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"Ray Fernández is a name that cannot be forgotten when we talk about the new generation of Cuban singer-songwriters.
"The current moments the world is going through are reflected in his lyrics. What better for this artist than to be accompanied by the Zanja All Stars! Ray Fernández, accompanied by the Zanja All Stars under the direction of Julio Padrón, make a formidable combination. This allows us to see new shades by blending his lyrics with a selection of the best musicians in Cuba today.
"The social and political issues shaking the world right now are perfectly reflected in his work, which, like all songs, can be interpreted in different ways. Ray’s lyrics become a bridge that should foster understanding between different sides of thinking, where the most important bridges are formed by art.
"The largest of the Antilles, Cuba, is one of the few places in the world where such revolutionary music can emerge. His lyrics deserve to be heard at a time when the world needs people unafraid to express ideas and willing to give everything."

JVB released their self-written, self-produced, self-mixed and mastered sophomore album – No Hands – which debuted in the Top 10 on Spotify’s Top US Album’s Chart. The critically-and-fan-acclaimed collection of genre-bending tracks are their most impressive work to date and feature appearances by Danny Brown, Terror Reid and Z-Trip.

+4 x original 7” (see below for more details)

+ Special coloured disc CLEAR BLUE VINYL>
1, Nausicaa of the Valley of the Wind / Wind Fairy

Vocal: Narumi Yasuda (25.1.1984: ANS-2008)



2, If I can fly / I don’t need Virgin Road

Vocal: Yoko Obata (25.5.1986: 7AGS-7)



3, My Neighbor Totoro / Carrying You

Vocal: Azumi Inoue (25.10.1987: 7AGS-12)



4, My Neighbor Totoro /Hey Let’s go

Vocal: Azumi Inoue (25.3.1988: 7AGS-14)



5, Special Disc : Carrying you / My Neighbor Totoro

Crystal audio master *colored vinyl record



●Disc 1~4 ＝ Reissues of the original EP

●Special Disc 5 ＝Instrumental versions of crystal clear sound

●Adapter ＝Studio Ghibli Records Original Adapter



Theme songs from the movies “Nausicaa of the Valley of the Wind” which was released 35 years ago, “Castle in the Sky” and “My Neighbor Totoro”

have been loved by many people up until now and even appeared in music textbooks.

The original 7” singles will be reissued and included in the box set. Remastered for this time, you can enjoy the vinyl only sound. We hope you experience the greatness of vinyl record.

From 1968 through to the mid 1970’s the reggae beat began to slow down,some say due to the extreme heat hitting down onto Kingston Town and its surrounding enclaves. People needed something less strenuous to dance to. The Ska and Rocksteady Sounds (see 101 Orange Street KS007) that rocked Jamaica previously, had now found a slower tempo and become more ‘Dread’ lyrically to suit the times. Reggae music has always moved within the social climate it found itself in and this set here, as we ‘Return To Orange Street’ was ROOTS ROCK REGGAE TIME....

The Rastafarian message that runs through this collection of ‘Reality’, sometimes labelled ‘Sufferers’ music,is strong and works on many levels. It can come across on a heavy rhythm and vocal cut. Its example represented here by Prince Jazzbo’s ‘Dread in a Earth’ and ‘I Roy’s ‘Roots Man Time’, moving through to the popular new sounds of the DJ’s working over an old rhythm and alongside its existing vocal. As with Busty Brown working with Delroy Wilson's ‘Know Your Friend’ and Mr Jah Stitch working over Johnny Clarke’s ‘Roots Natty Roots’ to produce an even more dreader ‘True Born African’. The heartfelt lyric can also convey this message as we can see when Horace Andy laments ‘Where is the Love’ and Delroy Wilson again shows us on his ‘Who Cares’ cut. The great Twinkle Brothers also put the message across on their two cuts we have here, ’Too Late’ one of their lost classics if ever there was one and the thoughtful ‘It’s Not Who You Know’,being another prime example.

Orange Street itself is always at the heart of all reggae's musical changes and some singers also ride these waves as Mr Cornell Campbell shows us here with two cuts. The mournful ‘Too Be Loved’ and his uplifting ‘Girl of My Dreams’, which uses the same rhythm as our previously mentioned Prince Jazzbo’s 'Dread in a Earth’. Showing us that firstly you can’t keep a good rhythm down and secondly that two if not more great songs can work from the same source point. The light hearted ‘Vengeful’ lyric also worked in this period when artists spared off to each other on records to vent their frustrations. As we can hear here with Mr Lee Perry’s ‘You Funny Boy’. The song snipping back at a previous employer over what he felt were his misdoings to an under appreciated Mr Perry. We have culled these tracks together to show that the Dread Roots feel of the 1970’s came across in many guises and even in earlier songs these sentiments were also prevalent. As represented in Slim Smith’s almost bluesy feel in ‘Trying To Find a Home’, never a truer statement in Kingston's ghetto areas.

Well we hope you enjoy this musical journey and make a connection with messages portrayed here, as Mr Monty Morris points out on his contribution to this collection ‘Times Are Dread’.... Dread indeed.....

2025 Repress

Berlin’s own Steffen Linck, a multi-instrumentalist known as Monolink, announces the 12” remixes release, due June 7th via Embassy One. ARTBAT + BEN BÖHMER + PATRICE BÄUMEL + MONOLINK – no more words needed.

Live God“ ist ein eindrucksvolles Zeugnis der Wild God UK- und Europatournee 2024 von Nick Cave & The Bad Seeds.
Auf 15 Tracks fängt das Album die transzendente Atmosphäre jener unvergesslichen Shows ein, die laut Nick Cave selbst „ein Gegenmittel zur Verzweiflung“ waren.

Die Trackliste enthält Live-Versionen des kompletten, hochgelobten Studioalbums WILD GOD (2024) sowie beliebte Klassiker wie „Papa Won’t Leave You, Henry“, „From Her to Eternity“ und „Into My Arms“.

Doppel-LP, gepresst auf schwarzem Vinyl und präsentiert in einem hochwertigen Tip-On-Gatefold-Cover mit Spot-UV-Glanz auf den Innenseiten. Das Vinyl befindet sich in bedruckten Innenhüllen in Vollfarbe mit bedruckten Labels auf dem Vinyl selbst.

The stunning debut album by Peki Momés is back in store after selling out the first edition in a few weeks! This 2nd pressing has a different label design. Featuring twelve outstanding original tunes. Turkish psychedelic, global disco and outernational!

Peki Momés is a Turkish artist living in Germany - who only started to record music by accident in 2024. Blessed with style and intuition rather than formal education, her fresh and uncompromisingly authentic approach to music took hearts and ears by storm.

Ever since her debut 45 on Mocambo Records, Peki Momés has become a little sensation in and outside the organic groove scene: turntablist DJ Koco played doubles of "Göc Mevsimi" in his set, Iggy Pop announced "Rüya" on his "Iggy Confidential" show on BBC and the second vinyl single surprised everyone with a mesmerizing cover of Marco Valle's much loved "Estrelar" in the turkish language. Both records sold out quickly and are in the bags of tastemakers like Coco Maria.

Peki Momés' music is an eclectic mix of sounds from the global underground, tastefully crafted by producer Dustin Braun and a troupe of ridiculously talented jazz musicians. Dirty disco, fuzzy funk, anatolian rare grooves, experimental synth, library music and japanese city pop all blend naturally with her distinct vocals to create a unique ethereal outernational sound that is all her own.

Once dubbed as 'turkish discodelic', Peki's songs have a dreamlike, enchanted and psychedelic quality and instantly take the listener on a journey. In a poetic way, she approaches topics like "dreams and a naive fear of losing or not fulfilling them" or expresses "worries about our weary world and call for solidarity from all" - always with an outlook of hope. You do not have to speak turkish to understand - the message is transported by a universal language.

With her debut album, Peki Momés is now telling her full story. Displaying a young Peki on the cover, the artwork hints at the freshness and enthusiasm of the project. We should consider ourselves lucky that Peki chose to disrespect rules in favor of self-empowerment and made this wonderful longplayer that you never knew you needed.

Coke Bottle Clear vinyl. Jun 25, 2021 (EST) CD MRG755cd 673855075525 $6.00 Jun 25, 2021 (EST) LP - Black MRG755lp 673855075518 $11.00 Dec 02, 2022 (EST) LP - Coke Bottle Clear MRG755lp-dlx-C1 673855075556 $12.50 TOTAL Quietly Blowing It was written and arranged by Taylor in his home studio_his 8' x 10' sanctuary packed floor to ceiling with books, records, and old guitars_as he watched the chaotic world spin outside his window. "Writing became a daily routine," he explains, "and that was a ballast for me. Having spent so much time on the road over the past ten years, where writing consistently with any kind of flow can be tricky, it felt refreshing. And being in my studio, which is both isolated from and totally connected to the life of my family, felt appropriate for these songs." Between March and June, Taylor wrote and recorded upwards of two dozen songs_in most cases playing all of the instruments himself_before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road. "We all needed to be making that music together," he recalls. "We've all spent so many years traveling all over the world, but in that moment, it felt cathartic to be recording those particular songs with each other in our own small hometown."

On his new cassette album Neuer Almanach, Felix-Florian Tödtloff creates a reflective narrative of electronic ambience, flowing guitar renderings and field recording observations. All created in Spain, Germany, Georgia and France, these pieces are filled with pondering musical intent without the need for borders.

Tuk Smith is the kind of rock 'n' roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. "I want to do something that means something to people," Tuk says, "because a lot of shit nowadays is so disposable and so plastic. I just don't connect with that. I'd like to do things that impact people positively. It's a weird time on the planet, so to have songs about hope, but not be cheesy about it, it's something I think we need with songwriting. That's the kind of music I want to hear." Again, there's that dichotomy he speaks of. "Rock 'n' roll is essentially the illusion of not giving a fuck, right? Like, you know Axl Rose was doing sit-ups and jump rope, and Paul Stanley was on a cardio machine, and they come out and act like it just happens. The point is I sit at that piano many hours, working on this stuff."

**Includes double sided insert with liner notes and photos*

Al Mati was the pseudonym of eccentric Portuguese-born, Dutch-based artist Alberto Mesquita. The name translates to ‘Alberto Friend’, with ‘Al’ short for Alberto and ‘Mati’ meaning ‘friend’ in Surinamese.
Alberto’s story comes across like a mythical character from a European Kerouac novel, but instead of writing it down, he poured those adventures and characters into his record. The music and the comic-style artwork, drawn by his friend Bruno Scoriels, work as one, with Alberto himself becoming both the story and the character within it.

Raised under Salazar’s regime in Lisbon, where all men were conscripted to Africa, he refused, a pacifist. This put him at odds with his father, born in Angola and a prominent lawyer tied to the dictatorship. Unable to accept his son’s stance, the rift forced Alberto to flee Portugal as a deserter, leaving everything behind.

He sought a new life in Paris, where he met Bruno Scoriels. The pair busked to get by, and young and broke, set off on adventures across Europe. On one trip to Barcelona, they crossed the Pyrenees on foot through a five-kilometre train tunnel, not knowing if they would make it out alive. The train later featured on the cover of Some Shit, a nod to that hazardous journey and the strange turns of his life.

From there he moved to Belgium, where he met Jolanda, his future wife who also features on the album. They lived in The Netherlands, then back in Belgium where they married, before returning to Portugal under false pretences. The regime promised deserters immunity, but it proved untrue, and Alberto was forced to flee again — this time with a young family, using Bruno’s passport to escape to The Netherlands.

They settled in the Gliphoeve flats in Amsterdam’s Bijlmermeer, a vibrant immigrant community. This melting pot of cultures inspired Alberto musically. He started a studio in their flat where musicians from Suriname, Angola, the Antilles, Brazil, Mozambique and Portugal came and went, jamming, rehearsing, recording and forming bands including Albatros, Comoção and Mati Africa, performing internationally and at iconic Amsterdam venues like De Melkweg and Paradiso.

Being an immigrant was tough. Alberto was stateless for years, drifting across countries. Some songs voiced his frustration with the Portuguese regime, others were playful or simply love notes to his wife and kids. He passed away in the Netherlands in 2021, leaving Some Shit open to interpretation. But when you picture Europe in the 1970s — the politics, the upheaval, and his need to connect people across cultures — you can hear an artist shaped by contrast, who poured his experiences, feelings and love into music.

2026 Repress

There's no need to apologise - not when the vinyl in question is as good as this. If you've seen Ricardo Villabos behind the decks of late you'll almost certainly have heard him drop one or more of these superlative edits, as he's been hammering them practically non-stop. You can't blame him. 'Edit 1' is a hypotonic bongo-fest that shimmers and caresses the dancefloor with absolute confidence. 'Edit 2' is a female vocal-led disco-slanted house affair with neatly trimmed, jazzy keys and a perky bassline, while 'Edit 3' looks to the late 70s/early 80s for inspiration with a supercatchy synth motif that Vince Clarke would give his right hand for and some exotic sounding, continental male vocals that round it off superbly. Imagine that Patrick Cowley and Krafftwerk made a tune together and you're in the right area. Put all three together and, well, you've got quite the package.

"We first became aware of the Florence-based composer Marco Baldini’s work via the incredible Another Timbre label.
"His albums, Vesperi and Maniera, blew us away. Maniera, Marco’s second album for the label consists of seven chamber works for strings, beautifully played by Apartment House. If for some reason you haven’t heard it go straight to Another Timbre’s Bandcamp and check it out! Vesperi, Marco’s first release on Another Timbre, from around a year before is also absolutely unmissable, it’s comprised of three pieces derived from works by 16th century Italian composers alongside original compositions.
"Both albums have provided much needed calm in turbulent times. Marco kindly accepted our invitation to compile a mixtape, and here it is! Thank you so much, Marco!"

2025 Repress
Juan Mendez aka Silent Servant is a figure in techno history that needs little introduction. As a member of the Sandwell District collective and the label’s art director he collaborated on works that were responsible for a global focal shift in the genre as their label adapted and challenged the paradigm of minimal techno, taking influence from other sources such as dub, post-punk, and even classical minimalism.

But Mendez’s relationship with music goes back much further than these seminal releases. With In Memoriam, Silent Servant’s latest release on Tresor Records, Mendez writes a deeply personal memoir of a 30-plus year career spent exploring and absorbing the shadowy side of music; a carefully crafted elegy to people, places, and times past and the lasting effect they have on the present.

Across the four tracks, Mendez pays tribute to the earliest Detroit techno and electro, the Belgian EBM movement and the wave music that followed, the monumental dub techno sound from Berlin, and the harder, abrasive sound of the UK at the turn of the last millennium; exploring and referencing the genres that informed his later work. Each track name gives a hint to the timeframe he is revisiting and re-contextualising as the E.P. repurposes the styles that exerted an influence on him.

This E.P. represents a pure distillation of Mendez’s memories whilst also cementing his place in the current and future sound of 21st century techno; aware of where we came from but focused on where we are heading.

Straight out of the local mud of the city of Antwerp comes dancing this next Souvenirs from Imaginary Cities slab of free-flowing bits of electronic wonder : Schönen Abend by Simon B. Just in time to ease you out of this endless winter and right into springtime. Like the previous hit by Purple Uncle, this flower takes some time to bloom and fill up your head and body with it's ear wormy fragrance.

It's hazy and cinematic, makes you think of Italian electronic pioneers and their library magic, Patrick Cowley's School Daze and Haruomi Hosono in some kind of gothic manner. It's quite stripped and lush at the same time, rhythms like minimal mechanics make you fly above the river and land just outside reality. It's a nice place where soft jazz tingles right around the dark corner, and that particular mix of exotica and melancholia — the trademark of this port city's best electronic auteurs is definitely in the air. The river still shines, but she’s deeply poisoned. The old town has lost every bit of fresh air but keeps on digging for old gold. This bitter pill is served with delicacy and lightness, the wound is dressed up seductively — feet in the mud, head in the air. Stuff is sensuous, with quiet places reminding of the good side of those times when the big wheel stopped turning ever so madly. A strange quietness whistles through the leaves. Some things take time to unfold. In or out of C.

Four years in the making, this is the solo debut LP of Simon B, a longtime contributor to Antwerp's improvised music scene (Groovecats Deluxe, Wij Blij Trio ). Primarily a double bass player, he also has a deep-felt passion for offbeat electronica and the rainbowy side of American minimalism, which takes front here. The smoky voice on the last track belongs to Nina-Joy Thielemans, Nina-Joy is part of Particals, a trio working with live electronics and field recordings, releasing an lp on Ultra Eczema later this year. Furthermore, you can hear the tenor and soprano saxophone of Adia Van Heerentals on 4 tracks, deepening out Simon's naturally flowing compositions and playing around with his melodies. You may know her from Bodem and her strong presence in the Belgian jazz scene lately.

Simon's electroacoustic experiments — using a clarinet and some outboard effects — were important tools in finding the very specific colour of this record. There's this airy character, like wind blowing through old layers of bricks and over the river, anchored with a deep sense of bass, gathering ages of dust and memories in these eight elegantly wobbling tracks, forming a perfect whole that’s really coming together in one deep listening from A to Z.

The centrepiece is perhaps Come to Me, instrumental and reprise with vocals, but no fillers on this one. Every part of the mystery is needed to come to its end and back again. It's a record that works in the morning, to open up a day and in the quiet corners of the night, with it's sleazy quirkiness, smiling towards you from the right corner of the eye. A perfect compagnon for your long-form wandering habits, light reflections on a wet surface obsessions, coffee slurping in the morning and the forgotten art of beachcombing. Quite essential these days, witnessing a world going apeshit.

It has been said of Hiroshi Suzuki, one of Japan's leading trombonists, "If you want to sound good, you need to have him as a member of your group”. Suzuki moved to the U.S. in 1971 when he was invited to play with the Buddy Rich Orchestra, and had been living in Las Vegas ever since. The album Cat was recorded when he returned to Japan for the first time in about four years, and released on Nippon Columbia in 1976. The musicians are the same as in Freedom Unity, the group Suzuki had been a member of until his 1971 departure – consisting of pianist Hiromasa Suzuki, drummer Akira Ishikawa, bassist Kunimitsu Inaba, and saxophonist Takeru Muraoka.

Cat is a kind of second chance for that group, which once had a promising future but came to a premature demise. Based on the synergy that they had cultivated together in the past, the players brought their individual technical and musical growth to the album and collectively refined their efforts even further. Each of them had been active on the front lines of the jazz scene, and the quality of their compositions, arrangements, and performances here are extremely high. Cat is one of the most revered albums in the extraordinary Japanese Jazz discography and an essential piece of any music collection.

(Text by Yusuke Ogawa - Universounds)

"Hare Brained Schemes" is the long-awaired follow-up to Daniel Son and Finn's critically acclaimed 2020 collaboration, "Dirty Dishes". The Canadian duo returns with a vengeance, delivering an album that’s as gritty, unpredictable and vicious as its title suggests. In "Hare Brained Schemes", Daniel Son's sharp, incisive lyrics cut through Finn's raw, hard-hitting production, creating a sonic landscape that's both chaotic and captivating.

The title, captures the wild, unpredictable nature of this offering, bold ideas and daring experimentation, where every track is a testament to the duo's commitment to pushing the boundaries of their craft.

Guest appearances by heavy hitters such as Pro Dillinger, Mooch, Lord Juco, and Family Gang Black add further depth and intensity to the project, each bringing their own unique flavor to the mix. The album cover, designed by Alejandro Torrecilla, perfectly encapsulates the anarchic energy and raw aesthetic that defines "Hare Brained Schemes".

Prepare for a journey through dark, uncompromising soundscapes and razor-sharp lyricism that leaves no stone unturned. Daniel Son and Finn have crafted an album that’s not just heard, but felt—a relentless exploration of the underbelly of hip-hop.

Die rohe, donnernde Kraft von Charley Patton kommt in diesem unverzichtbaren zweiten Teil von ,Father of the Delta Blues: Selections from Paramount Recordings" wieder voll zur Geltung. Diese Tracks zeigen Patton von seiner eindringlichsten und ungefiltertesten Seite, mit wilder Slide-Gitarre, schreiendem Gesang und Texten voller Geheimnisse, Trotz und tiefer Mississippi-Seele. "Vol. 2" setzt die Erforschung von Pattons einzigartigem Vermächtnis fort: teils Prediger, teils Trickster, teils Geschichtenerzähler. Der zweite Band wurde von Dave Gardner liebevoll restauriert und remastert und ist nicht nur ein Dokument des frühen Blues, sondern auch ein Einblick in die Wurzeln der amerikanischen Musik selbst, wo Rhythmus auf Rebellion traf und Geschichte in Schellack eingraviert wurde. Exklusiv für den Record Store Day Black Friday 2025 auf transparentem orangefarbenem Vinyl gepresst.