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

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

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

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

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

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

Madlib’s WLIB AM: King of the Wigflip Returns on Double Vinyl via BBE Music BBE Music is thrilled to announce the long-awaited rerelease of WLIB AM: King of the Wigflip, the final installment in the legendary Beat Generation series from none other than Madlib. Originally released in 2008, this masterful collage of dusty loops, raw beats, and left-field soundscapes remains a high-water mark in the Stones Throw producer’s sprawling discography.

Now, for the first time in years, fans can experience the album in all its analog glory with this deluxe double vinyl edition, carefully remastered to preserve Madlib’s signature warmth and grit. A tribute to pirate radio culture and late-night airwaves, WLIB AM weaves together a rich tapestry of hip-hop, jazz, and soul, featuring an all-star cas t of collaborators, including Talib Kweli, Guilty Simpson, MED, and Oh No. Each track showcases Madlib’s uncanny ability to blur the lines between genres, effortlessly flipping obscure samples into hypnotic, off-kilter rhythms. From the hypnotic bounce of “Blow the Horns on ‘Em” to the smoked-out groove of “The Plan Pt. 1,” this is Madlib at his most playful, unpredictable, and inspired.

This special double vinyl edition, released exclusively via BBE Music, brings one of the Beat Generation series’ most celebrated albums back into circulation for crate-diggers and collectors alike. With original artwork and a high-quality pressing, this rerelease is a must-have for Madlib aficionados and vinyl lovers who appreciate raw, unfiltered beat craftsmanship. Don’t miss your chance to own a piece of hip-hop history—WLIB AM: King of the Wigflip is back and sounding better than ever.

After impressions of Unguja and Borneo islands, Discrepant's chieftain Gonçalo F. Cardoso continues his sonic travelogue on insularity with 'Impressões de Várias Ilhas’.

Literally translated as "impressions from various islands", this third tome dwells on recordings and inspirations from three archipelagos of Macaronésia. Soaking in the sounds and recollections from Azores, Cape Verde and Canary Islands these diaristic endeavours spread throughout a number of real environments, from water caves and black stone beaches and lagoons to small harbours and everyday life scenarios, to project them into this not quite imaginary but not quite real memory haze that goes from a deeply personal impression to a resonating one.

Melding raw field recordings with processed ones and synthesized landscapes, Cardoso never falters into sonic tourism, conjuring small-ish takes both vivid and dreamy, infused with a sense of wonder that feels both bewildering, comforting and escapist. The breaking waves of 'Bufadeiros de São Vicente' soothing in their irregular pattern, mingling with the lone echoing tones not completely removed from Black Dice's 'Beaches & Canyon's most pensive passages, flow into the underwater ambience and suspended pads of 'La Cueva Scuba Livre', as reflections of the same sea crashing in on different lands, nature’s psychogeography. Further on, the queasy warm chord and scraping murmurs of 'Noite em Rabo de Peixe' mirror their nighttime framing while 'Rãs em Xoxo' veers closer to pure musique concréte, crossed by a subdued feeling of unease that lingers in the nostalgia of 'Cozido da Caldeira Velha', brimming within the haze of a Boards of Canada vignette. Summoning the past lives and future hauntings of its scenery, 'Salinas de Pedra Lume' is like the quiet epic of the album, meandering into the unknown among crackling field recordings, decaying synths and flute-like howls - or is it howl-like flutes? - recurring as glimpses from foregone existences, not necessarily Gonçalo’s own. Maybe ours?

Music & Photography by Gonçalo F. Cardoso
Artwork layout by Jeroen Wille
Master by Rashad Becker

Discrepant 2025
Pressed in Spain

There’s a reason they call it deep House. On 'The New Jersey' EP, DJ Romain doesn’t just nod to his roots, he digs into them, scooping out a warm, rhythmic core that pulses with sweat, memory, and reverence. This is not a revival or a pastiche; it’s a love letter etched in drum machines and delay, from a producer who’s lived the lineage.

A fixture of late-’90s NYC dance floors, Romain cut his teeth in the city’s thumping underbelly, learning from the likes of Todd Terry and later carving his own signature into the genre’s sidewalk. Across these four freshly cut tracks, Romain channels the same urgency that once drove dance crews, celebrities, and nightlifers alike into motion, and still does.

Lead track “Hello New York” is a no-nonsense DJ tool, a serrated slice of big room energy built around snapping snares, a jackhammer kick, and a spoken word vocal that bristles with pride and uplift. “Put more cut in your strut… pride in your stride” - it’s part mantra, part mission statement. “But It’s Alright” flips the vibe, conjuring up basement jazz sessions through dusky chords and a muted, plucked bassline that slinks like a late-night subway ride.

On “Check Your Pockets,” the energy turns inward and abstract, a woozy, psychedelic House jam that feels like dancing through a heatwave haze. He wraps the record with “Deep Inferno,” a peak-time burner full of sticky Afro-funk polyrhythms, clashing vocal chops, and steam-pressure percussion. It’s unhinged, hypnotic, and gloriously raw.

Having revisited his archive with ‘The Lost D.A.T.S.' series, Romain returns to Hard Times not as a nostalgia act but as a flamekeeper - still innovating, still sweating, still firmly on the floor. The New Jersey EP is a love letter, yes, but it’s also a reminder: House never left. It just got deeper.

Rigby On The Run drops Rug Rally on Vienna's Studio Bahöö, blending UKG grooves, grainy breakbeat, and off-grid soundsystem experimentation. Built on instinct and late-night energy, the tracks lurch, glide, and hum with low-end pressure and emotional weight. No face, no origin story-just raw motion and mood.

Emerging from the Kansai underground with a sense of ritual and restraint, G Version III returns with a slab of meditative pressure, carved for sound systems. Following last year’s cassette release on Digital Sting, the Kyoto-based producer deepens his exploration of experimental steppers and sacred low-end science.

TRK 1 treads heavy—medium-tempo four-to-the-floor steppers, soaked in 80s/90s UK dub DNA and wired with flickers of celestial synth energy, edged with something unknown.

TRK 2 drifts off-grid—a 100bpm oddity conjuring sacred synth rituals and off-beat spatial tension. Droning and eerily weightless, it hangs like a vapor of frozen scent in an echo chamber.

Flip the plate and TRK 3 and 4 ignite—raw, unrelenting steppers built to test the physical limits of the rig. No compromise, no decoration—just ritual voltage for the floor.

Riddim Chango’s 16th release channels something ancient through circuitry, born for the weight.

Sublime private-press piano improvisations channeled from another world by Willem Nyland. Remastered from the original tapes and reissued for the first time, with in-depth liner notes by Matt Marble of the American Museum of Paramusicology. A Columbia-educated chemist by profession and a self-taught pianist by affinity, Willem Nyland (1890-1975) is known as a spiritual teacher in the tradition of Greek-Armenian mystic George Gurdjieff. In the mid/late 1960s, a split with Gurdjieff led Nyland to start his own group in upstate New York. There, after a Friday night lecture on 'The Work' and a shot of brandy, Nyland would launch into remarkable piano improvisations on a specially tuned baby grand, sometimes playing for over an hour. Each improvisation was meticulously recorded and cataloged, a major part of Nyland's teachings. 16 of these recordings were released as standalone LPs on Nyland's own Gauge Hill Press, with artwork by Hungarian American decorative artist Ilonka Karasz, Nyland's wife of over 50 years. These records, with their cascading, deeply emotional playing and beautiful cover art, have become highly coveted by collectors and "paramusicologists." Each contains depths of spiritual information and lyrical, almost visual instrumental storytelling. Nyland deftly and subtly shifts moods and tones throughout these truly inspired extended improvisations.

The Bathers' 1999 album Pandemonia is re-released by Last Night From Glasgow - Pressed on two shades of vinyl and CD.

"Is Glasgow the most romantic city on earth? The work of the Bathers can make you believe so. Kisses on tenement stairwells, Kelvingrove girls. It's the music of those Glasgow evenings where the elusive sun can make a late appearance on the red sandstone tenements and suddenly that tough old imperial city feels like the perfect place to fall in love. And The Bathers provide the soundtrack."

Featuring guest appearances from Belle & Sebastian's Isobel Campbell and Richard Colburn. Also Catherine Leroy, Mario Caribe, Neil Cameron and Bather regulars...Callum McNair, Hazel Morrison, Robert Henderson, Barry Overstreet & Iain White.

Format Details: 12” matte jacket, orange & blue side A/B effect colour vinyl, dust sleeve & marketing sticker.

Originally released in 2002, Daylight EP was the follow-up to Aesop Rock’s critically-acclaimed Labor Days album, a cult classic released only six months prior. The EP was built around its titular opening song, “Daylight,” one of the standout tracks from Labor Days, and continued expanding upon the range and depth of Aesop’s multi-talented gifts for writing and producing. In addition to the title track, Daylight EP also included its counterpoint, “Night Light,” an alternate version in concept whose paraphrased lyrics simultaneously refer back to– and stand in stark opposition to– the original's, over darker, more menacing production. The tracklist for Daylight EP boasted seven songs plus a hidden track for a total of eight, and collectively featured production by Blockhead, El-P, Blueprint and Aesop Rock himself, as well as guest appearances from Vast Aire (Cannibal Ox) and Blueprint.
At the time of its initial release, Daylight EP was only offered in CD and digital formats, while the vinyl was stripped back, available only as a three-song 12” single. Now, Rhymesayers Entertainment is pleased to present the complete EP on vinyl for the first time ever, pressed on two-color side A/B effect orange & blue vinyl to complement the original artwork. Finally, fans and vinyl collectors everywhere can own this integral piece of Aesop Rock’s legacy and enjoy the genius behind this project.

Step back into one of the most exciting years in pop history – a time when boundary-pushing alternative anthems, flawless dancefloor fillers, global megastars and fresh faces all collided on the charts. NOW - Yearbook 1997 celebrates an unforgettable year of hits with 43 massive tracks across a 3-LP set pressed on gorgeous green vinyl.

LP1 kicks off in style, with the stunning jazz-drenched ballad from legend George Michael, ‘Older’, before Natalie Imbruglia's huge debut single ‘Torn’. The Cardigans had a #2 smash with ‘Lovefool’ and Hanson hit the US & UK #1 with ‘MMMBop’. ‘Barbie Girl’ from Aqua and the Spice Girls’ anthemic ‘Spice Up Your Life’ were both #1s, and Boyzone’s ‘Picture Of You’ was a huge hit and featured in the film ‘Bean: The Ultimate Disaster Movie’. Eurovision glory happened for the UK in 1997, and winners Katrina And The Waves with ‘Love Shine A Light’ close the first side…while over on the other, a second George Michael classic from his ‘Older’ album, the beautiful ‘You Have Been Loved’, opens ahead of another contemporary masterpiece ‘Secret Garden’ from Bruce Springsteen. Texas scored a UK top 5 with ‘Say What You Want’, and Sheryl Crow had a top 10 hit with ‘A Change Would Do You Good’. Paul McCartney’s ‘Young Boy’ is next before ‘Ready To Go’ which gave Republica a Top 20 chart debut, and closing the first LP, Robbie Williams’ ‘Old Before I Die’, which became his second smash as a solo artist.



LP2 kicks off with Radiohead’s defining ‘Paranoid Android’, ahead of Kula Shaker’s hit cover of ‘Hush’, and alt-pop from Embrace (‘All You Good Good People’), The Charlatans (‘North Country Boy’) and The Seahorses (‘Love Is The Law’) before the side closes with Oasis’s huge #1 ‘D’You Know What I Mean?’ – the lead single from their third album ‘Be Here Now’… Flip the LP over and discover some of 1997’s dancefloor gold – opening with the club juggernaut and #1 ‘Professional Widow’ from Tori Amos, remixed for single release by Armand Van Helden, along with Olive’s UK #1 ‘You’re Not Alone’ and the huge ’97 ‘Now Voyager’ remix of ‘You Got The Love’ from The Source feat. Candi Staton. En Vogue’s powerful ‘Don’t Let Go (Love)’ is up next, ahead of ‘I Wanna Be The Only One’, a #1 for Eternal feat. Bebe Winans. LP2 finishes with pure pop gems from 911 with ‘Bodyshakin’, Backstreet Boys with ‘Everybody (Backstreet’s Back)’ and Steps with their debut hit ‘5, 6, 7, 8’.



The final LP opens with Pet Shop Boys’ and their brilliant version of the musical classic ‘Somewhere’, ahead of the genre-blending #1 ‘Your Woman’ from White Town, and the atmospheric ‘Out Of My Mind’ from Duran Duran. Suede’s plaintive ‘Saturday Night’ leads into three of the years’ electronic dance music highlights: Orbital provided the theme to the remake of ‘The Saint’, Moby with his re-imagining of the classic film-series theme: ‘James Bond Theme (Moby’s Re-Version)’ and The Chemical Brothers with the massive ’Block Rockin’ Beats’ completing the side…Turn the LP over for the final side featuring the debut from All Saints with ‘I Know Where It’s At’, and fabulous dance-pop from Whitney Houston with ‘Step By Step’, and both Ultra Naté and Dannii Minogue enjoyed euphoric hits with ‘Free’ and ‘All I Wanna Do’. Pan-European smash ‘Encore Une Fois’ from Sash! is followed by Ricky Martin’s global success ‘María’… but the final word on the collection goes to Elton John. His superb ‘Something About The Way You Look Tonight’ was one half of the biggest selling single of – not only 1997 – but of all time and ends the collection on a perfect pop high.



NOW – Yearbook 1997: A celebration of the diversity and creativity in the charts of a truly magical year in pop.

HUGE CONGRATULATIONS TO MOXIE AND THE LOVE INTERNATIONAL X TEST PRESSING TEAM FOR WINNING THE BEST COMPILATION IN THE DJ MAG BEST OF BRITISH AWARDS 2025


“I feel really chuffed as a lot of work went into building this compilation,” beams Moxie, when we congratulate her on the award. “I also worked alongside a great team, including Dave Harvey, Ellie Stokes, Chez de Milo and everyone at Prime Distribution. I’d been manifesting working on a project like this for years, so when it all came together I was so happy with it. But to have recognition from the DJ Mag public vote is the cherry on the cake.”


Few artists have shaped their local scene quite like Alice Moxom under her celebrated Moxie alias. A born-and-bred Londoner, Moxie is a dance music powerhouse whose influence runs deep—from the grassroots to global stages. Her trajectory spans early teenage years digging for garage records, to dubstep sets at legendary club nights, to running her long-standing and beloved NTS Radio residency. For over a decade, she’s been a midweek staple on NTS, championing deep house, Detroit techno, and all things dubby, groovy, and percussive, while regularly platforming artists through guest mixes and interviews with icons like Jeff Mills, Four Tet, and Or:la.

Her latest endeavor, the Love International compilation, brings that wealth of experience to life. 'I’d secretly been manifesting this for a while,' Moxie admits. 'Love International has such a specific energy, and I wanted the compilation to reflect that—dubby, fun, euphoric, deep. It’s all the styles of music I love, pulled together in harmony. Being at Love International always feels like coming home. Whether it’s dancing in Barbarellas or sharing a smile with a stranger on the dancefloor, there’s this sense of unity that’s hard to describe. That’s why I chose ‘U Skladu’ for the sleeve—because that’s what it feels like: in harmony.'

Enjoy The Ride Records, in partnership with New Cannibal Society, proudly presents the 2xLP Expanded Deluxe Vinyl release to the Cult-Classic Horror/Comedy Cannibal! The Musical, directed by Trey Parker, co-creator of South Park and The Book of Mormon. Cannibal! The Musical is the true story of the only person convicted of cannibalism in America - Alferd Packer. The sole survivor of an ill-fated trip to the Colorado Territory, he tells his side of the harrowing tale to news reporter Polly Prye as he awaits his execution.

While searching for gold and love in the Colorado Territory, he and his companions lost their way and resorted to unthinkable horrors, including toe-tapping songs! Packer and his five wacky mining buddies sing and dance their way into your heart... and then take a bite out of it! Cannibal! The Musical is Oklahoma meets Friday The 13th Part 2. The film stars Trey Parker (South Park), Matt Stone (South Park), Dian Bachar (Baseketball, Orgazmo), Jason McHugh (Orgazmo) and Toddy Walters (Orgazmo).

For this newly expanded release, the stereo, music, and effects tracks were pulled from the digibeta tapes (thought to be lost) and have been remixed from scratch. This soundtrack also features complete dialogue scenes that lead into songs. What you'll hear is the best quality this soundtrack has ever heard! Cannibal! The Musical is housed in a gatefold jacket with brand-new art by Garreth Gibson. It is pressed on 2xLP vinyl for the first time and features 22 additional tracks available on the format for the first time, including instrumentals, dialogue, and score music. Pressed across four colorful variants, Side B also features a pop-up center label. What a Shpadoinkle day!

"Chasing the funky symphonies that filled my head and my dreams..."

December 25th, 2023 - an Instagram post. Stimulator Jones shared half a dozen FIRE tracks from his beat tape archive. We were immediately drawn to the rough hewn boom bap.

"I'd release that", Rob commented.

Hours of material was shared and the result is this: Cool Green Trees (1999-2005). A collection of beats and loops Stimulator Jones created between the ages of 14-20 at home in his basement, bedroom and computer room in Roanoke, Virginia.

You will not believe the profound soulful genius contained within these naive schoolboy melodies.

December 25th, 1998 - 25 years ago to the day and his much-coveted Yamaha SU10 sampler was finally bestowed upon young Stimmy AKA Sam Lunsford: "I immediately hooked up a CD Walkman to the input jack and looped the beginning two bars of Grover Washington Jr.'s "Mercy Mercy Me". I don't know what exactly was so thrilling about hearing two measures of music repeating over and over but it was so infectious and hypnotizing and enthralling to me. I'll never forget that ecstatic rush of making my first loop - an uncontrollable, gleeful smile plastered all over my face." When you hear the pocket breakbeat symphonies featured here on Cool Green Trees, you'll feel the same sense of frisson.

In the wake of his Stones Throw breakthrough - Exotic Worlds & Master Treasures - Stimulator Jones was pegged by many as a 90s throwback artist. However, he literally IS a 90s artist. He's been recording music most of his life and he's now 40. He created the bulk of Cool Green Trees as a teenager. Everything before 2004 was recorded when Sam was still in school. He was in 8th grade when he made the 1999 tracks - he didn't even have his learner's permit. This album is a snapshot of a young man in a simpler time. Things were still mysterious back then and he was flying blind, relying on his ears and having to figure things out for himself: "I had no road map for becoming a beatmaker. I have been collecting music since I was a kid, I am a lifelong digger and seeker of cool and interesting sounds. I was there in the golden age of Hip Hop, and while I may have been a suburban white kid in Roanoke, Virginia, I was tuned in and I bought so many classic albums when they came out. I was attracted to Hip Hop because of the musical and poetic quality. I was hypnotized by the rhythms, partially because I was a drummer. I didn't brag about collecting my breakbeat records or making beats - it was something I did in isolation. It wasn't something I generally wanted to bring attention to and it didn't really score me any cool points. I certainly wasn't flexing on social media about it."

Hell, he can do that now!

Opener "Pharoah Jones" was inspired by Yesterday's New Quintet and Madlib's ability to capture that classic 70s sound whilst playing all the instruments. Sam created this one stoned afternoon by laying down a 2 bar loop and a shaker loop on his Yamaha SU700 sampler. He hung a microphone from the ceiling and played his Yamaha Stage Custom drum kit over the top before adding ender Rhodes and playing his dad's Selmer tenor sax through an Electro Harmonix Memory Man echo pedal. Yes! Up next, "Ghost Gospel" utilises a dope loop from a gospel record and adds some soul-funk drums overtop, whilst working that filter knob. Says Sam: "The loop reminded me of something Ghostface would rap over. The sample was in 3/4 waltz time but I flipped it for a 4/4 groove, a technique I picked up from RZA. "Ill Feeling" uses sped-up pieces from a dusty old funk record and putting them over a classic NOLA drum loop; gain chopping up a slow, bluesy 3/4 time signature and bending it to a 4/4 groove. Classy shit. "Capital Punishment" features drums tapped in live, inspired by MF Doom's Special Herbs series. "Do Not Adjust" consists loops found on a compilation of 70s French music at Happy's Flea Market, a classic Roanoke digging spot.

The sublime, evocative title track, "Cool Green Trees" was created when Sam was still living at home. He dumped samples off his SU10 into the family desktop and arranged them in a demo version of Pro Tools: "This track was sort of my ode to the DJ Shadow style of sample based production. Super spacey, slow, and moody. The heavily filtered drums were inspired by Alec Empire's 'Low on Ice' album. I later added some scratches and sounds from a Spider Man storybook record." "Chill Scratch" snags the final bit of a bossanova record and pairs it with a drum loop before adding experimental scratching run through an Electro Harmonix Memory Man echo pedal. "Poisonous Fumes" was made using a sampler, mixer and a turntable; a kind of mixtape beat collage with added scratches and sounds from various records. Using dialogue from superhero records was a nod to Madlib. "Welcome Aboard The Starship" is dark, downtempo trip-hop with a spooky bent. Sam paired a slow, hard drum loop with a guitar sample grabbed off a psychedelic rock record. To finish, he added various backwards sounds and weird atmospheric effects and a little scratching. Swoon.

Side B opens with "Keep On Runnin", made on a borrowed Roland SP202 sampler. Having always loved the sound of the Lo-Fi filter on those machines, reminiscent of the Emu SP1200, Sam always imagined Del or another of the Hieroglyphics crew rapping over this beat. You can certainly hear why. "Sounds Impossible" sees Sam experimenting with layering multiple kick samples at different volumes to create patterns similar to those heard by Showbiz and Lord Finesse during their God-level 1995 period. "Painted Faces" was made by chopping up a REDACTED record which he had gotten from Happy's Flea Market and paired it with a REDACTED drum loop. By the time Sam recorded "The Knew Style", he had acquired a shitty old 1960s portable turntable off eBay. It didn't function properly when he bought it but his brother opened it up, cleaned it out and got it working: "I remember he told me that there was a bunch of sand inside of it when he opened it up, as if its previous owner had taken it to the beach. I would take that turntable on my Happy's Flea Market digs so I could preview records...that's how I found this loop."

"Chicken Wing Blues Sauce" loops up a classic blues joint and pairs it with some REDACTED drums. A bit of filtering and arranging et voilà! "Kool Breeze", from 1999, is one of Sam's oldest surviving beats, as is "Sexx Bullets". The Roots sampled the same record, leaving Sam frustrated yet vindicated. "Soul Child" was an early SU10 creation, looping a dusty old Soul Children 45 and pairing it with 70s rock drum loops to great effect. "Take Off Runnin" was another loop found digging with a portable turntable. Paired with some boom bap drums it makes for a hypnotic head-nod groove. "Centurian" was intended to be a little beat interlude a la Pete Rock. The sample is from a sun-dappled soft-psych record and it's paired with a Robin Trower drum loop that just happens to fit perfectly. Sometimes you slap things together kind of haphazardly and magic happens. "Bozack" was the first beat Sam made using Pro Tools, his first foray into using chopped sounds instead of loops, an exciting new world. "Church" is beat interlude using a Phil Upchurch loop with the "Long Red" drums - a favourite break of Dilla et al. Sam was really on a tear in late 2004, probably because he was unemployed and phoneless and able to just make beats all day. He made "Splash One" on a borrowed Yamaha SU700 and again was experimenting with tapping the drums in live with his fingers, instead of using a loop or sequenced pattern. Channeling 9th Wonder, Sam used a water splash sound effect from a Batman record as a percussive element, hence the title (also a 13th Floor Elevators reference). The main loop is a backwards portion of one of his favourite Roy Ayers songs.

"Hank" is another fun little beat interlude thing, created on a borrowed Roland SP202 sampler with the fantastic Lo-Fi effect that resembled the Emu SP1200 at a fraction of the price. "73 goatee", from 99, is another of his oldest surviving beats, created in his bedroom with his Yamaha SU10 and his brother's Vestax MR-300 4-track recorder: "This one will always feel special. I can remember having a feeling all the way back then on the night that I created it that this was a solid beat with a catchy loop. There was something in the Fender Rhodes melody that resonated with me emotionally, and I had never heard a producer sample that portion before. I felt like I had found my own unique sound, my own unique loop. It came from an Ahmad Jamal '73. I actually even recorded myself rapping and scratching over this beat way back then, I still have that version in all its imperfect sloppy glory."

Sam explains just how much these tracks mean to him: "They all have immense historical and sentimental value and I'm proud of them. These beats come from an innocent, simple time when I was just figuring out how to craft these sounds. They're something very personal to me. They are the initial part of a journey that I really was taking *alone*. There was no YouTube. I couldn't Google shit. I didn't even know any other beatmakers, producers or DJs in my town that could teach me anything. It was always just me, alone, in a room with some equipment - chasing the funky symphonies that filled my head and my dreams. What I was doing wasn't cool. Most of my peers thought I was a weirdo and couldn't care less. Creating these sounds was an anti-social endeavour. In a sense, I felt like it was me against the world, and all I had to instruct and assist me were the recordings produced by my heroes - RZA, DJ Premier, Erick Sermon, Beatminerz, Showbiz, Diamond D, Beatnuts, Prince Paul, The Bomb Squad, Pete Rock, Q-Tip, E-Swift, Mista Lawnge, DJ Shadow, Cut Chemist, Peanut Butter Wolf, El-P and so many more...I dedicate this collection to them, and to my older brother Joe who has always been a musical and technical guiding light for me.

This was a time before every kid was a self-described producer and beatmaker, before everyone had a DAW, before Kanye and "chipmunk soul", before Red Bull beat battles, before there was any social media beyond chat rooms and AOL Instant Messenger, before Soundcloud, before SP-404 mania, before lo-fi beats to study to, before Splice, before targeted ads for MIDI chord packs, etc. In 99 when I told people that I had a sampler and made beats I was mostly met with bewildered confusion and indifference. Kids and adults alike would wonder why I got this weird machine for Christmas instead of something worthwhile like a Playstation or a mountain bike or even a guitar for that matter because at least that could be used to make "real music". Back then, sampling was still not widely respected as an art form - it was seen as lazy, talentless and unoriginal at best and outright criminal theft at worst. I had gotten respect for playing drums and guitar and things of that nature but this was a step in the wrong direction in the eyes of many."

The cover photo is a picture of Sam standing on his back porch in the latter part of 1998, just before he got his first sampler. He was 13 years old, in 8th grade. His dad took the picture with his 35mm film camera: "I actually wanted to be pointing my dad's .22 pistol at the camera lens but he wouldn't let me. He gave me an old walking cane to use instead. The Tommy Hilfiger puffer jacket came from the lost and found at William Fleming High School where my mom worked as a secretary. I was thrilled when she brought it home because we never spent money on expensive name brand clothing like that - we were for the most part strictly a sale rack, bargain bin, thrift store, yard sale, flea market kind of family when it came to clothes. My watch is some cheap off-brand fake gold department store watch." Mastering for this vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

Over the past near-decade, Lancashire's medieval metal phenomenon WYTCH HAZEL have been honing an uncommonly wholesome, rustic and devotional brand of timewarped hard rock that's all their own, with 2016's Prelude and 2018's II: Sojourn summoning to mind fevered images of Robin Hood and his Merry Men grooving to Jethro Tull and Thin Lizzy. Yet within moments of pressing play on their third LP, III: Pentecost, the musty mystical minstrelsy takes a back seat in favour of a rich, sumptuous, anthemic late-night drivetime vibe, passionately embracing the most high-end smash-hit classic rock and metal circa its late 1970s heyday. "I thought I put a lot into the second album, but this album has been an absolute obsession," stresses the band leader, Colin Hendra. "Every aspect had to be as good as possible. We've gone back and forth, Ed was tinkering with it for months on end. There's quadruple tracking going on with the rhythm parts, then we've doubled, tripled and quadrupled all our lead parts to get that richness and fullness of sound, all meticulously planned with pages and pages of organisational notes. It wasn't just `get in the studio and see how it goes!'" he laughs. "One day I did 14 hours of vocal recording. All vocals are double-tracked, I can't express how much hard work that is. The last album feels like a breeze compared to what we've done with this - and I don't plan on ramping it down!" Musically there are gorgeous self-professed touches of Black Sabbath, Blue Öyster Cult, AC/DC and early Scorpions_"With the soloing I was trying to go for Michael Schenker" beams Colin_while the scampering headbanger I Will Not initially took a nod from Angel Witch, who Hendra was helping out on second guitar back in 2015 when the track was composed, before studio treatment made it sound "a lot more Wytch Hazelly". But perhaps the most lateral comparison is to a band from the opposite spiritual realm, with Archangel an explicit homage to Swedish faux-Satanic devil cult Ghost. "I find them fascinating, Ghost; musically great, the songwriting is spot-on," enthuses the frontman. "We share an intrinsic connection, with Bad Omen honcho Will Palmer being the person who discovered us both. "Music is created for all, it's a common grace for everyone," he affirms, "which is why the music that shows the glory of God the most, in my opinion, is not music created by Christians. It's Black Sabbath!"

Demon Music Group are delighted to confirm the signing of ‘Night Mirror’ – the fourth solo album from electronic music legend, Claudia Brücken. • Written and recorded in London between 2023-2025 with longtime collaborator John Williams, ‘Night Mirror’ is a stunning collection of 10 brand new songs, suffused with optimism, loosely bound by themes of reflection and rebirth. •

Having first come to notice as the lead singer of Düsseldorf electronic music pioneers Propaganda, one of the first signings to the celebrated ZTT Records (Frankie Goes To Hollywood, Art Of Noise, 808 State), Claudia’s striking image and distinctive vocals made her one the most influential and inspiring female musicians of her generation. Propaganda enjoyed chart success with hit singles like ‘Dr Mabuse’ and ‘Duel’ and their 1985 album ‘A Secret Wish’ is frequently cited as one of the landmark electronic pop albums of all time. • In subsequent years, along with collaborations with the likes of Wolfgang Flür (Kraftwerk), Martin Gore (Depeche Mode), ACT, Andrew Poppy, Andy Bell (Erasure), and Peter Hook (New Order). Claudia was most recently in the limelight fronting the reimagined xPropaganda whose 2022 album ‘The Heart Is Strange’ garnered ecstatic reviews and reached No. 11 in the UK album chart. •

On ‘Night Mirror’ Claudia is reunited with musical partner John Williams, whose work as a producer, writer, engineer, and record label head has seen him work with such luminaries as The Housemartins, Alison Moyet, Blancmange, Simple Minds and The Proclaimers. Contributing to the album are an accomplished series of musicians, whose credits include The Lighthouse Family, Cathy Dennis, Orlando Weeks (The Maccabees), and Kaiser Chiefs. • This LP release is presented on Dark Cherry vinyl. • This is a priority release for Demon, and we will be supporting with full retail, press, radio and online campaigns.

Cinematic funk visionaries The Diasonics drop a new disco-funk 45 vinyl with two killer tracks tailor made for DJs and cinematic funk fans. Only 500 copies pressed wordwide, instant collector's item. From the snowy streets of Moscow to the crates of vinyl diggers worldwide, cinematic instrumental combo The Diasonics unleash a new limited edition clear vinyl 45 with two killer tracks taken from the upcoming new album "Ornithology", set to drop worldwide on October 3 via Record Kicks. On the A side "Oriole" is a vintage disco-funk stormer taking inspiration both from the Soviet-era disco and jazz fusion records, as well as from 70s European library music and synth-funk movement. A minimalist synthesizer melody echoing the song of the oriole, paired with a steady disco-funk groove reminiscent of a train in motion ("Oriole" is also the name of a popular Russian electric train) lay the foundation of their most danceable track to date. The b-side holds the equally strong "Chickadee" a funk stomper with bold bassline and heavy b-boy breaks and percussions and a NY early 80 vibe able to set every dancefloor on fire. A peerless party-starter that you just don't want to miss it. Formed in 2019, this four-piece instrumental unit _ Daniil Lutsenko (electric guitar), Kamil Gazizov (keyboards), Maksim Brusov (bass), and Anton Moskvin (drums & percussion) _ quickly gained cult status through a series of sought-after 45s on Mocambo and Funk Night Records. Their critically acclaimed debut album "Origin of Forms" mixed by Henry Jenkins, producer of the Australian cult band Surprise Chef, came out on Record Kicks in 2022. The vinyl went sold out in few weeks and is now in-demand on the international cinematic funk scene.

The Secret Goldfish release their first album in 25 years in June 2025 - Empty Holster has been in process since 1996 when vocalist Katy Lironi started collating songs by her favourite songwriters Vic Godard, Davy Henderson and James Kirk (the idea for Empty Holster was a covers album of their songs).
The tracks have been recorded extremely sporadically over the past decades and were finally finished off at Green Door studio and mastered by Samuel Joseph Smith.

Empty Holster also features covers of songs by Dan Penn and Spooner Oldham, Port Sulphur, The Beach Boys, and a long-lost Goldfish collaboration with Adventures in Stereo's Jim Beattie, Elevator, which was missing for 15 years, presumed lost. Musical guests appearing on Empty Holster include Mick Slaven (The Bluebells), Campbell Owens (AztecCamera), James Kirk (Orange Juice), Vic Godard (Subway Sect), Francis Macdonald (Teenage Fanclub), and Katy and Douglas's daughter Amelia Lironi (QUAD90). The album is pressed on Goldfish Orange vinyl at Seabass Vinyl in Scotland.

SWEARING AT MOTORISTS haben einen langen Weg hinter sich, seit der Name 1994 auf Plakaten für eine Fake-Band erschien Die hingen auf mysteriöse Weise in Plattenläden und Musiklokalen in Dayton, Ohio, Ein paar Monate nachdem die Plakate auf auftauchten kritzelte Dave Doughman den Namen auf eine Kassette mit homerecordings, die er an Freunde verschenkte, und 1995 war die Band dann offiziell geboren. Ende der 90er Jahre veröffentlichten S@M eine Reihe von 7"-EPs bei verschiedenen Labels, und nachdem sie wiederholt von John Peel gespielt wurden und die Presse weltweit positiv über sie berichtet hatte, erhielt die Band einen Vertrag mit dem damals neuen Label Secretly Canadian. Sie veröffentlichten 2 EPs und 4 LPs auf Secretly Canadian, darunter Number Seven Uptown aus dem Jahr 2000 und This Flag Signals Goodbye aus dem Jahr 2002, die beide in den Jahren ihrer Veröffentlichung vom MOJO Magazine zum Underground Album of the Year" gewählt wurden. Swearing At Motorists zogen 2005 nach Berlin, Deutschland, und veröffentlichten im folgenden Jahr ihre letzte LP für Secretly Canadian, Last Night Becomes This Morning, bevor sie leise in der nicht enden wollenden Berliner Nacht verschwanden... 8 Jahre später war die Band plötzlich in Hamburg wieder aufgetaucht, mit einem neuen Album: "While Laughing, The Joker Tells The Truth", das 2014 auf Anton Newcombes Label A Recordings Ltd. erschien. Co-produziert von Dave und Rick McPhail (von Tocotronic), erzählt das Album die Geschichten dieser verlorenen" 8 Jahre im klassischen Motorists-Stil. Der Autor Camden Joy, vielleicht eine weitere Underground-Figur der 90er/00er Jahre, beschreibt es am besten: "Like Iggy Pop's great lost Nashville record or the legendary demos for the Strokes masterpiece that never was, this recording is full of catchy courage, significant low notes, bedroom rhythms, hooks, and so on, all of which make for an impossible amount of pleasure. This Swearing At effort towers heads and squirrels above whatever that was you were just listening to. I see why Rolling Stone gave it five stars." - Camden Joy 11 Jahre später ist die Band in Hamburg erneut aufgetaucht, aus einer weiteren Auszeit und mit einem neuen Album, das im Herbst 2025 über BB*ISLAND erscheinen soll. Vor der Veröffentlichung stellen wir euch das Album von 2014 noch einmal, oder zum allerersten Mal vor. Vielleicht lag Camden Joy genau richtig. Zu gut, um vergessen und vergriffen zu sein. Das Beständige an Swearing At Motorists sind ihre Auszeiten als Band. Alles andere ist Bonus, aber das ist natürlich der beste Teil. "...While Laughing...demontrates Doughman's unerring abilitity to turn autobiographical minutiae and emotional turmoil into exquisitely heartfelt rock'n'roll poetry. From the warmly familiar powerpop chug of Groundhog Day (Damn The Piper) and Great Actress, to the tearjerker wistfulness of Wrote You A Letter and acoustic closer It's Love That Chooses You, this is classic Swearing At Motorists throughout...." - Andrew Carden/ MOJO

From "Spirit Of The Air"'s violence, "Cross Over"'s industrial poundings, the PCP-infused minimalism of "High On Angel Dust", to "Someone Was There" mixing techno and hardcore, Derniere Danse Part II outlines what Manu le Malin is as a producer : not afraid to visit experimental soundscapes nor ashamed to go straight to the dancefloor point... But always soaked in darkness. This is a black gateway to the world of MKNK's head, through five of his all-time favorite tracks, including one unreleased, all remastered by Scan X and Deathmachine.

But before pressing play, consider yourself warned : the first track "Spirit Of The Air", with its tortuous intro, piano break, screams samples and references to The Exorcist saga, is relentless, violent and unpredictable. And things don't go softer with "Cross Over", also an extract from his Fighting Spirit album (2002), a downright industrial attack that sounds particularly up-to-date.

Unreleased "High On Angel Dust" then shows Manu's admiration to the label PCP (hence the powdery title) and its founder Marc Acardipan. An oddity in his discography that almost never saw the light of the day : the synths and TR-909 based track was recorded in one night, and completely forgotten in a DAT for 28 years! "Someone Was There", from the soundtrack of Jalil Lespert's 24 Mesures, and the esteemed classic "One The Way Home", available as a bonus in the digital release, conclude this handpicked selection.

Diverse, personal, tormented and yet dancefloor compatible, Derniere Danse Part I and Part II feature some of Manu's best works. But they also are a stepping stone : MKNK will now open to new artists exploring every dark corner of what hardcore music can be.

Listenable Records, ltd. black green marbled vinyl, comes with free poster, postcard and coaster, first pressing

Relentless powerhouse GRACELESS’ new album ’Icons of Ruin’ is the band’s most groundbreaking release to date.
Massively produced, it boats crushing, unrelenting, large-scale, bombastic sonic destruction !
For fans of Bolt Thrower, Asphyx, Gorguts, Paradise Lost, Death, Bloodbath

As part of the Acoustic Sounds series, three of Diana Krall’s most beloved albums will be reissued on vinyl throughout the year, with the first, her dazzling Grammy-winning 2001 album, The Look of Love, to bow May 31st. The record boasts such standouts as “S’ Wonderful”, “Cry Me A River”, and her bewitching take on the Burt Bacharach-penned title track. Krall’s 1999 album — celebrating its 25th anniversary this year — When I Look In Your Eyes, will follow July 5th with her 1996 LP, All For You: A Dedication To The Nat King Cole Trio, to come September 27th. The two-time Grammy-winning album, which was also nominated for Album of the Year, When I Look In Your Eyes, features Krall and her excellent ensemble performing a sultry set of updated standards, including highlights like “Let’s Fall In Love”, “I’ve Got You Under My Skin” and “Let’s Face The Music and Dance”. All For You: A Dedication To The Nat King Cole Trio is a superb salute to the mighty Nat King Cole Trio with Krall putting her unique spin on 12 of Cole’s classic cuts like “Frim Fram Sauce”, “Boulevard of Broken Dreams”, “You Call It Madness” and “Hit That Jive Jack”. The albums will be mastered by Bernie Grundman from the original tapes and pressed on 2-LP black vinyl.

Madlib Invazion reissues Madlib’s collaboration with legendary Brazilian drummer Ivan “Mamao” Conti, propellant for lauded jazz fusion archetypes Azymuth. 5000 pressed for worldwide. Debuts on Black Friday. First released in 2008 on CD by the US based Mochilla imprint with vinyl being issued only in Europe on the Kindered Sprits label. Both formats are out of print with vinyl unavailble since its initial run. Alternate cover artwork, photography by B+. When Madlib went to Brazil in 2002 with Mochilla to participate in the production of Brasilintime his one mission was to meet Ivan “Mamao” Conti the drummer of the legendary trio Azymuth. Madlib had made an Azymuth tribute record he wanted to play for him. On a rainy night in Rio Mamao and Madlib went in the studio. Several hours later the rhythm tracks that make up Sujinho were laid and the process began. Featuring the music of Madlib, Mamao, Edu Lobo, Chico Buarque de Hollanda, Luiz Eca, Baden Powell, Vinicius De Moraes, Marcos Valle, Joao Donato, Dom Um Romao, Airto Moreira and even George Duke… and with guest vocals by Thalma De Freitas — Jackson Conti is a unique and classic record. Filled with the angularity and edge of a Madlib production and underwritten by the polyrhythmics of Mamao — Sujinho takes Brazilian music into places it has never been, bringing oft forgotten classics like Upa Neguinho to 21st century ears.

After breaking through with a gold selling debut in the late 1990’s, Harlem emcee Cam’ron quickly emerged as a leading figure in hip-hop, just as the genre was reaching mass audiences for the first time. A platinum-selling classic on Roc-A-Fella Records came a few years later, followed by the founding of the iconic collective Dipset and the release of three more seismic solo albums over the course of the 2000s. The last chapter in his historic run was 2009’s Crime Pays, which drew praise from critics while also lighting up the Billboard Charts, showcasing Cam’s sonic evolution while proving his pen game remained unmatched. More than 15 years after it’s release, this vital collection is now receiving an official vinyl pressing for the first time ever. A perpetually underrated lyricist with transcendent rhyme mechanics embedded in his leisurely flow, Cam’ron is in peak form on Crime Pays, effortlessly walking listeners through the details of his fascinating life and times. With suprisingly modern production supplied by AraabMuzik, I.N.F.O., Skitzo, and more, this memorable album is an important chapter in the story of a truly essential artist.

One of the most legendary, influential and enduring names in rock music history, SWEET, will re-release their 2012 studio album "New York Connection" via Metalville Records. The release will see the album being pressed for the first time in coloured vinyl and a special edition CD with bonus tracks not included on the original release. "New York Connection" is a selection of material that was originally written by other artists, to which the band has unmistakably put their signature sound on . So is it a boring cover album? Well, no! Not really! This time it's a little different! Aside from a decent selection of must-haves - Andy Scott, said we have also added guitar riffs, drum beats or vocal lines from our own classics where appropriate. So their rendition of "It's All Moving Faster" incorporated the guitar line from SWEET's "Burn On The Flame" while "Blitzkrieg Bop" by The Ramones used elements of "The Ballroom Blitz". Although the most obvious example is the fusion of Russ Ballard's "New York Groove" (previously covered by both Hello and former Kiss guitarist Ace Frehley) and Jay-Z's "Empire State Of Mind". Amazingly, it works!

We’re hyped to welcome back the French producer Carriego, who already made waves with a standout EP on our sister label Cosa Vostra. This time, he lands on Griffé with a four-tracker that dives deep into stripped-back grooves, rhythmic precision, and textured soundscapes.

True to his style, Carriego merges Detroit roots with early 2000s minimal vibes—tight drum machine programming, detailed sound design, and a strong focus on mood and arrangement. The drums hit with intent, and every element feels built for purpose.

The EP unfolds like a proper journey: Hazard sets the tone with tension and space—ideal for an opening move. The Bridge follows up with drive and pressure, perfect for peak-time intensity. Curtain Call brings in a hypnotic, late-night energy, subtly nodding to the Time Passages spirit—refined, trippy, and deep. Then comes Seems Like to close the ride—more introspective, with a dub techno edge that lets everything breathe again.

Techno, minimal, electro, dub—Carriego connects the dots without forcing it. Just functional, thoughtful club music that works on multiple levels.

Shadow Pressings celebrates one year and its 5th release with another killer selection of deep, chunky house from the very same (unknown) producer as the label’s debut release.
My Soul sets the tone with a stripped back late night groove, working up THOSE Freddie Hubbard strings and a hooky sax riff. The sound palette is familiar but put together in a skilful and original way ensuring this banger will stand out in the crowd.
Tears follows with a similarly punchy, paired back groove which leaves space for the chiming melodies and spoken word samples to shine. Flipping over we have Lost In The Dance and What Galaxy Is This? which continue the theme of choice vox samples, shuffling drums and rolling basslines.

Dr. John's Gumbo is the fifth album by New Orleans singer and pianist Dr. John, a tribute to the music of his native city. The album is a collection of covers of New Orleans classics, played by a major figure in the city's music.

Dr John's Gumbo was released in 1972 and is in many ways a tribute by Dr. John, aka the Night Tripper, to his hometown of New Orleans. It features excellent interpretations of New Orleans traditionals ("Iko Iko", "Tipitina", "Junko Partner" and "Stack-O-Lee") and contemporary R&B written or played by the likes of Huey Piano Smith ("Blow Wind Blow" and "Huey Smith Medley") and Earl King ("Big Chief" and "Those Lonely Lonely Nights").

Dr. John delivers a strong set of infectious songs drenched in good vibes and spiced with a pinch of voodoo. His eccentric (stage) appearance adds unique color to his stature as master of the ivories and as an entertainer.

We expect this definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic Series) reissue of Dr. John's Gumbo to be a cherished addition to the music collections of all fans of New Orleans classics.

With releases on Brooklyn’s Major Records and UK imprints Non Stop Rhythm and Indulgence, DJ Split is a breakthrough producer putting his own stamp on the classic Chicago house sound. For his Shadow Pressings debut he has conjured up five original club cuts that will work their magic on any dance-floor worth it’s salt.

Last Night Baby sets the tone with taught 909 beats, punchy bassline stuttering vocal hits. Piano chords and a smattering of melodic chimes and just the right amount of musicality without taking away any of the raw energy and turbo-charged grunt. Treading a similar path but upping the BPM’s, XNXX goes for the jugular with gnarly FM bassline and frenetic groove.

Flip over for Can I Tell You? which goes a little deeper with a rolling bassline, filtering Detroit pads and strings whilst Step For brings touches of acid, banging 909 toms and vocal chops. Closing out the EP we have One In A Life Time which turns up the jack factor with snappy 808 snares, mechanical bass line and deep stabs. DJ Split is a man on a mission to bang the party and has come prepared with his piñata fully loaded with big, fat beats n basslines.

Die deutschen Epic-Doom-Metal-Meister Lord Vigo veröffentlichen im Mai 2025 ihr sechstes Studioalbum auf High Roller Records. Nach den von Presse und Fans gleichermaßen gefeierten "Danse De Noir" (2020) und "We Shall Overcome" (2022) handelt es sich bei "Walk The Shadows" mitnichten um den dritten Teil der begonnenen Trilogie. ""Walk The Shadows" steht für sich alleine und ist unabhängig von einem durchgehenden Konzept", erläutert Schlagzeuger, Sänger und Keyboarder Vinz Clortho. "Das war nach zwei doch sehr ausgefeilten Konzeptalben eine schöne Abwechslung für uns. Es hat wirklich Spaß gemacht." Stücke wie "Through A Glass Darkly", "Servant Of The Dark" oder "The Triumph Of The Killing Heart" verströmen eine Art von Gothic-Horror-Atmosphäre, die einem eklektischen Mix aus Sisters Of Mercy, Fields Of The Nephilim und sogar The Cure ziemlich nahe kommt. "Das kann man durchaus so ausdrücken", stimmt Vinz Clortho zu. "Das Album kombiniert viele verschiedene Stile und kreiert dadurch etwas ganz Neues. Meine Roots liegen im klassischen Metal, und dies in Kombination mit den düsteren Songs auf der neuen Platte ergibt eine komplett andere Richtung für Lord Vigo. Ich denke nicht, dass es ein Album gibt, das ähnlich wie "Walk The Shadows" klingt. Ich weiß nur nicht, ob das ein Vorteil oder ein Nachteil ist." "Der Song 'Walk The Shadows' ist die erste Single", erklärt Vinz. "Dazu haben wir auch ein Video gedreht. Jeder Song steht für sich. Deswegen ist es auch schwierig, bestimmte Nummern herauszuheben. 'El Hakim' ist zwölf Minuten lang, es ist nicht nur der längste Song des Albums, sondern auch der atmosphärisch dichteste. Ganz sicher einer meiner Favoriten." "Stilistisch ist das neue Album sehr wohl ein Sprung für uns" fährt Vinz fort. "Aber genau aus diesem Grund denke ich, dass es eine wegweisende Platte für uns werden kann. Es gibt Gruppen, die immer wieder das gleiche Album schreiben. Aber das sind nicht wir. Bei Lord Vigo klingt jede Scheibe anders. Diesmal haben wir unsere Komfortzone verlassen. Kommerziell mag das nicht unbedingt sinnvoll sein. Aber das ist uns ziemlich egal. Wir wollen Erfolg auf unser Weise. Stellenweise singe ich eine ganze Oktave tiefer als für gewöhnlich. Auch das ist ein Grund dafür, warum "Walk The Shadows" so klingt, wie es klingt."

Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Svart Records is set to release the band’s fourth album TAVASTLAND in February 2025 After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir. Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people. ”-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.”, says Stefa. TAVASTLAND is available on Svart exclusive ice & blood vinyl edition, limited to 666 copies. Also available on limited amber & black smoke vinyl, classic black vinyl, CD, cassette tape, and digital platforms. All vinyl editions of the first pressing include a booklet and poster. New Havukruunu T-shirt also up for pre-order now at Svart’s webstore. Release date February 28th, 2025.

Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Svart Records is set to release the band’s fourth album TAVASTLAND in February 2025 After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir. Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people. ”-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.”, says Stefa. TAVASTLAND is available on Svart exclusive ice & blood vinyl edition, limited to 666 copies. Also available on limited amber & black smoke vinyl, classic black vinyl, CD, cassette tape, and digital platforms. All vinyl editions of the first pressing include a booklet and poster. New Havukruunu T-shirt also up for pre-order now at Svart’s webstore. Release date February 28th, 2025.

Destiny of Illusion is a 24-track full length debut from Pretty V (aka. Voldy Moyo, v7backin2007, #Smokesito), a prolific artist from Wakefield, UK who has been frequently performing and releasing music & videos online for the past 9 years, building notoriety for his unique sound and prolific output and gaining support from artists such as MIKE & King Krule, both of which have brought Voldy out for many shows, and for collaborations.

The album will release on the 24th April 2025, along with a release show the same day at Ormside Projects.

The album is produced entirely by aloisius, a prolific artist & producer, as well as the founder of life is beautiful records). ‘Destiny of Illusion’ is a landmark album for both Pretty V & aloisius, being their first full-run vinyl release. The album will be available exclusively on Vinyl, Cassette & CD.

This album also holds additional historical significance being that it is the first official/ full-run vinyl release for life is beatiful records.

The first pressing of ‘Destiny of Illusion’ will be limited to 397 copies.

MELODIES” is the first album released on the MOON label. The album was the first album released on the MOON label, and it marked a drastic change
in sound direction from the RCA/AIR era, as a result, the range of their work expanded, and the Christmas classic “Christmas Eve” was born from their work.
The result is a monumental masterpiece that will remain in the history of pop music. Includes “Christmas Eve” “High Air Pressure Girl,” “Merry Go Round”
and more. Includes detailed liner notes by Tatsuro Yamashita himself!

Originally released in 2015

To celebrate Molly Nilsson’s most enduring fan-favourite album to date, Night School and Dark Skies
Association are releasing a limited 10th anniversary pressing on Red-Gold vinyl, limited to 500 copies.
Since its release in late summer of 2015, Zenith has come to be considered Nilsson’s greatest album to date. Now
on its 6th pressing, in 2025 Zenith represents the mid-point in the songwriter’s career to date and contains firm fan
favourites in Mountain Time, Happyness and her most popular song, 1995. Zenith sits square between Nilsson’s
original flurry of DIY creativity and her later, outward-looking political material.

A sweeping, cinematic, emotional change is in the air. Molly Nilsson's sixth studio album Zenith begins with clear, wide eyes open to Earth as we would love it to be but seldom is. Recorded in her home of Berlin and whilst touring and, as ever, conceived, produced, written and recorded in solitude, Zenith is Nilsson's big statement and consequently her most affecting work to date. It sees her reveling in big arrangements, sweeping synth strings, bigger choruses and emotions. Like the rest of us she looks within and to endless sunsets in wonder and puzzlement

1000 copies pressed on Black vinyl & DL card. First time on vinyl for 10 years .The poems of iconic 19th century American writer Emily Dickinson crafted into the esoteric sounds of Josephine Foster. Originally released in 2009, this highly collectable record is now back on vinyl for the first time in over a decade.

Based in São Paulo and formed in 2017, TaguaTaguais lead by songwriter and producer FelipePuperi. Felipe, having fronted space groove rock band WannabeJalvafor several years, has an extensive indie resume. Having played at Lollapalooza Brazil, supported shows for Pearl Jam and Jack White. He's also been featured on KCRW, NY Times, Stereogum, Brooklyn Vegan and WFUV.

Tagua Tagua's 3rd full length LP and 3rd release on Wonderwheel following 2024's Todo Tempo EP and 2023's Tanto LP

Upcoming tour plans include SXSW and Lollapalooza Brasil in March 2025

Lead singleLado a Ladofeatures James Petralli frontman of the Austin, TX based rock band White Denim

White Denim were founded in 2008 and have shifted through genres like post-punk, soul, garage, and psychedelic rock and have released music on labels such as Bella Union, City Slang, and Downtown

2024 was a big year at radio as Tagua Tagua filmed and recorded a live sessions for NPR's World Cafe (US) and Gilles Peterson's Brownswood Basement on Worldwide FM (UK)

Embarked on a 10 date Brazilian tour in Spring of 2024 playing to capacity crowds each night in 400-500 cap rooms

Recent tour history includes two stints in the US for New Colossus Festival in NYC and SXSW March 2024 and November of 2024 in Miami, New York, and Philadelphia as well as a headline tour throughout Europe in September and October of 2024

Significant press coverage from publications like NPR Alt Latino, Remezcla, FIP, Bandcamp, and Sounds & Colours to name a few

Huge worldwide radio support from stations like KEXP, KCRW, KUTX (US) Inter, FIP, Nova (FR), RinseFM, Soho Radio, Worldwide FM (UK), 3RRR, 2SER, RTR (AU), RTP Antena 3, TSF Rádio Notícias, Rádio Oxigénio (PT) iCat, Radio 3 (ES) RBB Radioeins (DE) and many more

For its latest release, Last Year in Marienbad welcomes back French producer Moonee, who delivers an EP brimming with his signature blend of euphoric and emotive grooves.

One of François Lefevre’s main aliases, Moonee explores the airier side of dance music, crafting deeply immersive sonic experiences that evoke introspection and escapism. While initially focused on deep house, his sound has evolved across recent releases, particularly on his Sandquest LP for OATH. His finely curated approach highlights fluid, intuitive soundscapes that invite repeat listens.

His new EP, Brotherhood, is perhaps his most refined and carefully poised work to date. The title track’s Glitched version opens with a sense of urgency, combining a stepping garage beat, lo-fi vocal snippets, and deep basslines. Existenzfollows, elevating four-on- the-floor energy with intricate rhythmic textures and a rich, orchestral-like melodic palette. Panorama rounds off the EP’s initial arc with playful vocal samples and an uplifting bassline—perfect for late-night city wanderings.

Closing out the release, Oath affiliate Moomin reinterprets the title track with an electro-infused remix. More understated than the original, his version builds gradually, offering a masterclass in energy control.For those seeking enriching grooves, entrancing melodies, and warmth, Brotherhood delivers. It’s a journey through electronic currents, shifting effortlessly between moments of calm and surging energy—press play and dive in.

Australia's left-field club renaissance keeps flowering, and Horatio Luna's cult 2020 debut Yes Doctor remains an essential root document. The LP welds dub-soaked bass pressure, broken-beat jack and smoky nu-jazz improv onto a house chassis—picture Moodymann deep cuts drifting through Dadawah's spiritual haze. Championed by Gilles Peterson after Luna appeared on Brownswood's Sunny Side Up compilation—where drummer Phil Stroud and synth maestro Dufresne also featured—the record was pieced together across 2019 during a run of late-night sessions while Hicks was living in the La Sape house. La Sape's brand-new 2025 pressing (cat. SAPE00825) uses freshly cut plates and presents the full ten-track programme on 140 g black vinyl. The package features subtle touch-ups to the jacket artwork and refreshed centre-label stickers while preserving the original aesthetic. "Yes Doctor is my coming-of-age—mixing every style I could think of into house, pushing aesthetic boundaries, making 'un-boxable' music," Luna says. File next to Theo Parrish and Yesterday's New Quintet: DJs will lock onto the title track's seven-minute bruk workout, while deeplistening customers will cherish the front-to-back journey in groove alchemy.

"Kindred spirits and loyal soldiers on the frontlines of the dub war Detroit's 2Lanes and Los Angeles' Cromie link up to present to the world, Destiny Cloud. With a project name inspired by a mystical vacant storefront in Cromie's neighborhood of Altadena (still standing after the fires, bless), the guys formed like a storm after being intro'd by a notorious LA promoter and hotboy producer matchmaker. Funnily enough, the first session was foiled by a missing cable, so it wasn't until the sexy summer of 2023 that the cloud seeds that went on to become Sun Phase/Moon Phase were planted. From the jump, their vision was lucid and their objective collective: lock in at the stu(s) to make the most jiggy, psychedelic, tripped out club shit they could muster. Fast forward to today, Destiny Cloud is proud to bring you the latest missive on 2Lanes' Auto Shop imprint.

On the A side, Sun Phase sets it off with searing stabs from the hands of session killer Ji Hoon on a heavenly Jupiter-8 (sorry not sorry, the real thing does sound better) before a bassline straight off the Adriatic's Argonaughty comes in to funk up the flow over a bed swung hi-hats and drum circle conga lines the Wickedest west coast house heads can appreciate (no hippy shit, but we ARE on Hipp-E's dick). A keep-it-simple-stupid *muah' organ line plays nice with a gang of embellishments to take this one through its duration (Joey pressed record and said "ooh-wah" into the vocoder; no lie, I was there). With his Toxic Love remix, NYC upstart DJ John Brooklyn injects the tune with the highest grade octane to up the revs. The aforementioned organ becomes a timeless trance lead, and new pipes are inserted reminding us all that house music is forever.

Day turns to night on the B Side with Moon Phase, where booming kicks let you know off the rip that this is some real deal late night trunk funk. We're talking dualities here y'all; Cromie's deep-as-the-Pacific bassline meets Joey's frozen-lake-cold Detroit stabs as the drums speak in tongues with those on the other side of the slab. Reverb ghosts and rhythmic acid have this one veering more psychedelic without losing the jiggy factor, while diving proggy synths will have the Global Underground saying, "yea this is our shit, for real." With a run time that allows for maximum fun time, the ambient outro gives you a kiss on the forehead to put that ass to sleep. The iconic DJ Miss Parker takes the wheel on the remix, taking this one straight down the Tunnel with new-school/true-school Tenaglia-isms that wouldn't sound out of place in 2000, 2005 or 2025.

Like all the work we do, this one's a team effort. Salar Ansari put's his deft touch on the mixdowns and Jack Anderson blesses the center of both sides of the disc. Out mid-May, just in time for when things start heating up