Search:no

BLUES NOW! The title says it all. Blues in all caps – honest, emphatic, and raw. This collaborative album unites GA-20, one of today’s most celebrated young Blues trios, and Charlie Musselwhite, a legendary statesman of the genre. Musselwhite’s name is synonymous with the Blues, a harmonica virtuoso and esteemed vocalist with a 60-plus year career forged in authenticity and excellence. GA-20 burst onto the scene in 2018, garnering a quick reputation for dynamic live performance, built on a deep respect for the originators and an enduring commitment to carrying the torch forward. Together with BLUES NOW (New West Records), the Grammy award winning Musselwhite and Billboard chart-topping GA-20 shine with a chemistry that blends the spirit of the Blues pioneers with an electrifying modern energy.

With BLUES NOW, the collaboration between GA-20 and Charlie Musselwhite embodies a living musical conversation that spans generations. It is an ongoing dialogue and testament to the enduring spirit of Blues music. It reaffirms its timeless appeal and reminds us that the Blues is a living, breathing art form. It’s also a hell of a good time.

BLUES NOW! The title says it all. Blues in all caps – honest, emphatic, and raw. This collaborative album unites GA-20, one of today’s most celebrated young Blues trios, and Charlie Musselwhite, a legendary statesman of the genre. Musselwhite’s name is synonymous with the Blues, a harmonica virtuoso and esteemed vocalist with a 60-plus year career forged in authenticity and excellence. GA-20 burst onto the scene in 2018, garnering a quick reputation for dynamic live performance, built on a deep respect for the originators and an enduring commitment to carrying the torch forward. Together with BLUES NOW (New West Records), the Grammy award winning Musselwhite and Billboard chart-topping GA-20 shine with a chemistry that blends the spirit of the Blues pioneers with an electrifying modern energy.

With BLUES NOW, the collaboration between GA-20 and Charlie Musselwhite embodies a living musical conversation that spans generations. It is an ongoing dialogue and testament to the enduring spirit of Blues music. It reaffirms its timeless appeal and reminds us that the Blues is a living, breathing art form. It’s also a hell of a good time.

Iconic return with “II”, a second album that doesn’t just continue the band’s journey — it defines it. Where their debut introduced the chemistry between five world-class musicians, II sharpens that vision into a clearer, heavier, and more confident sonic identity, delivering a sound that is more powerful, more direct, and unmistakably rock. At the heart of the album lies the electrifying guitar partnership of Joel Hoekstra and Michael Sweet, delivering a masterclass in soaring melodies, blazing solos, and muscular riffs that perfectly balance technical brilliance with pure hard-rock attitude. Beneath them, the rhythm section of Tommy Aldridge and Marco Mendoza drives the record with thunderous authority, creating a groove that is both massive and relentless. The album kicks off with “Cry No More”, a high-octane opener that immediately sets the tone — an energetic slice of hard rock packed with driving riffs, explosive drums, and a chorus built to stick. On the other side of the emotional spectrum, “Tears Keep On Falling” showcases the band’s dynamic range, unfolding as an electrifying power ballad where melody, atmosphere, and intensity come together in dramatic fashion. Towering above it all is Nathan James, whose performance on II is nothing short of extraordinary — powerful, soulful, and commanding, elevating every track with unmistakable presence. With bigger riffs, deeper grooves, and a stronger sense of identity, II captures Iconic at full force: a band no longer introducing itself but fully owning its sound.

Mit The Drum "n" Bass Session erweitert Wagram die renommierte Electronic Music Anthology um ein weiteres zentrales Kapitel der elektronischen Musikgeschichte. Auch diese Ausgabe wurde von FG Radio, einer der wichtigsten Plattformen für elektronische Musik in Frankreich, kuratiert und widmet sich ganz den energiegeladenen, bassgetriebenen Facetten von Drum "n" Bass. Die Compilation vereint wegweisende Künstler wie Goldie, Roni Size, Calibre, Nookie, DC Breaks, Souljah und DJ Gilb"R - Namen, die das Genre von seinen frühen Jungle-Wurzeln über soulful, deepen Drum "n" Bass bis hin zu modernen, clubtauglichen Produktionen entscheidend geprägt haben. Rasende Breakbeats treffen auf massive Basslines, atmosphärische Flächen und eine unverwechselbare Mischung aus Präzision und Energie. The Drum "n" Bass Session richtet sich gleichermaßen an DJs, Sammler und Liebhaber elektronischer Subkultur. Eine sorgfältig kuratierte Anthologie, die den Stil nicht historisiert, sondern seine zeitlose Dynamik und Relevanz eindrucksvoll hervorhebt - kompromisslos, direkt und absolut dancefloor-erprobt.

Brighton's MOODY GOODS are the lates addition to Boss Tuneage family, but all members of course are not new to us, having all been members previously of ROUGH GUTTS who we put out the "Parts I & II" 12"EP back in 2022! Now streamlined to a 4 piece, MOODY GOODS is an evolution and with their debut "SOUTHERN LIGHTS" have delivered an amazing debut album! Full of power, energy but also light and shade, this is not just a collection of 10 brilliant songs, its a proper crafted ALBUM in the true sense of the word! Recorded under the watchful eye of Dave Draper at The Old Cider Press studio, the production on this album is epic and makes the songs come alive! This is taking the raw energy of ROUGH GUTTS and just taking things up a few notches more, you don't want to miss this!

Wenn Sie das Glück hatten, in den 50er- und 60erJahren aufzuwachsen, erinnern Sie sich bestimmt an die wunderschönen, romantischen und beschwingten Lieder aus Italien, die im Radio, in den Theatern und in Hollywood-Filmen zu hören waren. Zyx Music lässt diese Erinnerungen wieder aufleben und macht sie der jüngeren Generation zugänglich, die dieses goldene Zeitalter der italienischen Musik verpasst hat. Begeben Sie sich mit uns auf eine Reise an der Seite von Sophia Loren, Domenico Modugno, Rocco Granata, Tony Renis und vielen anderen mit unvergesslichen Melodien wie „Volare“, „Marina“, „Come Prima“ und „Quando Quando“. Träumen Sie sich nach Italien und genießen Sie pure „Nostalgia Italiana“ … che bella!!!!!

Magyar Posse’s third album Random Avenger out on vinyl for the first time ever in July via Svart Records Looking back, it was the golden age of Magyar Posse. The album Kings of Time had received a tremendous response from both critics and music lovers. The band was touring intensely in Finland and abroad. By now, the band was a well-oiled machine, ready to capture the successor to their celebrated second album. The band decided to follow a different path compared to the creation of Kings of Time: they would record their third album alongside the well-known, slightly eccentric engineer and producer Jani Viitanen. The recognizable Magyar Posse style was present in the pieces of Random Avenger, but something was slightly different. The new music was more rhythm-based, more riff-based and in places more joyous than the dynamic minor key avalanche of Kings of Time. Consciously or unconsciously, the band members saw that they had travelled the Slavic melancholy road as far as possible with the previous album. The success of Kings of Time felt like a positive push, not an extra pressure on their shoulders. It was only natural to strike again while the iron was hot. Many of the pieces had been already developed by the time Kings of Time was released, which eased the production of Random Avenger. After the meticulous but relatively swift mixing and mastering process, the band members were satisfied with the result. The only component that made some of them blush was the cover art – graphic designer Tom Backström had glaringly used photos of empty stages in forgotten community centres and the like. The beauty or the ugliness is once again in the eye of the beholder. Right after its release, Random Avenger got a very positive response, but not as overwhelming as Kings of Time – which was to be expected, as the previous Magyar Posse album had probably been the most universally praised Finnish album of the whole decade. Mikko Elo, musician / journalist, Pori, Finland, March 1st 2026

Magyar Posse’s third album Random Avenger out on vinyl for the first time ever in July via Svart Records Looking back, it was the golden age of Magyar Posse. The album Kings of Time had received a tremendous response from both critics and music lovers. The band was touring intensely in Finland and abroad. By now, the band was a well-oiled machine, ready to capture the successor to their celebrated second album. The band decided to follow a different path compared to the creation of Kings of Time: they would record their third album alongside the well-known, slightly eccentric engineer and producer Jani Viitanen. The recognizable Magyar Posse style was present in the pieces of Random Avenger, but something was slightly different. The new music was more rhythm-based, more riff-based and in places more joyous than the dynamic minor key avalanche of Kings of Time. Consciously or unconsciously, the band members saw that they had travelled the Slavic melancholy road as far as possible with the previous album. The success of Kings of Time felt like a positive push, not an extra pressure on their shoulders. It was only natural to strike again while the iron was hot. Many of the pieces had been already developed by the time Kings of Time was released, which eased the production of Random Avenger. After the meticulous but relatively swift mixing and mastering process, the band members were satisfied with the result. The only component that made some of them blush was the cover art – graphic designer Tom Backström had glaringly used photos of empty stages in forgotten community centres and the like. The beauty or the ugliness is once again in the eye of the beholder. Right after its release, Random Avenger got a very positive response, but not as overwhelming as Kings of Time – which was to be expected, as the previous Magyar Posse album had probably been the most universally praised Finnish album of the whole decade. Mikko Elo, musician / journalist, Pori, Finland, March 1st 2026

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




d 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




d 04 - Big Bad Feat. Genesis Elijah, Killa P & Dabbla




d 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

"This debut is unusually taut and polished, with hooks, crescendos, and clever turns of phrase nearly always in the right place. ” 8.4/10 - Pitchfork

“captures more believable, crackling punk energy than most hardcore bands.” 10/10 - AV Club

“Recommending this album seems too light a course of action; requiring it may be more apt. Consider Hold on Now, Youngster...highly required, then.” - 9/10 - All Music

“They write ridiculously knotted, satisfying hooks… they have great lyrics, great videos, their live show is phenomenal, and most importantly and intangibly (like all great bands) they somehow summon up a world through their music, until it feels as if everything in life is here.”
9/10 - Popmatters

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

“a messy, glorious, noisy document of internet café-era indie life that sounds best when sung by heart.” 8.3/10 - Pitchfork

“full of half-heartfelt, half-hilarious songs that capture the rush of being young in a noisy new century.” - 10/10 - Entertainment Weekly

“smart, immediate, and anthemic” - 10/10 - The AV Club

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

"This debut is unusually taut and polished, with hooks, crescendos, and clever turns of phrase nearly always in the right place. ” 8.4/10 - Pitchfork

“captures more believable, crackling punk energy than most hardcore bands.” 10/10 - AV Club

“Recommending this album seems too light a course of action; requiring it may be more apt. Consider Hold on Now, Youngster...highly required, then.” - 9/10 - All Music

“They write ridiculously knotted, satisfying hooks… they have great lyrics, great videos, their live show is phenomenal, and most importantly and intangibly (like all great bands) they somehow summon up a world through their music, until it feels as if everything in life is here.”
9/10 - Popmatters

Red Dwarf Star emerges as a striking new chapter for Coley Taylor of famous US/CH based MASERATI, a new project that captures a deeply personal arc that spans continents, relationships, and creative reinvention. Working largely alone, Taylor embraced a deliberately stripped-down approach, navigating unfamiliar technology with joyously unpolished determination. Much of the material was recorded in a modest, direct manner that prioritizes feeling over finesse. This DIY ethos is balanced by key collaborations that elevate the record's sonic depth. Drums were recorded in Los Angeles by Kellii Scott, whose distinctive style adds weight and clarity, while contributions from Allen Epley and Jenna Fournier introduce subtle vocal textures that expand the emotional range of the songs. Despite its introspective origins, Red Dwarf Star is not intended to remain a solitary endeavor. What began as a personal outlet is evolving into a fully realised band, with a lineup assembled to bring these songs into a more expansive, dynamic setting. This shift signals not only a new phase for the project, but also a broader artistic trajectory. Taylor is known best for his work with Maserati, a legendary outfit that leans into collaborative, rhythm-driven expanses rooted in krautrock and electronic psych. Through Red Dwarf Star Taylor's lineage of influence is felt, echoing the raw emotional immediacy of `90s alternative, post-hardcore, and the textured atmospheres of jagged dream-pop that bleeds. These are sounds that have lingered in Taylor's creative subconscious for decades, now resurfacing with renewed urgency. For fans of MASERATI, FAILURE, SLOWDIVE, QUICKSAND, SHINER, HUM Black or coloured vinyl LP or CD available

Die Firma GAMA aus Kirchheim/Teck galt in den Achtzigern nach Noise Records und Steamhammer als wichtiges Label für eine neue Szene in Deutschland: Heavy Metal! Zusammen mit Companieswie Earthshaker, Wishbone oder Mausoleum sorgte man für die etwas kleineren Brötchen in diesem Segment und konnte sich auch bei der Presse nie so durchsetzen wie die Großen. Trotzdem sind Namen wie Stormwitch, Darkness oder SDI auch heute noch ein Begriff – oder: Gerade heute wieder! Viel hat sich getan, seit GAMA und ihre Labels Scratch, SL-Records, Sri Lanca, Hot Blood, Wave, Camel, Scratchcore, Peak und Tales Of Thrash ca. 1990 von der
Bildfläche verschwanden und die folgenden Jahre von Budgetfirmen wie WZ und Laserlight Digital ausgeschlachtet wurden, was den Ruf einiger Bands zunächst geschadet hat. Doch eine neue Metalszene feiert den Oldschool-Sound der Achtziger und hat schon Anfang der 2000er das Repertoire der Kultfirma aus Kirchheim/Teck für sich entdeckt.

Platten, die man noch zuvor für zwei DM in der Wühlkiste fand, stiegen auf einmal im Preis und wurden zu Raritäten. Bands wie SDI, Stormwitch oder Necronomicon rocken wieder die Bühnen und treffen auf eine neue Generation Fans. In Südamerika und Osteuropa gibt es regelrechte GAMA-Fanclubs. Kein Wunder, dass in Brasilien ein Buch über die längst verblichene Firma veröffentlicht wurde („Cry Out For Metal“). Es gibt zahllose Beweise, dass der B-Klasse-Ruf von GAMA in den meisten Fällen falsch, aber auf alle Fälle überholt ist. Das beweist auch die 3er VINYLBOX „GAMA Records – The Vinyl Boxset“. Zwei Bands sind im GAMAUniversum keine Unbekannten: VETO und TOX. SCHLOSS hingegen sind ein heute rarer Geheimtipp des Labels. Sowohl eine GAMACompilation (2CD), als auch viele einzelne Titel als remasterte Editionen auf Golden Core/ZYX, konnten nicht nur gute Kritiken und erfreute Fans erzeugen, sondern auch ordentliche Verkäufe. Nun gibt es drei dieser Klassiker in einer Box!

“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine

Death Is Not The End issue 15 heartbreaking archival fado recordings from Ercilia Costa - made in Madrid in 1930, accompanied by seminal guitarist Armandinho. One of the early stars of fado, Ercilia Costa was the first to take the music overseas to emigrant Portgugese communities.

Not all tropical escapes are meant to soothe. Some are meant to seduce… and unsettle.

On Haunted Bossa Nova, Creepxotica reimagines the language of classic exotica through a darker, more cinematic lens—where swaying rhythms and lush melodies drift through shadows instead of sunlight. This isn’t background music for a carefree afternoon. It’s a late-night transmission from a hidden lounge at the edge of a dream.

Built on the bones of traditional bossa nova and mid-century exotica, the album pulses with nylon-string guitars, vibraphone shimmer, and hypnotic percussion—but everything feels just slightly off-center, like a memory slipping out of reach. There’s a tension beneath the beauty, a sense that something unseen is moving just beyond the music. Each track unfolds like a scene, contributing to a larger atmosphere that’s immersive, cohesive, and quietly haunting.

What sets Haunted Bossa Nova apart is its intention. This is not nostalgia for nostalgia’s sake—it’s a deliberate evolution. Creepxotica honors the lineage of the genre while pushing it into more mysterious territory, blending tropical warmth with ambient unease and cinematic depth. The result feels less like a throwback and more like a lost soundtrack—discovered, not created.

Sonically rich and meticulously arranged, the album invites deep listening. Every tone, every pause, every echo has purpose. It’s exotica for those who crave mood over kitsch, atmosphere over imitation.

For listeners drawn to the edges of jazz, lounge, and ambient soundscapes, Haunted Bossa Nova offers something rare: a fully realized world that lingers long after the final note fades.

With their ever-mutating brand of jazz-and-country-laced punk, Opus Kink have always cut a singular figure in a saturated landscape. Making their name with incendiary, cult-like live shows, the band - formed in Brighton (UK) in 2017 — has developed a sound as elusive as it is recognisable. Underscored by a formidable horn section and ragged, sardonic delivery, the band bear passing resemblance to post-punk and no-wave acts like The Pop Group, Birthday Party and Lounge Lizards, but it’s the weaving of older, more traditional influences - choral, folk, country, Latin, Weimar cabaret, cruise-ship-crooning - into the fabric of their music that sets them apart. Their highly anticipated debut album 'The Sweet Goodbye' is set for release on 31st July 2026 via So Recordings and follows a series of EPs and singles which have earned acclaim from NME, DORK, DIY, CLASH, SO YOUNG, BBC Radio 1 and playlisting on BBC Radio 6 Music. The album is produced by Grammy award-winning producer and mixer Craig Silvey (Arcade Fire, Florence & The Machine, Baxter Dury, REM, Kronos Quartet, Sam Fender), with album track 'The Head Tree' featuring The New Eves (No.1 Independent album in 2025). Opus Kink brings their alluring live show to audiences around the UK and Europe later this year, including a headline show at London's 2,300-cap venue o2 Kentish Town Forum, while the Summer sees them supporting The Libertines at Rochester Castle, Kent. TRACKLISTING A1. Come Over, Do Me Wrong A2. Will It Come For You? A3. I'm A Pretty Showboy A4. The Sweet Goodbye A5. Peckham Nocturne B1. I Have To Shine My Sunday Shoes B2. The Head Tree (ft. The New Eves) B3. 448C (The Colour of Love) B4. Crucify! B5. Oh, Irony QUOTES - ?"Horn-fuelled filth-funk, where punk and jazz combine in grimy circumstances." - NME - "One of the UK’s most exciting new bands?...A raucous, intense blast of guitar pop...as equally anxiety-inducing as it is sublime." - C?LASH - "Barnstorming, infectious" - Steve Lamacq, BBC 6 Music - "One of the most enjoyable genre fusions I've ever seen." - Nels Hylton, BBC Radio 1 - "(Their) ferocious live performances have earned them a reputation as? one of the best live bands in the country?." - So Young

With their ever-mutating brand of jazz-and-country-laced punk, Opus Kink have always cut a singular figure in a saturated landscape. Making their name with incendiary, cult-like live shows, the band - formed in Brighton (UK) in 2017 — has developed a sound as elusive as it is recognisable. Underscored by a formidable horn section and ragged, sardonic delivery, the band bear passing resemblance to post-punk and no-wave acts like The Pop Group, Birthday Party and Lounge Lizards, but it’s the weaving of older, more traditional influences - choral, folk, country, Latin, Weimar cabaret, cruise-ship-crooning - into the fabric of their music that sets them apart. Their highly anticipated debut album 'The Sweet Goodbye' is set for release on 31st July 2026 via So Recordings and follows a series of EPs and singles which have earned acclaim from NME, DORK, DIY, CLASH, SO YOUNG, BBC Radio 1 and playlisting on BBC Radio 6 Music. The album is produced by Grammy award-winning producer and mixer Craig Silvey (Arcade Fire, Florence & The Machine, Baxter Dury, REM, Kronos Quartet, Sam Fender), with album track 'The Head Tree' featuring The New Eves (No.1 Independent album in 2025). Opus Kink brings their alluring live show to audiences around the UK and Europe later this year, including a headline show at London's 2,300-cap venue o2 Kentish Town Forum, while the Summer sees them supporting The Libertines at Rochester Castle, Kent."Horn-fuelled filth-funk, where punk and jazz combine in grimy circumstances." - NME - "One of the UK’s most exciting new bands?...A raucous, intense blast of guitar pop...as equally anxiety-inducing as it is sublime." - C?LASH - "Barnstorming, infectious" - Steve Lamacq, BBC 6 Music - "One of the most enjoyable genre fusions I've ever seen." - Nels Hylton, BBC Radio 1 - "(Their) ferocious live performances have earned them a reputation as? one of the best live bands in the country?." - So Young

Emerging from the shadows, Audio-Unknown is a vinyl-only imprint built on anonymity, intention, and pure sound. No names, no faces, no algorithms — just carefully crafted records designed to be discovered without preconceptions. Every release strips away identity to refocus attention on what matters: the music, the texture, the moment.

This is not a label driven by hype or visibility. It exists outside the cycle — no digital platforms, no previews, no tracklists. Each record is a closed object until the needle drops.


AUDIO-UNKNOWN 001

The first transmission.

An unnamed artist.
Untitled tracks.
Uncompromising direction.

AUDIO-UNKNOWN 001 delivers a tightly curated selection of cuts that move between tension and release, precision and rawness. Built for deep systems and attentive listeners, this debut sets the tone: functional yet elusive, minimal yet charged with intent.

Pressed on vinyl only. No repress guaranteed.

You don’t follow this — you find it.

born (literally) in fire, soma flared briefly as the alchemical pairing of two unique and dynamic musicians. david thrussell and pieter bourke met through mutual friends in the artistic melting-pot of early 1990s elwood, melbourne, australia. bourke was an integral member of the gothically ambient eden, thrussell frontman of anarchic industrial combo snog. both admired each others work, and though some considered them an unlikely combination, something rather potent was brewing which drew them inexorably together.

initially bourke joined snog live and then in the studio, contributing mightily to their epic second album ‘dear valued customer’. as a natural result of their friendship and muse, thrussell and bourke instituted their own project, soma, to explore the intersections of arcane and mysterious technologies. the first soma album “hollow earth” was released to acclaim.

soon after, thrussell was awoken by a 3am knock on his door. bourke was now homeless - the result of a devastating fire that had just torn through his apartment and studio - and he needed somewhere to sleep. this is when work on ‘the inner cinema’ began, with bourke and thrussell ensconced in the same dwelling, able to write and record around the clock (often only leaving to plan the next session while dining at local vegan eateries).

at the time thrussell was obsessed by the testosterone bravado and haunting alienation of ‘spaghetti-western’ theme songs, while bourke brought his love of all things percussive and the other-worldly atmospherics of arvo pärt (with the outer-space dub of king tubby) to the mix. together, on a diet of blood-plum sago, fortean times and lingering smoke fumes, they concocted their dadaist brew.

magical and unforgettable, ‘the inner cinema’ stands apart and outside of the musical mainstream. since its 1996 release the album has developed a mythical reputation and is spoken of in hushed and adulating tones among acolytes of atmospheric and electronic music. you hold in your hands a lovingly remastered deluxe reissue of this sonorous gem.

time marches on, and after a few more sporadic soma recordings bourke and thrussell moved on to other pastures. bourke would work with dead can dance, lisa gerrard and hollywood auteur michael mann, as thrussell toured regularly with snog and black lung, cut some interesting soundtracks and birthed the idiosyncratic omni recording corporation.

expelled from its fiery crucible, this dark jewel of sound, this soundtrack of the mind, has lain in the soft earth awaiting rediscovery. fluid metabolic rhythms and breathy washes of timeless melancholy pulsing, inviting, in the warm soil. now is your chance.

Sarin Assault Hardcore Music remixed by friends of him : No progressives. No Easy Tricks. Only good Hardcore work inthere.

Dark thick Hardcore. No rest, no peace.

Girls is Princess Nokia at her most fully realized, a bold celebration of femininity in all its power, vulnerability, and duality Blending hip-hop and dreamy pop textures, the album moves between confession and high-gloss attitude, anchored by standout singles "Drop Dead Gorgeous," "Medusa," and "Blue Velvet," each capturing a different facet of her sonic and emotional range.

Superhero? Supervillain? Super WHAT? CZARFACE & MF DOOM's newest team-up record Super What? is, much like the Avengers' arch-enemy Thanos...inevitable (and all-powerful!).

The icon MF DOOM unleashes his wizardry and wordplay throughout the record, while CZARFACE (bolstered by the legendary Wu-Tang Clan's Inspectah Deck and Esoteric) slash through each of the Czar-Keys' produced tracks as the team raises the bar on their previous LP, Czarface meets Metalface (2018). Featuring golden-age superhero DMC (of RUN-DMC) and Hieroglyphics' leader Del The Funky Homosapien, with art by longtime CZARFACE co-creator Lamour Supreme, this album will bring all
the thrills of a cosmic summer blockbuster.

Recorded and slated for an early 2020 release, and paused while COVID raged, this collaboration of masked men is finally finding its way to you on all formats.

North bangerz !

DAVID THRUSSELL is a musician, mystic, writer and accelerationist. notorious for his cynical, satirical and conspiratorial musings as SNOG and BLACK LUNG, what is less known is that thrussell has a deep and abiding interest in the esoteric and occult. THE REIGN OF DEAD MATTER is thrussell's purest and most essential recording. it is ritual music - music recorded through ritual practice and for the practice of ritual. designed and built to be played loud in the cathedrals of nature, reverberating through ancient forests and secret valleys. it is the sound of the dying cosmos reborn - life celebrated through sacrifice, destruction and renewal.

ONE MUST FORGET, the post-industrial polish/french alignment of MK (michał kiełbasa of whalesong, lugola, and harmony of struggle) and enigmatic female vocalist EA, emerges as a singular force of cold minimalism and unfiltered emotional intensity. rooted in classic industrial aesthetics yet fiercely contemporary, the project rejects digital sterility in favor of raw hardware and tactile analog decay. their debut album, PILLARS OF SHAME, manifests as a terrifyingly elegant monument to human fractures, functioning as a severe, ritualistic purification for the disillusioned through what is defined as angstpop.

the sonic architecture of the record balances suffocating minimalism with mechanical violence, where hypnotic, industrial pulses hit with the weight of heavy machinery. shards of piercing feedback and raw white noise tear through the compositions, yet beneath this abrasive exterior lies a seductive, deeply unsettling undercurrent of melancholic melodies. EA’s volatile vocal presence collides with MK’s suffocating grim architecture to create a psychological landscape of collapse and introspection.

A melting of Tribal Indus and Noisy pop. Very nostagic sounds with a clear progression. NICE ONE !

Telepherique is a very old German Noisy project. But, with this record they propose something really ambientish, quiet and space. 3 of the 6 tracks on the vinyl are into a non-beat waves stuff, the 3 others ones are downtempowed beat and shaped with thin electrance sounds.

ARCA unfolds as a modern parable, where the ancient biblical plagues become subtle echoes of the afflictions we have created. through ten distinct compositions, it explores the human shadows - hope and fear, violence and greed, resentment and perfectionism - that we cast upon the world and upon ourselves, crafting a fragile, fractured existence. each track serves as a mirror reflecting our flaws and contradictions, inviting listeners to confront the quiet turmoil within and around us.

amidst this sonic journey, the music becomes a space for reflection and reckoning, gently urging us to acknowledge these plagues not as distant curses, but as intimate truths. it is an invitation to recognize our own power offering a path toward redemption and renewal in the turbulent landscape we call home.

Excellent dancefloor Hardcore. A rave masterpiece !

Noisy Hardcore/Hardtek. Harsh and kicking.

'Where the Smoke Goes captures the conscious and unconscious of Johnny Coley in duet between 2020-2024 AD. Alabama-born, Marseille-based artist Turner Williams Jr. wraps a selection of his dear friend Johnny’s penultimate compositions in arresting tone poems.
'The music buzzes and hums with distant trains, trembling strings, and lapping water, haloing our protagonist in a humid glow as he considers whether horses can live to 70 years old, cigarettes potent enough to knock you on your ass, and orchids facing the wrath of winter storms.
'This work began in the first Covid spring, as Johnny's advancing multiple sclerosis gave way to a permanent domestic confinement and a final period of prolific creativity. Johnny braved the toxic gales of social media to share his thriving poetry and visual art practice and to keep in touch with friends like Turner, who had recently moved abroad. For the first time, Johnny recorded himself, sending Turner fresh poems, day and night.
'Taking cues from late era Coil and the operas of Robert Ashley, Turner approached these recordings both as language and pure sound, arranging accompanying mosaics that emerge as much from Johnny’s unseen text as his mercurial drawl. Tracks draw from Turner’s solo practice as well as sessions including Henry Birdsey of Old Saw, members of the French underground (Manoir Molle, Loto Retina, Mona Assayag) and close Birmingham collaborators (Jasper Lee, Jimmy Griffin, Ladonna Smith). The voice is parsed and played as an instrument and each poem becomes a score.
'There is Johnny’s poetry and Johnny’s voice. These are two independent yet interwoven instruments. For Turner, Johnny's vocabulary, cadence, and timbre carry all of the contradictions that he writes about. His work is a dialogue of rich contradictions. "He plays with Southern American vernacular speech in his poetry while embodying it with his speech, creating a zone of emotional frisson. He loved combining opposites. Rough yet soft was one of his favourite descriptors", Turner recalls, "That was Johnny. ” Upon hearing the completed record, Johnny likened it to "a beautiful wood box, that when you open it there are fabrics shot through with silk threads and sharp fall woods smells - supporting and decorating the poems that fall out of them. ”
'This record captures something unconscious, atmospheric, and gives it unexpected materiality. Smoke that you can feel like grass under your feet. Stars that you can touch like a lover. Meeting for the final time in the summer or 2025, the time for words had passed so they just held hands and listened to the album opener Stargazer in silence as Johnny drifted off to sleep.'

Bidule 2.0 is an unique reinterpretation of Pierre Henry’s little-known sound heritage combined with ErikM’s original composition. The album explores previously unused raw materials, transformed through ErikM’s highly digital approach, balancing fixed composition and unexpected sonic events, a singular sonic experience where where historical archives and contemporary creation converge.

"Bidule 2.0 is a composition by ErikM that revisits a selection of the unused sonic heritage of composer Pierre Henry, covering the period from 1950 to 1974, sourced from the Son/Ré studio and digitized by the BnF (Bibliothèque nationale de France). Over the decades, Pierre Henry and his team accumulated a vast collection of sonic materials from their studio research.This sound library, recorded on analog tape, is a testimony to the recording techniques of that era — including the quality of microphones and recording media, as well as the acoustics of the recording spaces — all of which define the sound of a time. Not wanting to create a remix from the composer’s iconic sounds, I chose instead to work with selections of raw material from unused recording sessions, 168 sequences ranging from one to twenty-two minutes each. Isabelle Warnier and Bernadette Mangin provided me with sessions of prepared piano, series of electronic sounds, feedbacks, and voice recordings. Pierre Henry’s analog sounds were, for the most part, processed through successive stages (up to five generations of transformation), using a custom electronic device: Idiosyncrasie 9.3, built on Max/MSP and Lemur." - ErikM

Ancient Infinity Orchestra return with their third album, It’s Always About Liberation, a new record that deepens the vision of their acclaimed recent work while moving into darker, more searching emotional territory.

Conceived as a partner to It’s Always About Love, this new body of work shares its predecessor’s generosity and spiritual openness, but carries a different charge. Where the previous album focused on healing and warmth, It’s Always About Liberation is largely animated by struggle, perseverance and the desire for transformation while still offering a path to betterment. It is music made in full awareness of a fractured world, yet unwilling to surrender to it.

Like It’s Always About Love the album title draws inspiration from words spoken by Moor Mother during their 2024 We Out Here festival performance that deeply affected bandleader Ozzy Moysey: “It’s always about love / It’s always about liberation.” Those twin ideas became a framework for the two albums Ancient Infinity Orchestra were creating. If one album explored love as repair, this one explores liberation as movement, continually striving toward freedom, clarity and deeper connection.
The 16-member ensemble is led by double bassist and composer Ozzy, with a distinctive line-up that explains their sound better than any artificial genre divisions: two double basses, harp, saxophones, clarinets, violin, viola, cello, oboe, flutes, mandolin, congas, piano, drum kit, with bells, shakers and other percussion instruments scattered on the floor of live sets and recording sessions, ready for members to use whenever the spirit takes them.

This orchestration, and the overlap between membership and friendship, gives Ancient Infinity Orchestra a sound that is at once expansive and intimate, earthy, and cosmic, constantly shifting yet grounded in shared intention. The attention to intention and the inviting sonic world connects the music to artists ranging from Alabaster dePlume to Gondwana label boss Matthew Halsall.
Gradually, the Orchestra became a grounding force in the emerging jazz scene in Leeds, bringing together individuals from different musical backgrounds co-founding the Café Oto-inspired Limpet Club or co-hosting the monthly Sonic Plunge (‘a platform for adventurous experimentation’) and co-founding the Leeds Improvisers Orchestra. Additionally, the ensemble acted as a bridge between musicians in Brighton and Leeds, after Ozzy spent a stint back on the south coast between 2020 and 2022.

Their debut, River of Light, was a vibrant celebration of togetherness recorded in three days and released on Gondwana in 2023. A Maida Vale session for Jamie Cullum’s BBC Radio 2 show brought them to a broader audience, as did bookings at North Sea Jazz Festival and Gretchen, Berlin. Since then, Ancient Infinity Orchestra has become a by-word for music that could be framed as ‘spiritual jazz’. Whilst Ozzy avoids the phrase when describing his music, he’s crystal clear that his heroes are associated with those words – citing Art Ensemble of Chicago, Pharoah Saunders, Coltrane (Alice and John), and Don Cherry as major influences.

Across trance-like meditations, rising grooves, moments of grief and collective uplift, It’s Always About Liberation speaks to the battle within the mind as much as the inequalities of the wider world. It acknowledges the darkness but lets connection and creativity have the last word Ancient Infinity Orchestra is a gathering of voices, traditions, and energies converging into something timeless. Their music is a journey inward and outward, always reaching toward the universal.