-topping classics and enduring favourites.



LP1 sets the stage with Queen’s electrifying ‘A Kind Of Magic’, followed by Philip Bailey & Phil Collins’ #1 ‘Easy Lover’. The Police feature with their #1 smash ‘Message In A Bottle’, while The Killers follow with their record-breaking anthem ‘Mr. Brightside’. The massive ‘Stick Season’ from Noah Kahan is up next before the first side finishes with Lana Del Rey’s stunning ‘Video Games’. Flip the LP over for contemporary classics from Coldplay and Duran Duran. Sinéad O’Connor’s ‘Nothing Compares 2 U’ still sounds raw and breath-taking and is followed by classics from the Pretenders, Shirley Bassey, Dusty Springfield, and Soft Cell’s ‘Tainted Love’, one of the best-selling UK singles of the ‘80s, whilst another of those closes out the first LP: Ultravox with their masterpiece, ‘Vienna’.



LP2 delivers a legendary lineup, including Billy Joel with his Grammy-winning ‘Just The Way You Are’ and Céline Dion’s powerful version of ‘All By Myself’. John Denver’s ‘Take Me Home, Country Roads’ and Paul Simon’s groundbreaking ‘Graceland’ are featured along with the pop genius of Electric Light Orchestra with ‘Last Train To London’. While on the other side timeless ballads from Elton John with ‘Tiny Dancer’ and Lewis Capaldi’s ‘Someone You Loved’ come ahead of Wings, Simply Red and ‘60s gems from Stevie Wonder, The Supremes and the peerless ‘Walk On By’ from Dionne Warwick.



LP3 opens with Neil Diamond’s universally beloved singalong anthem, ‘Sweet Caroline’ and Cliff Richard’s mid-70s classic, ‘Devil Woman’. Disco legends Donna Summer (‘MacArthur Park’) and Gloria Gaynor (‘I Will Survive’), lead into Sophie Ellis Bextor’s ‘Murder On The Dancefloor’ which became a smash for the second time recently. Ed Sheeran and Pharrell Williams had enduringly popular hits with ‘Galway Girl’ and ‘Happy’, and the side closes with the harmonic vocals of All-4-One and their beautiful signature song ‘I Swear’. The final side is packed with anthemic and uplifting classics kicking off with Spandau Ballet’s ‘Gold’, Survivor’s ‘Eye Of The Tiger’, and Take That’s soaring ‘Rule The World’. The remainder of the collection celebrates and showcases some of the ‘70s greatest tracks including Bonnie Tyler’s ‘Lost In France’, Marianne Faithfull’s poignant ‘The Ballad Of Lucy Jordan’ and Blondie’s era-defining and genre-defying #1 ‘Heart Of Glass’.



NOW That’s What I Call Gold is a must-have for all music lovers —packed with legendary artists, timeless hits, and unforgettable moments in pop. Don’t miss out on this golden treasure trove of musical brilliance!

The late, great Calvin Keys’1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists—Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash, who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green.

But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys became a fixture in the Bay Area jazz scene before he passed in April 2024; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog, pressed in blue with black swirl vinyl limited to 750 copies!

With a much-loved signature sound heavily influenced by many active years in the trance scene, Fernie’s blend of emotive pads and cosmic soundscapes has secured him a discography that spans some of deep techno’s most revered labels. Having releases on the likes of Monument, Khoros, KVLTÖ and Informa Records to name just a few, as well as heading up his own imprint Space Textures, curating the Monument podcast, and co-running the Orbits parties with fellow Glaswegians Deepbass and Repart - Fernie’s passion for the deep techno community resides in the energy he consistently commits to our scene.

The third release in our catalogue comes as a limited edition 140g transparent vinyl with black smoke, pressed in Italy and presented in a matte sleeve with full colour artwork. Celestial is a carefully woven journey that searches and probes, be it the outer reaches of space or the inner depths of oneself. Perfectly blending the themes of space exploration and astrology, the EP opens with a brooding wash of atmospheres and voice samples, before broken rhythms, lush pads and moody ethereal tones carry the voyage through the A Side. The B Side sees the record open up into two tracks perfect for deep immersion on the dance floor, with Unbound offering an atmospheric cruise fit for early morning bliss. And finally, we are humbled to have a remix from deep techno stalwart Ness closing out the EP - a ritualistic stomper that reworks the original atmospheres of Critical Functions into an uptempo dub techno infused gem.

Clear marble vinyl. Hailing from Kansas City, Missouri, Shooting Star made history as the first American band signed to Virgin Records. Their 1980 self-titled debut, produced by Gus Dudgeon (renowned for his work with Elton John), showcased a powerful blend of melodic rock, soaring harmonies, and violin-infused arrangements. Recorded in England in 1979, the album gained national attention with AOR radio staples like "You Got What I Need," "Bring It On," and "Tonight." However, it was "Last Chance" that truly stood out_later praised by AllMusic as "one of the finest songs ever." With a lineup featuring Van McLain, Gary West, Charles Waltz, Bill Guffey, Ron Verlin, and Steve Thomas, Shooting Star blended classic rock with orchestral textures, crafting a unique and memorable sound. Though they never reached mainstream superstardom, their debut album remains a hidden gem of heartland rock, capturing the energy and ambition of a band on the rise.

Clear Vinyl. Hailing from Kansas City, Missouri, Shooting Star made history as the first American band signed to Virgin Records. Their 1980 self-titled debut, produced by Gus Dudgeon (renowned for his work with Elton John), showcased a powerful blend of melodic rock, soaring harmonies, and violin-infused arrangements. Recorded in England in 1979, the album gained national attention with AOR radio staples like "You Got What I Need," "Bring It On," and "Tonight." However, it was "Last Chance" that truly stood out_later praised by AllMusic as "one of the finest songs ever." With a lineup featuring Van McLain, Gary West, Charles Waltz, Bill Guffey, Ron Verlin, and Steve Thomas, Shooting Star blended classic rock with orchestral textures, crafting a unique and memorable sound. Though they never reached mainstream superstardom, their debut album remains a hidden gem of heartland rock, capturing the energy and ambition of a band on the rise.

Following the Nairobi Sisters 45 in 2023 and Revolutionaries LP in 2024, 333 is back for 2025 with another rare mid-1970s cut out of Winston Jones' Flatbush-based Flames label catalogue.

It is issued here under license from Jones, aka the original singer and composer of Stop That Train with the Spanish Town Skabeats aka The Spanishtonians. Making the move from JA to NYC in the early 1970s he established and ran the state-side Flames label, nursing it into a key imprint in Brooklyn's reggae scene from the mid-1970s until the early 1990s. This in-demand roots cut features a stellar horn section in combination with urgent, soul-inflected vocals from Glen Hutchinson. Backed with a killer stripped-back dub.