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Acid Worlds Part One marks the beginning of Tin Man's new series exploring the dimensions of collaborative acid. The EP features contributions from Susi Saisa (w/ Jussi-Pekka), John Tejada & Tin Man, Romans (w/ Gunnar Haslam), and Rolling Ones.

Thank You For Almost Everything is the sophomore album for Headache, a collaboration between writer and poet Francis Hornsby Clark and music-producer Joseph Thornalley aka Vegyn. This new album follows on the surprise underground success of their debut: The Head Hurts But The Heart Knows The Truth (released 31 May 2023) releasing on Vegyn's own PLZ Make It Ruins label. The debut record has streamed over 19.4 million times on Spotify alone and sold over 8,000 physical copies worldwide. The debut gained its popularity entirely organically with zero marketing or PR spend. Since its release, Headache has built a dedicated global fanbase, with several fans even going so far as to get lyrics or the project's logo tattooed on themselves. Thank You For Almost Everything continues the original's distinct style of Trip-Hop / Downtempo Electronica but combining with its own unique (and now imitated) AI-voiced spoken word. For this new album, Headache steps away from the hum-drum of Blighty and instead focuses his gaze to sunnier shores. Recalling personal histories of ruffled hair and school cafeterias, ancient unsolved Albionic riddles, Rome's changing seasons and its poignant graffiti, arguments with girlfriends at luxury hotel beachfront restaurants, and what it truly feels like to be alive in this inscrutable but beautiful world. The project features a further collaboration with artist Cali Thornhill DeWitt who returns to design the packaging and cover for this new album. This double 12" vinyl release, like the first, includes the instrumental versions exclusive to the vinyl version. The album, mixed and mastered by Margo Broom at RAK Studios, will use a similar surprise drop strategy as with the first album. "Follow up to the 2023 debut that gained its popularity entirely organically with zero marketing or PR spend. "Total Streams Since Release (31 May 2023): 19,413,173 (Spotify alone) "Previous vinyl album sold over 8,000 physical copies worldwide. "2nd Disc contains instrumental versions exclusive to vinyl format

In between the folds of ceremony and commonality lies a perennial spring of musical expression.

A statement along the time continuum, or a testament to the resilient resourcefulness embedded in that truth, forms the philosophical approach of this album – the first outing of Dídac.
Studying an extensive archive of instruments, artifacts, and field recordings at the Musée d’ethnographie de Genève—a space steeped in folkloric gesture – Dídac encountered a cosmos of liturgical music and folk song. Anchored in reverance for tradition and transformation alike, this album navigates the old-world Mediterranean lore through a post-modern ambient lens, threading drone, gentle rhythm, electroacoustic textures and the crude tactility of archival material into one woven tapestry.

Under the guidance of Dr. Madeleine Leclair, Dídac was invited to work within one of the world’s most extensive ethno- musicological archives—L’AIMP. In the saturated basements and tape-lined backrooms of the museum, he submerged himself in the sounds of ritual and rural life: wax cylinders from the Eastern Mediterranean, tapes of liturgical hymn, the worn edges of communal song.
In a makeshift studio on the fourth floor of the museum, he sifted through the hours of material he collected, gradually discovering that the archive was no static source – It did not dictate; rather, it served as a companion—offering not answers, but questions. Not a beaten track, but a cluster of sonic clues and riddles. Samples do appear occasionally, tenderly interwoven into the dialogue of the songs. In Dídac’s self-titled debut, the past is not worn as ornament or kitsch; it is listened to and responded to. The museum, its archives, and the visit to Geneva became a foundational culisse of sorts, igniting a myriad of rough cuts and improvisational outtakes.
Dídac, or Diego Ocejo Muñoz, was born in Madrid in 1994 to a family of both Catalan and Castilian origin.

Brought up in a religious household, the influence of the Catholic Church innately shaped the social fabric, schooling and daily life. This lingering dominance led the adolescent Diego into a path of rejection of everything sacramental, promptly resorting to subversion in the shape of grafitti, skateboarding and underground music. Only later in life, after a rigorous venture as an acid and electro producer, the Church re-emerged before him in new light, invoking a deep fascination for its mysticism, iconography and choral tradition.

Spain in general and Catalonia in particular, has long served as a crossroads of the eastern–western Mediterranean continuum, with many of its cultures sharing aspects of way of life and ceremony. At the MEG, Diego found himself puzzled with this realization, resulting in a sonic amalgamation that reaches farther away from the rugged mountains of Catalonia than you might perceive at first encounter.

The deeply embedded memory of rite and public ceremony, religious hymn and landscape—sieved through the undercurrent of personal re-emergence, forms the emotional topography of this album. The record does not trace this landscape; it inhabits it. Its repetitive mysticism and ambient, wide-eyed gaze could possibly evoke (perhaps redundant) comparisons to artists such as Dimitris Petsetakis, or Popol Vuh’s late 70’s cinema scores.
The delicate lines between the sacred and the secular – between memory and re-invention – serve as a cipher to understanding this album in its entirety. Titles like Malpàs Mines or Pantocrator’s Portal Outro nudge toward a folkloric and devotional bedrock—places where labor and spirituality coexist, where names preserve both dust and veneration.

Nevertheless, this is far from mere nostalgia. It is a reclamation — singing alongside the spirits of the past, nurturing what still hums beneath the soil. It is an intimate reflection on tradition, rebellion, adolescence, ceremony and fantasy – a pastoral contemplation on what once was and what is to be.

CENTRAL's new release is already here! On the B-Side, DJ KAWASAKI has edited the extra-hit “Samurai” to make it an even hotter dance track!
Both sides of the album are perfect for the field!

CENTRAL, a salsa band that has suddenly gained attention after releasing two singles and a full-length album last year, but is actually a group of seasoned salsa veterans, has already released a new single! This time around, CENTRAL has released a cover of “Brazilian Rhyme,” one of Earth, Wind & Fire's many classic songs that still remains a dance floor favorite, with a Latin arrangement that is full of CENTRAL's signature style. The groovy bass, shimmering electric piano, percussion, and outstanding horn arrangement make you want to dance and scream, “This is CENTRAL! The B-Side features DJ KAWASAKI's edit of “Samurai,” a definitive mellow salsa track that has now become a WANT-requested item from all over the world, sublimated into an even hotter dance track!

This summer, dance hard to CENTRAL's salsa!

Firing remix package of cuts from two legendary album's from Brazil's Orquestra Afro-Brasileira. Feat

Two albums - Obaluayê (1957) and Orquestra Afro-Brasileira (1968) - were enough for Orquestra Afro-Brasileira to mark its history in music forever. Born in 1942 in Rio de Janeiro by its founder Abigail Moura, it remained active until 1970 and, in 2021, was revived by the only living member of the original line-up at the time, Carlos Negreiros, when the third and final album in the orchestra's career, entitled 80 years, was released by Amor in Sound/Night Dreamer. Today (31) the album gets its remix version with tracks signed by names of the caliber of Marcelo D2, Criolo, Pupillo, Emicida, Rael, Cut Chemist, Mexican Institute of Sound, among others.

Aiming to keep the legacy of the Orquestra Afro-Brasileira alive, the album 80 Anos (Remixes) reaffirms the group's relevance as a creative source for different generations of musicians and listeners, based on new interpretations produced by artists who are also fans of the orchestra. According to Mario Caldato Jr., the album's musical director, "it was a great joy when I got to know the work of the Afro-Brazilian Orchestra and, soon after, had the honor of meeting and working with Carlos Negreiros. Producing 80 Anos alongside him was a gift and being able to look back on it, having the remix album to celebrate this legacy, is really wonderful."

For Amor in Sound - Mario and Samantha Caldato's record label - this release faithfully represents their values: Respect for memory, diversity, friendship and the possibility of creating new worlds. Made in a totally collaborative way, the album is born as a historical record, interpreted by great names in current music and, above all, great friends. “Being able to do this is indescribable, the value of relationships makes up and continues the legacy of the Orquestra Afro Brasileira,” says Samantha.

The project brings together Brazilians Criolo, Emicida, Rael, Marcelo D2, Lucio Maia, Pupillo, Rogê, Tropkillaz, Kassin, Pedro Dom, Zilladxg, Nuts, Daniel Ganjaman, Imperatore and Nave, as well as international DJs and producers such as Mix Master Mike, Cut Chemist, Gaslamp Killer, J Rocc, TASO, Mexican Institute of Sound and Mophono.

Peace and love in late 60s America did not come without parallel feelings of fear and confusion about the social situation – specifically about Vietnam. “Safe In My Garden” is the latest Ace compilation in an acclaimed series compiled by Bob Stanley – it’s a companion piece to the much-praised “State Of The Union (The American Dream In Crisis 1967 – 1973)” Ace CDCHD 1533/XXQLP2 057 2018).

The music on “Safe In My Garden” is harmony-laden, beautifully produced soft rock. Sunshine pop, even - a melodic, innovative style of American music that grew in the mid-60s out of the folk and surf scenes, exemplified by the Beach Boys and the Mamas and Papas. You will hear orchestral arrangements, and soft boy-girl vocals. But it wasn’t made in isolation from what was going on in the outside world. There are clouds and minor chords, plenty of melancholy in those harmonies.

“Safe In My Garden” includes songs of escape (Mark Eric’s ‘Move With The Dawn’, the Groop’s ‘A Famous Myth’), loss (the Eighth Day’s ‘How Can I Stop Loving You’, the New Colony Six’s ‘Prairie Grey’), dreamscapes (Tommy James and the Shondells’ ‘She’, Nancy Priddy’s ‘Christina’s World’), rebirth (Smokey and his Sister’s ‘Creators Of Rain’), a simpler world (the Free Design’s ‘My Brother Woody’) and a philosophically sounder future (Chad & Jeremy’s ‘The Ark’, Best of Friends’ ‘Summer Sound’).

It contains some surprisingly dark messages paired with beautiful melodies, as well as songs of hope. Thousands of young musicians in cities, suburbs and small towns across the States from the mid to late 60s spent their mornings hiding from the mailman, dreading the draft. This is the Sound of Young America in the late 60s, keeping its fingers crossed.

"The Bad Seeds and Zakary Thaks were mid ‘60s Texas garage rock bands formed in the wake of the British Invasion, influenced by The Rolling Stones, Kinks, Yardbirds and others, becoming top local live attractions at a time when the 13th Floor Elevators and Moving Sidewalks were leading the way into psychedelia. In late 1966 Rod Prince on guitar and Roy Cox on bass from Bad Seeds joined up with David Fore from Zakary Thaks on drums to create a new band out of San Antonio featuring two lead guitarists. Todd Potter filled out the quartet on second guitar and they chose the name Bubble Puppy, taken from Aldous Huxley’s 1932 dystopian novel Brave New World. Huxley was an early advocate of LSD, appropriately. In 1969 Bubble Puppy scored a top 20 hit single with “Hot Smoke & Sasafrass” which led to their LP “A Gathering Of Promises”. International Artists, the legendary Texas label that previously had unleashed mind expanding classics by the Elevators, Red Crayola, Golden Dawn and others was a perfect fit. After the LP and additional 45s didn’t repeat the success of “Hot Smoke & Sasafrass” the band hooked up with Nick St. Nicholas of Steppenwolf as their new manager and moved to Los Angeles. A new band name was in order, Nick St. Nicholas chose Demian, title of the 1919 novel by Herman Hesse. His books were popular with the counterculture at the time and had provided Steppenwolf with their new name after they changed it from the Sparrow and hit it big. Demian recorded the LP live in the studio at the Record Plant in one midnight to six session. They had their arrangements fully realized, allowing them to combine live show energy and economy with to-the-point delivery suitable for repeated listening. No doubt they were aiming for pop hit success, using proto hard rock skills in a radio friendly way without compromising the heavy guitar moves. The vocals have echoes of the earlier Bubble Puppy style in spots but are more melodic with vibrant harmonies reminiscent of Moby Grape, Buffalo Springfield, James Gang… at times flashing on Steve Stills/Richie Furay westcoast without being too sweet about it. It works terrifically when the radio friendly voices top off killer hard guitar ensemble action. Early hard rock that is too bluesy flashy can get tiresome with repeat listening, especially if overdosing on guitar solos with the band relegated to the background… Demian keep it interesting with inventive song structures allowing all four players to integrate constantly into an ever changing but focused whole. This LP is a grower, despite the basic two guitars, bass and drums lineup and no frills production you reach a lot of different places during the ride. Demian is deadly hard rock, a perfectly organized vibe straddling live energy and crafted itinerary, amongst the first obscure major label killers that commanded premium $$ with collectors even way back in the late ‘70s. It gets you there every time, even half a century later!"

Repress 2025

The King of K-Pop Returns!

To those unfamiliar, G-Dragon is regarded by many as the Godfather of K-Pop. Rising to fame in the mid-00’s with his group, Big Bang, that later went on to become one of the world’s biggest selling boy groups. He quickly stood out with his unique and intricate songwriting as the leader of the group. A talented songwriter and trendsetter within the youth culture and fashion space, G-Dragon has received a bevy of awards, nominations for his music and fashion sense from the World Music Awards, to Hypebeast’s 100 list, to Forbes’ 30 Under 30 list, it’s apparent that G-Dragon has cemented his place in cultural relevance.

After serving his mandatory South Korean military service and a brief hiatus from music, the global superstar, G-Dragon has returned! He announced that he signed with indie-powerhouse, EMPIRE, and released his first comeback single on October 31, 2024 with POWER to immediate global fanfare and buzz, with the music video garnering over 44 MILLION views in a month and over 115 MILLION global streams. He soon followed that up with an electrifying performance at the 2024 MAMA Awards show in Osaka coupled with the release of his new single, Home Sweet Home which has garnered 100 MILLION global streams since release.

2025 will see the release of his first full length album since 2017 entitled Übermensch along with global tour dates. The album is expected to make a huge impact globally and further cement his place in music history!

Let the Good Times Roll (Terlinde Music Shop, St. Paul, MN, 1956)
I Got a New Girl (Informal Recording, Hibbing, MN, 1959)
Jesus Christ (Informal Recording, Minneapolis, MN, 1960)
K.C. Moan (Informal Recording, Madison, WI, 1960)
Remember Me (Informal Recording, East Orange, NJ, 1961)
Railroading On the Great Divide (Gerdes Folk City, NYC, 1961)
Man of Constant Sorrow ('Bob Dylan' Rehearsal, NYC, 1961)
He Was a Friend of Mine ('Bob Dylan' Outtake, NYC, 1961)
Ramblin' Round ('Bob Dylan' Outtake, NYC, 1961)
Story: East Orange, New Jersey (Party, Minneapolis, MN, 1961)
Po' Lazarus (Party, Minneapolis, MN, 1961)
Dink's Song (Party, Minneapolis, MN, 1961)
I Was Young When I Left Home (Party, Minneapolis, MN, 1961)
Cocaine (Party, Minneapolis, MN, 1961)
Talkin' New York (Gerdes Folk City, NYC, 1962)
Corrina, Corrina (Gerdes Folk City, NYC, 1962)
(I Heard That) Lonesome Whistle ('Freewheelin'' Outtake, NYC, 1962)
Rocks and Gravel ('Freewheelin'' Outtake, NYC, 1962)
Let Me Die in My Footsteps (The Finjan, Montreal, 1962)
Tomorrow Is a Long Time (Party, Minneapolis, MN, 1962)
Don't Think Twice, It's All Right (The Gaslight Cafe, NYC, 1962)
The Cuckoo (The Gaslight Cafe, NYC, 1962)
The Ballad of the Gliding Swan (BBC-TV, London, 1962)
John Brown ('Broadside Ballads' Album Version, NYC, 1963)
Dusty Old Fairgrounds (Town Hall, NYC, 1963)
House of the Rising Sun (Informal Recording, NYC, 1963)
Seven Curses ('The Times They Are A-changin'' Outtake, NYC, 1963)
Masters of War ('Freewheelin'' Alternate Take, NYC, 1963)
Girl from the North Country ('Freewheelin'' Alternate Take, NYC, 1963)
Liverpool Gal (Party, Minneapolis, MN, 1963)
Boots of Spanish Leather ('The Times They Are A-changin'' Outtake, NYC, 1963)
Moonshiner ('The Times They Are A-changin'' Outtake, NYC, 1963)
The Lonesome Death of Hattie Carroll (Party, Los Angeles, 1963)
The Times They Are A-changin' (Informal Recording, Los Angeles, 1963)
Who Killed Davey Moore? (Carnegie Hall, NYC, 1963)
Lay Down Your Weary Tune (Carnegie Hall, NYC, 1963)
Blowin' in the Wind (Carnegie Hall, NYC, 1963)
North Country Blues (Carnegie Hall, NYC, 1963)
A Hard Rain's A-gonna Fall (Carnegie Hall, NYC, 1963)
Talkin' World War III Blues (Carnegie Hall, NYC, 1963)
Only a Pawn in Their Game (Carnegie Hall, NYC, 1963)
When the Ship Comes In (Carnegie Hall, NYC, 1963)

25 has always been a mystical number in the world of Kiosk ID, woven into our story since the earliest days of Bar 25, Holzmarkt 25, and every chapter since. When midnight struck on December 31st of last year and 2025 arrived, the magic of the number was undeniable,echoing through Kater Blau, Holzmarkt, and Kiosk ID—and calling for a celebration like no other. As our lasers lit the night, two core Kiosk ID artists—Britta Arnold and Sascha Cawa—took to the decks, weaving a spellbinding journey crafted specifically for this moment. Months in the making, they unfolded a beautifully hypnotic tribute to the magic of 25, premiering five tailormade tracks in the process. That moment lives on as Kiosk ID no. 40—a special double LP capturing the magic of that night. Side A features the live New Year’s recording: an unfiltered document of Britta and Sascha’s hypnotic, otherworldly, and deeply danceable set, as it unfolded in real time—strobing into the first moments of the new year. Sides B, C, and D feature five exclusive studio originals, written and produced specifically for this night. On ‘Counting’, Britta and Sasha unfold their brand of stripped darkness and rolling groove work, while ‘Reformer’ teeters on taut coils of suspended synths. With ‘NGVMT’, the energy bursts open—a radiant block-party roller with throbbing staccato swagger and clanking metallic arpeggios. ‘Beam’ lifts off into pure cosmic wonder, its fluttering, airy themes spiralling skyward. ‘Good Life’ rolls the credits with a beautifully introspective soliloquy, tender and reflective beneath gentle waves of aspirating piano chords. Together, these recordings offer both an auditory keepsake and an invitation to relive that unforgettable night or discover it anew. Across five hypnotic compositions and a half hour of dance floor bliss, ‘Good Life 25’ encapsulates the ever-evolving sound

Enter the world of Stereocolor, the long-awaited new album from Dutch singer-songwriter Mercy John. On October 31, 2025,
Mercy John invites you to escape the grayness of everyday life and immerse yourself in a spectrum of vibrant emotions,
melodies, and colors. Songs about love, loss, and self-discovery—all wrapped in a captivating musical package that is both
intimate and grand. Expect an unmistakable blend of warm vocals, catchy choruses, and a sound that exudes authenticity. This
is music that will make you see colors—sometimes soft and whispering, sometimes powerful and starkly contrasting.

Pianist Mischa Cheung will give the world premiere performance of the Piano Fantasies programme on October 31, 2025, at Dai-ichi Seimei Hall in Tokyo. Piano Fantasies features twelve newly arranged piano works from four of SQUARE ENIX's most beloved game series: FINAL FANTASY, KINGDOM HEARTS, CHRONO TRIGGER, and Secret of Mana. The concert marks the first public performance of the complete programme, giving audiences the chance to experience the full musical journey as conceived for the album. Produced by Merregnon Studios, Piano Fantasies presents new interpretations of SQUARE ENIX's iconic soundtracks. The album features cover artwork created by the in-house art team at SQUARE ENIX and will be released on CD and vinyl in collaboration with German label Black Screen Records.

Released in 2021, Fortitude cemented Gojira’s status as one of the most influential metal bands of their generation, with powerful tracks such as Amazonia, Born For One Thing, and The Chant. Balancing raw intensity with ecological awareness, this album remains an essential reference. Available October 31, 2025, in a limited brown & gray splatter vinyl edition.

A collaboration forged in the heart of the American Midwest, In The Earth Again unites Oklahoma City"s noise rock institution Chat Pile with Texas/Oklahoma"s visionary guitarist and composer Hayden Pedigo. What began as a casual split release idea spiraled into thirty-six-minute album that threads their contrasting sensibilities into something entirely new. Pedigo"s panoramic, primitive guitar, meets Chat Pile"s industrial decay, creating a record that explores unknown emotional registers and atmospheric depth for both, In The Earth Again sounds like a post-apocalyptic transmission from rural nowhere. Instead of making concessions, the five artists work as a single unit, and each decision is made in support of the greater vision. The result is both intimate and expansive, a tribute to the modern wasteland. Cover art by Malcom Byers.

A collaboration forged in the heart of the American Midwest, In The Earth Again unites Oklahoma City"s noise rock institution Chat Pile with Texas/Oklahoma"s visionary guitarist and composer Hayden Pedigo. What began as a casual split release idea spiraled into a thirty-six-minute album that threads their contrasting sensibilities into something entirely new. Pedigo"s panoramic, primitive guitar, meets Chat Pile"s industrial decay, creating a record that explores unknown emotional registers and atmospheric depth for both, In The Earth Again sounds like a post-apocalyptic transmission from rural nowhere. Instead of making concessions, the five artists work as a single unit, and each decision is made in support of the greater vision. The result is both intimate and expansive, a tribute to the modern wasteland. Cover art by Malcom Byers.

NIKS steps further into her own sonic world with 'Moves Like 2', a powerful statement of intent that blends groove-heavy percussion and hypnotic club energy. The release offers a deeper glimpse into her identity as a producer.

The lead track 'Moves Like 2' is a pretty raw and direct UK club cut, the sound at the core which has influenced and set the tone of the more ‘heads down’ side of this release.

Sub Glow touches on the fun and playful side of the EP, providing softer textures through elongated pads, growing synths and an overall brightness.

Moves Like 2 receives a rework from one of the most tasteful and timeless producers, rRoxymore - who provides a deeper percussive and rhythmic touch to the feature track.

241 rounds off the EP with a slappy and ballsy tone, which features NIKS’ manipulated vocals, concluding the release on a succinct high and buzz.

Debuting on her new imprint, ‘Bloom Tone’, will serve as a self-directed outlet for NIKS’ own productions and friends, providing a platform for her creative autonomy and musical exploration.

"It's a Beautiful Day" brings together 12 outstanding songs recorded between 1971 and 1976, reminiscent of sunshine pop, psych folk and soft rock with Peruvian touches, taken from extremely hard to find records, some of them reissued here on vinyl for the first time. A mindblowing look at a really stunning musical moment in Peru. Unusual instruments and exceptional vocal play also feature in the ten original songs and two cover versions, all performed by Lima-based groups. MAG has been, since its foundation in 1953, an essential label in the music scene of Peru, allowing the development of the careers of both tropical artists and musicians of other genres. At the head was Don Manuel Antonio Guerrero, its founder, whose name comes from the acronym of the label itself (M.A.G.). In 2021 MAG was acquired by the Spanish company Distrolux SL, owner of the Munster and Vampisoul record labels, after years of previous collaborations in which some of the most emblematic titles in the catalog were already reissued for the international market: Nils Jazz Ensemble, Sonora Casino, Traffic Sound, Al Valdez, Pax... Following our recent release "14 MAGníficos Bailables", comprising some of the best tropical music on MAG, this new compilation brings together 12 songs recorded between 1971 and 1976, reminiscent of sunshine pop, folk psych and soft rock but with Peruvian touches. The lyrics range from youthful reflections, environmental awareness, paradigm changes to all shades of love that the youth of the day experienced. Unusual instruments and exceptional vocal play also feature in the ten original songs and two cover versions, all performed by Lima-based groups.

Detroit-born artist, Jalen Elk Star unveils his debut LP, ESIN on L.I.E.S. Known in certain circles as filmmaker, music producer, playwright, and collagist, Jalen often draws from controversial themes to craft modern avant-garde works redefining the way art is seen in today’s chaotic universe. After years working on diverse projects under various aliases, his shift to a more liberated creative process under this new moniker has allowed his vision to reach a broader audience, continuing the path with the music on this new lp.

ESIN, a 13-track sonic collage, builds on his past, blending raps, noise, ambience, samplers, drum machines and synths into a raw, vibrant narrative. This work traces Jalen’s journey between his cities, Detroit and Chicago, offering a profound glimpse into his dynamic, limitless world of sound and vision. Something along the lines of the dusty crunched out vapors of the 2010s getting in a car crash with the abstractions of Rammellzee. A headtrip for the headphones.