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The late great Sandeeno passed away just too soon as many other reggae artists. It is our great pleasure to reveal the song originally recorded a decade ago at the Backyard studio UK (at The Disciples' studio), and waiting for completion since then. Belgium’s top producer Martin De Ronne aka Unlisted Fanatic did his great job on production and mix, adding notes of Moonshine Horns and some guitar touches by Kingston Echo. The result is here for you on a crisp 7”45 vinyl disc.

"Instant Holograms On Metal Film" ist das erste Stereolab-Album seit 15 Jahren mit 13 neuen Studioaufnahmen. Eingespielt wurde das Werk von Laetitia Sadier, Tim Gane, Andy Ramsay, Joe Watson und Xavi Muñoz, mit Gastbeiträgen von Cooper Crain und Rob Frye von Bitchin Bajas, Ben LaMar Gay (Komponist/Jazz-Multiinstrumentalist), Holger Zapf (Cavern Of Anti Matter), Marie Merlet (Monade) und Molly Read, und weiteren. Die Band wird das ganze Jahr 2025 über live spielen - in Europa, Nordamerika, Südamerika und Großbritannien. Das neue Album folgt auf "Not Music" aus dem Jahr 2010, remasterte und erweiterte Neuauflagen von sieben ihrer Alben im Jahr 2019 sowie die Bände 4 und 5 der "Switched On"-Reihe, die 2021 bzw. 2022 erschienen.

Album "My Life - Preisner's Music is a live recording from a concert held in November 2024 in Bielsko-Bia?a, marking the occasion of Zbigniew Preisner receiving Honorary Citizenship of his hometown, Bielsko-Bia?a.
This year, on May 20th, Zbigniew Preisner will celebrate his 70th birthday, and the album is a his gift he made to himself.

The album includes 17 iconic themes composed by Zbigniew Preisner among others from Three Colours, Decalogue, The Secret garden, The double life of Veronique, Damage, When a man loves a woman, Eminent Domain, Aberdeen, Mouvements du desir, Lost and Love, but also Lacrimosa from Requiem for my Friend in the interpretation of Dominik Wania.

Few words from Zbigniew Preisner:
"For years, I've been thinking about reducing my orchestral themes to a single instrument. As a composer, I pay special attention to melody-each of my compositions always has melodic themes.
Ten years ago, I met Dominik Wania, now a jazz star and a brilliant pianist who records albums for ECM. I knew he was the perfect person to bring my idea to life.
The concert you are about to listen to is the result of our collaboration, which has given me great satisfaction. Dominik Wania's interpretation went beyond my wildest expectations. I hope you will enjoy the album."

Reviews of the album:

"When I teach the films of Krzysztof Kieslowski at Columbia University, I always mention that Zbigniew Preisner is one of the world's greatest film composers. He has many fans among my students. And now there is a new album, a haunting distillation of his movie scores into solo piano performances. It demonstrates how he is the master composer of the tritone, trill and tremolo. Listening to his compositions in their own terms - separate from the cinema screen - foregrounds his distinctive and often plaintive melodies.
Because orchestration, lyrics and narrative function are absent, the listener can focus on the richness of the "standalone" music, beautifully performed by Dominik Wania. For example, the memorable score from Kieslowski's "Double Life of Veronique" now feels more ominous than lyrical. From "Mouvements du desir," the tinkling piano sounds grow into cascading notes that envelop the listener. Whether classical (as in "When a Man Loves a Woman" and "The Waltz from The Funeral") or jazz ("The Secret Garden"), the music reigns when there is no movie screen to distract us. This is equally true of the minor-key gems like "Dekalog" and the briskly upbeat "Transient from Twilight" (which invokes for me the joy of Jon Baptiste's compositions).
In addition to Preisner's scores, the mournful "Lacrimosa" is stripped down from a public performance - which included a choir - to a more personal evocation of grief via solo piano. Finally, listening to "Lost and Love" suggests that if Frederic Chopin and Keith Jarrett had an heir together, it would be Zbigniew Preisner".
Annette Insdorf, Film Professor Columbia University

The Ramones were punks before punk rock was even invented. With their catchy, sing-along tunes, iconic hair styles and outfits, Joey, Dee Dee, Johnny and Tommy rewrote rock history and are now, as part of the first wave of US punk, firmly considered part of the subcultural world heritage. In the DUB-cultural world, on the other hand, their footprint has been pretty slim, particularly if one considers their stomping, three-chord songs, instantly recognizable chants (“Gabba gabba hey!”) and laconic humour. There are a few reggae and Latin versions of their songs online, but never before have the Ramones been honoured with an entire album in early reggae style…until now, bang on time for the band's 50th anniversary in 2024. The label Echo Beach, a bit of a specialist for missions such as these with a string of releases including “Bad Brains in Dub”, “Dubby Stardust”, got together with André Meyer (production, bass) and Manougazou (production, guitar). Both were part of the 2008 Echo Beach New Wave/Dub project DubXanne and were involved in the production and subsequent live shows. Also back in the team is keyboarder and DubXanne mastermind Guido Craveiro, who plays Hammond organ and piano on half of the tracks. The other two additions to the core team are singer and all-round instrumentalist Sebastian Sturm and drummer Raul Pfeffer. Together they homed in on the 11 most iconic Ramones three-minute-singalongs, including "Blitzkrieg Bop", "I Wanna Be Sedated", "Pet Sematary" and "Rock'n'Roll Highschool", and treated them to a reggae make-over. The whole process was kicked off by a slightly off-beat question (reggae music does that to you): What if Joey, Johnny, Tommy and Dee Dee had gotten together not in NYC, but in Kingston? And then stepped up to the mic alongside local singing and deejay greats? In musical terms the answer is surprisingly plausible and the line-up is sensational, even for a label like Echo Beach with its unrivalled connections. From up-and-coming youngsters to living legends, everyone is included, albeit with a focus on the elder statemen and stateswomen: the vast majority of the guests are over 60 and look back on deeply impressive careers! The artists come from Jamaica, the USA, the UK and Germany. All contributed one or two songs, and all of them tackle the songs in pairs with infectiously good humour, transforming legendary punk rock bangers into unpredictable dub tracks. Ramones’ classics such as "Blitzkrieg Bop" with its trademark battle cry "Hey! Ho! Let's Go!", "Sheena Is A Punkrocker" and "The KKK Took My Baby Away" are slowed down and underpinned with roots and rocksteady riddims. It almost goes without saying that the lyrics have been adapted to everyday Jamaican life with a great deal of fun and creativity. And amidst all the icons of early reggae, the Ramones also make an appearance: in the opening track "Pinhead", for example, we learn that the Ramones did actually listen to reggae and had even been planning a reggae album. Features guest vocals from Susan Cadogan, Ranking Joe, Ranking Ann, Prince Alla, Welton Irie, U Brown, Earl Sixteen, Dennis Alcapone and more

Record is limited to 100 copies, numbered on sleeve

Spectrums Data Forces returns to New Flesh Records 15 years after his debut on the french label. Following the "Exodus"(NF02) and "Reencarnacion" (NFLTD05) releases, Granada based Jose Maria Moreno Vega proudly presents the "Trinity EP", a collection of groundbreaking mayhems characterized by powerful basslines, intricate drum programming, and dystopian atmospheres.
Pounding electro "form900" opens A side with a captivating track where arpeggiated melodies fuse into retro modern vibes in SDF typical signature. The invasion has begun!!
This well-crafted tune comes with a devastating remix from NF mastermind. Umwelt unveils of pure distinctive and instinctive analog beast, merging techno to electro-driven rhythms. Merciless!
B side kicks off with outstanding "Mind restore". Written under SDF techno side project C-System, this 4/4 monster of a track alternates between eerie atmosphere, IDM touches and futuristic sororities.
Last but not the least "7H3 F4M1LY" from 7053M4R14 (another Spectrum Data Forces moniker) reveals subtle and crystal clear stabs over groovy yet dancefloor broken rhythms.
Rarely has a release ever stuck so much to the world of New Flesh Records. Rush on it!

BED ist eine neue in Berlin gegründete Band, im Kern ein queeres Musikprojekt mit einem Sound, der in Shoegaze, Dream Pop und Post Punk verwurzelt ist. BED's Texte sind traurig und sexuell, während sie Fäden von Verletzlichkeit und Begehren verweben und so ein Werk schaffen, das den normativen kreativen Ausdruck in Frage stellt. Dies zeigt sich auch in den Vocals, die absichtlich geschlechtsneutral sind und eine fließende Identität darstellen. In den Kompositionen von "everything hurts", dem Debütalbum der Band, eineComing-of-age Story, in der es ein Gefühl geht, ein bestimmtes Alter im Leben zu erreichen, eine zweite Jungfräulichkeit in ihrer musikalischen Praxis zu verlieren, Unschuld zurückzugewinnen und die Wunden des Erwachsenenlebens zu pflegen. Es gibt narrative Aspekte, die HörerInnen fesseln, Interludes, die ein Geheimnis flüstern und der Erzählung des Albums Tiefe verleihen. "everything hurts" ist ein zartes und doch raues, lautes und gleichzeitig dramatisches Werk, das einem sensiblen Publikum gehört - jemanden, der auf der Suche nach tief empfundenen Melodien und autobiografischen Geständnissen ist, gepaart mit post-produzierten vocals und druckvollen elektronischen Beats.

Übercode Ouvre is the eagerly awaited album from Panzerballett, a unique jazz-metal quintet that fuses intricate metal riffs with jazz improvisation, humor, and high-level musicianship. The album pushes genre boundaries, featuring contributions from legendary drummers Virgil Donati, Marco Minnemann, Anika Nilles, Morgan Ågren, and others. It offers a thrilling listening experience for jazz fusion and progressive metal enthusiasts alike. Included are covers like "Bleed" from Meshuggah, "Alien Hip Hop" from Virgil Donati; re-imaginations of classical pieces like Beethoven's "Ode to Joy" and Vivaldi's "Summer"; as well as originals like "Seven Steps To Hell". They all showcase the band's blend of complex rhythms, virtuosic drumming, and unconventional arrangements. The album's diversity makes it stand out in the progressive metal and jazz scenes. Panzerballett, led by guitarist Jan Zehrfeld, has earned a cult following for their "Headbanging with Brain" approach to music, delivering not only technically advanced compositions but also humorous, organic reconstructions of well-known pieces. Their live performances are legendary for their energy and complexity, and Übercode Ouvre is poised to continue that legacy with tracks that balance intense technicality with an accessible groove. Übercode Ouvre is a musical journey and a perfect workout for developing brain-muscle connections with its meticulously constructed beats. If you want to experience one of the most innovative bands in progressive jazz and metal, having this album is a chance to own a piece of modern music history that challenges the boundaries of what metal can be and how jazz can speak to the heavy music world. Übercode Ouvre is the highly anticipated jazz-metal album by Panzerballett. A world-class line-up pushes genre boundaries more than ever. FFO The Aristocrats, Virgil Donati, Marco Minnemann, progressive metal etc, features legendary drummers Virgil Donati & Marco Minnemann

Originally released in 2018 on CD and digital stores, Los Angeles emcee Pawz One and Dutch producer Robin Da Landlord release their album "Sell Me A Dream: Flowstalgia" on vinyl.

After meeting on tour in Europe, Pawz One and Robin Da Landlord began working on their first single "It's Like That". Both the single and video were well received and the two went back to work on a full project. Their efforts blend creating a sound reminiscent of an era when style and substance were supreme. With a collaborative mix of sharp rhymes schemes and gritty drums, Pawz One and Robin Da Landlord are here to counter the trends on "Sell Me A Dream". The album is entirely produced by Robin Da Landlord and includes guest features by Prince Po of Organized Konfusion, MED and VegaMonster.

Jones hat mit "Piano Solos For Friends And Loved Ones" (2003) und "Vol. 2" (2007) bereits zwei Solo Piano-Alben veröffentlicht, die es physisch nur bei Konzerten oder über den eigenen Webshop gab. Das vorliegende neue Werk – auf CD und LP jeweils auf unterschiedlichen Instrumenten eingespielt – erscheint in beiden Versionen mit einem Poster mit Sleevenotes vom Künstler. Ein QR-Code auf dem Poster gewährt Zugriff auf ein 36-Seiten Booklet und Notenblätter zu 5 der Songs.

Following ‘No Closer To Heaven’, The Wonder Years released ‘Sister Cities’, their most transformative work to date.
Recorded at Sunset Sound with Joe Chiccarelli (Manchester Orchestra, The Shins, Spoon) and Carlos de la Garza (Jimmy Eat World, Paramore), ‘Sister Cities’ is an album about distance, connectivity and the way humanity towers above boundaries.

What The Wonder Years do so effortlessly on ‘Sister Cities’ is no small feat; through poetic lyricism, ambient guitar swells and Jimmy Eat World-levels of crashing momentum. On ‘Sister Cities’, they take a massive, unexpected leap forward both sonically and thematically, now speaking confidently to the world at large.

Vocalist Dan Campbell on the inspiration behind ‘Sister Cities’: “It started with journals and photos. We started by documenting. We didn’t know where it would go or if it would go anywhere at all, but we wrote it all down. We took photos of everything. And
then when it came to put it altogether, we had this catalog of how we felt and what it looked like and sounded like and we built from there. Figuring out what the moments were that stayed with me the most. When did I feel most connected to the people around me and why? What did being in this place during this moment teach me? It was a difficult year personally and globally and we experienced that through this lens of being everywhere but home, kind of floating through places and seeing how being there altered our perspective.”
The album is housed in a 200-page, 13”x13”, full-colour book that includes photos, artwork, journal entries and lyrics. LP pressed onto Shinjuku Street Splatter coloured vinyl.
An overpowering sense of earnestness and vulnerability.” - Pitchfork
There is a lifetime yelled in every punk song, captured in the desperate and catchy ‘Sister Cities’.” - NPR MusicFrom the first notes, it’s already clear that The Wonder Years are stepping into uncharted territory.” - UPROXX

Limited Transparent Green Vinyl 7". Back in 2018 our friend and incredible artist Omar "El Oms" Juarez introduced us to Marie and Necalli, who were then going by the name Thee Lakesiders. Omar saw potential in the duo and really wanted to get them in the studio with Big Crown co-owner and producer Leon Michels to see what they would make. With Leon handling production and The Shacks as the backing band, they cut a tune called 'Parachute' that would not only go on to become a classic, but also inspire a whole musical movement within a new generation. The original pressing of the 'Parachute' 7" has sold somewhere in the tune of 10,000 copies and the music video has been watched 15 million times and counting. On the 7 year anniversary of the release, we decided to do a special limited edition run of the classic. The new record has 'Parachute' on the A side and 'Parachute (Instrumental)' on the B side, is pressed on transparent green vinyl, and comes in a picture sleeve with original art by El Oms. We are only pressing 1000 copies of the record and there will be no represses.

What We Have Now is a love-letter to New York City, written by a breaking heart weathering the deep indigo night of a soul realizing dawn will release it
from the dried tears of youth. There is no brighter or harsher wasteland of self-discovery than the one in which we see that childhood is a dream and
the now is something we will have to fabricate alone, from those broken mirror shards of memories in service to a world that does not seem to know
how to care for us any longer.
Full of feeling and shepherded by Clara’s intensely honest vocals, these songs transcend place and time to share a universe of wonders beneath the
hard-wrought questioning of the deeply human condition we are all living within.
Clara Joy is a songwriter full of melody and vision. These home recordings were made by Clara in NYC between 2020 and 2024. The songs were then
arranged, mixed & mastered by Kramer in December 2024 in his studio in the mountains of North Carolina.
Clara is at the dawn of her career and Shimmy-Disc is proud to bring this amazing work to the world. This creation is a beacon on the murky horizon of
this Pyrocene age landscape we find ourselves traversing.

"I loved Julia Sabra’s Natural History Museum—it was released at the end of the year and is quietly devastating. Her lyricism and sensitivity in timbre and harmony is akin for me to the great Linda Perhacs. The songs are intimate and infinite feeling at the same time—I love the raw and soft poetic settings of love and death." Julia Holter (Best album 2024- Fader)

“This album is a collection of songs written between 2020 and 2024 in Beirut. I wanted to capture them the way they were written by keeping the rawness and fragility intact, like the late-night voice memos I send to my bandmates as soon as I have a first draft of a song. Fadi and I decided to record them live on tape, with no overdubs, barely any effect - with all the imperfections. Most of the tracks were done in one take only. Some were recorded in the studio, and some in the church I grew up going to every summer in Dhour Shweir.

This is a collection of songs that slipped through the cracks, and some of the most personal ones I ever wrote. Songs about the port explosion, its aftermath, picking up the pieces and trying to move on, coming to terms with the past, regret and nostalgia for a childhood that lives only in memory, the uncertain future, learning to love, getting married, watching a genocide unfold on my phone screen, having it fill my every waking moment, imagining a better send off for all the dead, processing the violence and terror, and finding solace in community.
These songs would’ve probably stayed in my “songs in limbo” folder on my laptop had it not been for Pascal and Fadi, who pushed me to release them. And for this I’m eternally grateful.”









[h] 8.Dis, quand reviendras-tu? [Barbara cover]

These ultra heavy industrial metal tracks were recorded over two sessions at the iconic Maida Vale studios: 28th April 1991 and 30th March 1993 and were sourced directly from the BBC Archives (with thanks), with careful remastering for CD and vinyl. The 1991 session was recorded during the same period as "Industrial" (Deaf Records / Peaceville), with the 1993 session recorded around the time of "Desensitized" (Earache). "If you look on your PITCHSHIFTER albums you will see that we always credit John Peel. He was instrumental in getting the band out there and often played our music on the radio when no one else dared. The 'Peel Sessions' we did were a great honour and every time I met John he was always such a great guy... a legend" (JS). Founded in Nottingham in 1989, PITCHSHIFTER's early style was heavy industrial metal, being cited as one of the originators of the genre along with Godflesh - a style which they termed "Death Industrial". These sessions and albums mark the end of that classic period, before a shift towards the more commercial, beat-driven Industrial style from the mid-90's onward that they are still known for.

These ultra heavy industrial metal tracks were recorded over two sessions at the iconic Maida Vale studios: 28th April 1991 and 30th March 1993 and were sourced directly from the BBC Archives (with thanks), with careful remastering for CD and vinyl. The 1991 session was recorded during the same period as "Industrial" (Deaf Records / Peaceville), with the 1993 session recorded around the time of "Desensitized" (Earache). "If you look on your PITCHSHIFTER albums you will see that we always credit John Peel. He was instrumental in getting the band out there and often played our music on the radio when no one else dared. The 'Peel Sessions' we did were a great honour and every time I met John he was always such a great guy... a legend" (JS). Founded in Nottingham in 1989, PITCHSHIFTER's early style was heavy industrial metal, being cited as one of the originators of the genre along with Godflesh - a style which they termed "Death Industrial". These sessions and albums mark the end of that classic period, before a shift towards the more commercial, beat-driven Industrial style from the mid-90's onward that they are still known for.

K.K. Hammond is a slide guitar playing songstress living in the backwoods of the UK. She takes her influence from the Delta Blues players of the 1930s, the roots music of Appalachia and its ancestors fusing the vibe of the swamp with a sprinkle of Southern gothic horror, K.K. writes traditionally inspired roots music but twists it her own unique way for an untapped sound that appeals to contemporary music listeners as well as classic blues fans.

K.K's music has garnered critical acclaim worldwide as well as airplay on a multitude of blues radio shows internationally. This includes the Cerys Matthews BBC Radio 2 Blues Show and the award winning Gary Grainger Blues Show.
A video of K.K. playing a slide guitar cover of "Nothing Else Matters" with her good friend Kaspar "Berry" Rapkin accompanying her on banjo was shared by Metallica on their official TikTok and described by them as "Incredible"!

K.K.’s biggest success to date arose from the release of her debut album Death Roll Blues. The vinyl and CD run sold out via pre-order prior to the album's official release date. Upon its release, the album hit the #1 spot in the UK iTunes Blues chart and subsequently bagged another #1 spot in the US iTunes Blues chart. It also exceeded her expectations by breaking into the #12 spot in the mainstream iTunes charts (across all genres) and the #18 spot in the UK iTunes mainstream chart. It was also the #3 best seller of all time for an iTunes Blues album pre-sale. Death Roll Blues also enabled K.K.’s first breakthrough into the Billboard Blues Charts with a #7 position.

K.K.'s has also had some great successes with her self produced and directed music videos. The music video for Heart Shaped Box winning a multitude of awards including wins at the Video Nasties Genre Film Festival, the David Film Festival in Turkey, the Euro Music Video Song awards, the Anatolia Film Festival, The Golden Wheat Awards, as well as K.K. receiving an honorable mention at the London Director Awards.
U.K. born, K.K. took an interest in guitar, Americana and roots Blues from an early age. She spent some years exploring the back roads of the USA eventually settling in the remote, forested English Countryside, where she works her farm. A self-professed hermit living in an isolated spot in the woods, K.K. enjoys exploring the wilderness surrounding her home to seek inspiration for her song writing.

WHEN RIVERS MEET – BREAKING BOUNDARIES IN ROCK, BLUES & AMERICANA - When Rivers Meet aren’t just making waves—they’re blazing their own trail. The husband-and-wife duo, Grace & Aaron Bond, have carved out a unique sound that defies genres, fusing the raw power of blues-rock, the storytelling soul of Americana, and the heartfelt intimacy of folk. Their music is gritty, soulful, and electrifying, with Grace’s powerhouse vocals and Aaron’s dynamic musicianship creating something truly unforgettable. A huge part of their unmistakable sound comes from their dual vocal chemistry. Grace’s voice is raw, powerful, and deeply emotive, delivering every lyric with intensity, while Aaron’s vocals bring a rich, warm depth, perfectly balancing power with soul. Whether harmonising in haunting unison or trading lead vocals, their voices create a magnetic dynamic that sets them apart. Aaron’s expressive guitar work, especially his masterful slide guitar playing, adds another layer of grit and emotion, helping to shape the band’s signature sound—blending bluesy swagger with anthemic rock energy. Their breakthrough album, ‘Aces Are High’ (2023)—recorded deep in the heart of Suffolk—marked a seismic moment in independent music, launching them into the UK Official Album Charts Top 10, a first for an independent Rock/Blues band. Now, they’re ready to raise the stakes once again. Expect a bigger, bolder, and more dynamic sound, combining powerful harmonies, raw energy, and hard-hitting rock with foot-stomping Americana grooves. This album is When Rivers Meet at their most passionate, unfiltered, and intense. To celebrate, they’re bringing their explosive live show back to the stage: May 23 – Glasgow, Oran Mor, May 24 – Nottingham, Rescue Rooms, May 26 – Southampton, The Brook, May 29 – Norwich, The Waterfront - A SOUND LIKE NO OTHER – MUSIC THAT TRANSCENDS GENRES

UK death metal gods Cancer burst onto the UK extreme metal scene over thirty five years ago, & quickly amassed a strong global following over the course of their early careers which later resulted in a stint with major label EastWest under Warner Music. After a period of inactivity, Cancer returned for 2018's Peaceville debut, 'Shadow Gripped', followed up by 2025's new opus, 'Inverted World'. 'To The Gory End' was Cancer's debut studio album & was released in 1990. Along with sophomore opus 'Death Shall Rise', 'To The Gory End' became a firm genre classic with its influential display of sonic savagery containing fittingly shocking topics to match.

The album swiftly established Cancer as one of the highlights of the rising UK death metal scene alongside such bands as Bolt Thrower & Carcass. 'To The Gory End' was recorded at Loco Studios in the winter of 1989, with legendary producer Scott Burns (Death, Obituary, Sepultura) overseeing the recording & also mixing duties, which subsequently took place at Morrisound in Florida, itself synonymous with the creation of many classics of the genre. The album also notably features a guest appearance by John Tardy of Obituary on the track 'Die Die'. This edition of 'To The Gory End' marks the album's 35th anniversary & is presented on limited red galaxy vinyl.

Sparks, brothers Ron and Russell Mael, are back with their 28th album 'MAD!' on May 23rd 2025, their first release with Transgressive Records Most acts, by their seventh decade in the biz, would have slowed to a crawl, creakily playing their past hits on the heritage circuit and releasing nothing more than the occasional Greatest Hits collection. This is not the case for Sparks, who have triumphantly returned yet again, proving their resilience and relevance in a modern world with a fresh record and summer world tour to accompany it.

Sparks, brothers Ron and Russell Mael, are back with their 28th album 'MAD!' on May 23rd 2025, their first release with Transgressive Records Most acts, by their seventh decade in the biz, would have slowed to a crawl, creakily playing their past hits on the heritage circuit and releasing nothing more than the occasional Greatest Hits collection. This is not the case for Sparks, who have triumphantly returned yet again, proving their resilience and relevance in a modern world with a fresh record and summer world tour to accompany it.

Sparks, brothers Ron and Russell Mael, are back with their 28th album 'MAD!' on May 23rd 2025, their first release with Transgressive Records Most acts, by their seventh decade in the biz, would have slowed to a crawl, creakily playing their past hits on the heritage circuit and releasing nothing more than the occasional Greatest Hits collection. This is not the case for Sparks, who have triumphantly returned yet again, proving their resilience and relevance in a modern world with a fresh record and summer world tour to accompany it.

A sum greater than its individual parts, 'Look What You Made Me Do' is Ashaine White's fourth EP A rockier edge than her previous releases, the EP is drenched in distorted guitars and Ashaine's distinctive vocals. Taking influence from a large gene pool of genres, the EP walks the line between early 90s guitar driven rock, the stunning vocal tones of soul music and all with a hint of infectious pop charm.

Inspired by Abba, early AC/DC, Beefheart and the dark heart of outsider pop, The Beyond and the Better Way is a record featuring warped orchestrations, extended autobiographical rants and sumptuous performances by a collection of Glasgow's (and Ireland's) finest musicians and singers The Gorgeous Pouting Mr AR is a pseudonym for Ronan Breslin - a recording studio owner, composer and academic who teaches sound and music at The Glasgow School of Art.

Ronan comes from an Irish family of musicians, with the most notable being his brother Niall Breslin, who helmed the iconic Irish band "The Blizzards" before becoming a highly regarded mental health podcaster and now presenter on BBC Radio 3. Niall's stellar guitar playing features on many of this record's tracks. The recording will be released on the 23rd May via Strength in Numbers Records on vinyl and digital platforms and will be accompanied by an online collection of song- related essays (aka rants). The album is distributed by Last Night From Glasgow. "The songs explore OCD, politics, anxiety, grief, regret, rage, lost love, but also reflect on joyous moments that define the transition from fearful child to fuck- you adolescence and finally reluctant adulthood. The album title song 'The Beyond and the Better Way' is morbidly confessional; however, it is also a statement of resilience, positivity and optimism for the human condition. There is always a better way." - Ronan Breslin

Twelve years on from the release of their debut album This Life, Dublin indierap trio The Original Rudeboys are back to play a sold-out show in the 3Olympia Theatre in April 2025, coupled with a limited edition run of first time vinyl pressings of debut album "This Life" One could say that indie- rap trio "The Original Rudeboys" were ahead of their time. Once sniffed upon, a strong Irish accent is prominent in most breakout Irish acts at the moment (Fontaines DC, Kneecap, Gurriers, LYRA, Curtisy). The Original Rudeboys were doing this 15 years ago, and their stand-out hit 'Stars In My Eyes' was met by thousands of fans across Europe when they supported The Script, or headlined their own arena tours. The Original Rudeboys: Reunion Show in the 3Olympia this April sold out straight away which is a testament to the staying power their music still has in Ireland.

Speaking on the incredible feat, the band said; "We never thought a show was ever going to happen for us again nevermind at somewhere as prestigious as the Olympia theatre. We have played 5 of our own headline shows there but to add 1 more to the history books over 10 years on is truly a blessing and we are very grateful to everyone who made it happen, we can't wait to do it again." With the reunion show being in such high demand that it was an instant sellout, the band also wanted to give back to the fans another way. They are releasing a limited vinyl pressing of their debut album "This Life". This album was never released on vinyl before and will contain one extra bonus track - a new release from the band, hinting at what's to come. "We started in the music industry on the backend of the physical media decline but to see it come full circle and the rise in fans buying vinyl records is very promising. The magic of having something tangible as fans ourselves is not lost on us and to be able to listen back to this album with the crackle of the needle gives it an extra bit of magic we didn't know it needed.

When Das Rad toured across the North of England in September 2024, their avant progressive take on the old psych garage classic "Buzzsaw" by The Turtles proved to be a popular live number - so much so that they decided that while it might not fit on an album, it would make a great vinyl single

THEE ALLYRGIC REACTION are a fuzz'n'Farfisa-powered 60's garage punk outfit from San Diego, CA USA! While they specialize in fuzz stompahs that will move your feet, they will also melt yer mynd with minor key psych madness! They are also leaders in the emerging "protest garage" scene, with songs that address the import topics of today's over aged teen scene!They have a maraca-breaking wyld live set, but also managed to sit still long enough to record their debut LP for Soundflat Records As every band does, they argued over the title for the LP, and finally settled on one that NO ONE likes, simply, "Thee Allyrgic Reaction"! All four lads grew up in the 80s Charmkin Scene, witnessing first-hand groups like the Unclaimed, The Primates, The Miracle Workers, The Tell- Tale Hearts, The Cynics, The Gruesome, Lyres, The Chesterfield Kings, The Fleshtones and The Brood! (and about a 100 more not named here!) The boys are THRILLED with their new LP on Soundflat, which was recorded over a two day period, and required nine California burritos, three pizzas, two cases of beer, and several cans of wine.

The record features 11 original compositions, as well as their own version of their favourite UNCLAIMED-song. One of the originals is an ode to Peter Maniette of the Crimson Shadows and Wylde Mammoths. So what do they sound like? They certainly pull from the farfisa'n'fuzz blasters of the past, but also employ some 12 string, harpsichord, harp and a few other surprises. They are a little folk, a little psych and LOT of garage punk! The group records at Earthling Studios in the San Diego area, which features an array of vintage gear, including an 8- track from Sunset Sound that was used on Forever Changes. That's how you say "MO-JO"!!!

Second solo album by Arthur Satan, released on Born Bad, after 'So Far So Good', his pop solo debut, which was a pleasant surprise for fans of his notthat-garage group JC Satan 'A Journey That Never Was' is so big you'll need special furniture to accommodate this unreasonable, maximalist parade, crammed full with 1960s pop influences.

The record plays with heritage like a kid would unabashedly plan for a birthday party. No stupid treasure hunt, we're bowling with the heads of our foes, guitars are literally bleeding through the mix. T-Rex burgers, fountains of chocolate choruses dripping on Brian Wilson - shaped giant cookies: let's indulge. Each song is a musical family, each verse is an album, each riff is a title. In his Christmas gift list, Arthur probably circled absolutely every toy: his taste for completism never disappoints. He played almost every instrument, mixed the album and designed a whole graphic universe to go along with it. A visual artist by trade, also made a point of drawing a monumental fresco spreading out the fantasy landscape that haunts this album.

Piero Piccioni undoubtedly was the most “dandy” of Italian film music composers. The most stylish one, in art as in life. On the centenary of the composer’s birth, CAM Sugar celebrates his art with a compilation that draws from both his well-know and lesser-known works, alongside a precious handful of tracks that, surprisingly, have remained fully unreleased until today. The result is a journey of rediscovery of the unique, dazzling and unmistakable sound of the Turin-born composer. The silky, sensual and emotional “Piccioni's touch” can be detected in every single composition he happened to work on during his long career which spanned jazz, bossa nova, funk, disco, and orchestral music. It is a touch that gives harmony and coherence to a corpus of soundtracks that stands out as one of the most prestigious and important discographies in the world: eternal music destined to last forever, without ever sounding out of place, just like the timeless elegance of Italy and Piccioni.

''Stop'' is the emblem of Italo-Disco par excellence even if in 1983 it was inserted by Carlo Favilli and Stefano Zito on the B-side of the 12''of the nascent label House of Music. However, the song, although recorded in a hurry and with evident sound defects, is the perfect example of the musical genre that was developing in Italy in those very early 80s. ''Stop 4 Remixes'' is long-awaited answer that followers have been waiting for over 4 decades and now it lives with its own light with 4 new versions that testify how the piece was a driving force for the entire Italo-Disco movement."Pushed Up'' is the remix by Woody Bianchi, who according to Claudio Casalini (who does not allow any discussion on this matter) is the best Italian disc-jockey for the technical quality of the mixes and the artistic choice of the pieces to play. It would take a book to retrace the stages of his prestigious career. So here just a bravo' to Gino (Woody Bianchi). Ditto with potatoes for Danilo Braca who works assiduously in the clubs of the Big Apple, spinning only tracks by Italian composers and arrangers. Once again this Italian DJ-producer (Danyb is his old nickname), author of two very pregnant extensive versions: ''The Remix'' and ''Re-Visited'', shows his ability as a 'remixer', known everywhere, but especially in Ibiza especially where the DJs ((DJ Harvey included) often use his ''edits' existing only on pen drive. Among those who have madly loved ''Stop'' near Florence there are certainly Luca Pardini (Dirtyelements), Guido Sonato and Edoardo Guccione (Drunkdrivers) who when they are together form the renowned they Tuscan trio of DJ-producers Dirtyelements & Drunkdrivers with very interesting and successful experiences on Pusic Records, Masterworks Music, Samosa Records and Lego Funk. The approach to sounds in their ''Acid Re-Solution Remix'' is absolutely decisive. Here too, skill and passion seasoned with a pinch of art and... why not?... madness !!!

Souleance's love of oriental and Mediterranean music is well proven.

The duo Soulist and Fulgeance surprise once again with this new EP with Turkish-funk & disco-psychedelic influences. An instrumental EP that blends Sylvester's funk and disco with intoxicating melodies inspired by Barış Manço or Hamid El Shaery. The result is a raw, powerful sound of mixed funk. KEBAB DISCOTHEQUE is a tribute to the Oriental music that Souleance has loved since its beginnings, be it Turkish, Moroccan, Armenian or Iranian. Each track is a percussive and danceable journey, sometimes lyrical, with smells as sweet and round as a bass sound, as well as the spiced melodies that titillate your musical sweet tooth.

Halumi opens this EP with a guest appearance by the talented Özgür, a promising artist who enhances this first single with his magnificent Anatolian voice for an explosive funk à la Tom Tom Club funk with heady melodies! A perfect warm-up for this dance-dinner! Kaymak open the club doors and takes us on an impulsive, uncontrollable dance step ! A track as catchy as it is transcendent, but also a road trip in a convertible car on which you see the best moments of your life flash by. Souleance recommends this sweet and salty cheese called “kaymak”, and leaves you the joy of discovering it if you happen to be in Turkey (to be consumed on site only*). Belseance is a tribute to the beautiful Marseille’s district, where cultures meet and mingle. This track was bound to be bouncy, joyful, groovy and rhythmically exciting. The ingredients? “Jazz bass sauce”, “moog” peppers & “analog” spices. Neşe (i.e. “joy”, “elation”) is a return to the beat and groove mastered for years by Souleance. A moment of perfect digestion to finally savor the silences between notes, the signature swing of the longstanding duo. A shivering “laid back” track where Fulgeance's bass lines remain as seductive as ever, all this without ever letting you dance with “style” - and why not add a finely sweetened baklava to the mix? And finally, like an invigorating “mint tea”, No Dancing gently slaps you in the face with its “smoky disco” ambience! With its powerful kicks and fluorescent pink lasers ambiance, arpeggio bass and hypnotic “Zurna” flutes, you’re still listening to Souleance, not at “Club Méditerranée”, but in their very own discotheque: KEBAB DISCOTHEQUE.

A refined popular sandwich. An evening to remember

"1980 was a huge year in pop music with every genre competing for hits. We have already included many tracks on the records of the 1980 Yearbook, the 80-84 Final Chapter, and their extras so far in our appreciation of the year…

Those tracks were generally the bigger hits of the year, with their chart achievement a factor in their inclusion – however – that’s not the whole singles story of the year, and our celebration of 1980 wouldn’t be complete without shining a light on some of the years’ singles that have been compiled much less frequently over the years.

Welcome to THE VAULT for 1980… Some of the tracks included were Top 40 hits, some missed the chart completely. Some were representative of massive selling albums, and some were big hits in the U.S. and not in the U.K… but all are part of the wonderful pop story of 1980. "

One of the very rare chances, and quite possibly the only chance to listen to the genius of Ennio Morricone engaging with the musical world of jazz. His soundtrack for the film The Blue-Eyed Bandit (Il Bandito Dagli Occhi Azzuri by Alfredo Giannetti, 1980) is marked by a relentless rhythm that perfectly matches the atmosphere of the film. The film was shot in Genoa – one of the most iconic cities of the Italian detective (poliziottesco) film genre – and stars Franco Nero, one of the leading stars of the whole genre. The main theme, Città Viva, is a vibrant and metropolitan piece, beautifully arranged for big band + trio of soloists, hand-picked by Morricone himself; his friend and collaborator Enrico Pieranunzi (piano), Roberto Gatto (drums) and Riccardo Del Fra (double bass). This is one of the very few times in which Ennio Morricone, who was famously suspicious of jazz improvisation, asked his musicians to be free and improvise, adding their solos to the original structure – the solo viola of Dino Asciolla, one of the greatest violists of all time, in particular stands out. This is the first time the soundtrack has been released on vinyl since its original release in 1982

We no longer need to introduce the Cortex group and its leader Alain Mion!
So here's the double single in 45rpm format from the “Inedit' 79” project, which came out of the drawers in 2006 and features recordings from 1979 and 1981 that were unpublished before 2006.

The track “I Heard A Sigh” has been sampled by a number of hip-hop artists, while “Where Do You Come From” will not appear on the LP due out at the end of April 2025.

Mr Bongo proudly presents the third album by Melbourne/Naarm multi-instrumentalist, Don Glori, entitled ‘Paper Can’t Wrap Fire’. A kaleidoscopic genre-surfing odyssey that brings together the worlds of jazz, soul and funk. Feeling both contemporary and classic, familiar yet novel, it’s an assured third release that sees an artist in full flight, showcasing their creative prowess and the uniqueness of their musical voice.

Steering in a new direction, Don Glori (aka Gordon Li) has delved headfirst into his songwriting with ‘Paper Can’t Wrap Fire’. Deftly showcasing his talents as a writer and bandleader, he brings with him a whole host of friends from the creative crossroads that is Naarm. It’s an album enriched with more soul, R&B, and funk-oriented songs than his previous jazz-rooted productions, yet there’s still plenty of jazz material for those familiar fans of Don's earlier works.

The album’s title is an old Chinese proverb, roughly translated as 'you can’t deny the truth'. This underlying thread is woven between the songs. “A lot of them are in some way about truth-seeking, observations and the masks you put on to deal with life (hence the cover art)”, Don mentions. Take, for instance, the sensational soul single 'Brown Eyes' featuring silky lead vocals by ML Hall. A dissection of the minority experience, and the power and comfort in building those communities. Elsewhere, 'Disaster' is a satirical take on the structures serving everyone but the artists, and 'Flicker' tackles notations of truth and clarity after introspection.

To marry that meaning with the level of musicianship on these tracks is what really stands out. Don has set out his stall here as an artist who can write songs that hit home in the heart, as much as they do in the head. It’s a journey infused with a glistening jazz finesse, layered with nourishing vocal harmonies and powered by an instantly relatable human soul.

Recorded over two hot summer days in Rolling Stock Studios in Collingwood, Naarm, the lineup of musicians is built up of Don's friends and family. Featuring the backbone team of Tim Cox, Al Kennedy, Joel Trigg, Robyn Cummins and Lachlan Thompson, who were part of Don's touring band before he relocated to London, and a stunning selection of vocalists in the form of ML Hall, Ruby Dargaville, Isadora Lauritz, and Bianca Kyriacou. Also gracing the album are trumpeter extraordinaire Audrey Powne, saxophonist Joshua Moshe, and Alcides Neto who sprinkles some Brazilian magic into the record.

Taking influence from artists including Azymuth, SAULT, Jordan Rakei and Lynda Dawn, as well as from London musical beacons such as NTS and Total Refreshment Centre, Don has run with this, leaned in and come out with a record truly unique to himself and his distinctive core, with no mask necessary.

Salty Millers einziges Album ist ein verstecktes Juwel der Yachtrock-Szene, das 1980 in begrenzter Auflage erschien. Aufgenommen mit Mitgliedern der legendären Yachtrock-Combo The Embers, mischt die LP Soul, Disco und Midtempo-Stepper zum charakteristischen Szenetanz, dem Shag. Durchdrungen von pazifischen Sounds und gefühlvollen Streichern dient die LP sowohl als Liebesbrief an die goldenen Yachtrock-Jahre als auch als Ausreisser, der die Konventionen überschreitet. Während viele Songs nostalgische Yachtrock-Themen wie Liebe und Freude feiern, bieten andere mit einem nachdenklicheren Unterton eine seltene Abkehr vom traditionell sonnendurchfluteten Geist des Genres. Lang ersehnte, in den AIR Studios neu remasterte und geschnittene Neuauflage mit neuen Liner Notes.

NOW is proud to present the next instalment in our ongoing ‘Yearbook’ series, and the final one representing an individual year from the 1980s: NOW – Yearbook 1989. 78 tracks across 4CDs – celebrating a magnificent and eclectic year in pop! This release is available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 78 featured tracks. Also available as 42 tracks across 3LPs, pressed in stunning pink vinyl…celebrating a magnificent and eclectic year in pop!

Over and through the hot cement of North East L.A., an almost-dry riverbed winds like a snake through the city. Coyotes lap at its trickling stream by moonlight, as pedestrians rush past it by day without a second glance, their thoughts tangled up in the distractions of life in a sprawling metropolis. Here, amongst the many avenues and gentle hills, we find Coffin Prick (alias: Ryan Weinstein).

Loose Enchantment, this latest Coffin Prick record, is music conceived of in a different frame of mind for humans living in a world nearly-disenchanted with itself. The album consists of eleven new pieces of music recorded by Coffin Prick himself at his home in Los Angeles, a great city of quicksand-like commitments and those who love them enough to uphold the ends of their collective bargains. A record as much about the confusion of modern life as it is endeavored to expose the lusts in the very loins of creation. Sounds enchanting enough for you? Let’s look a little more closely…

On the heels of 2023’s Laughing (Sophomore Lounge), Coffin Prick got busy. And fast. Playing shows into the year with a newly minted live band, while simultaneously working day and night in his home studio laying the ground for what would become Loose Enchantment. Whereas he was essentially a recording know-nothing at the inception of his last LP, he’d learned a thing or two about better capturing his ideas by this point, taking the sidesteps and victories born of the experience Laughing provided and turning the bright lights on them. As many of Los Angeles’s drivers choose to do, it was time to take some surface roads. Odes to self-delusion, the mysteries of creation, cleanliness, and the secrets in other people’s lives.

A little Loose Enchantment for everyone, basically.

Carwyn Ellis & Rio 18 release their new album "Fontana Rosa". Possibly the world's only musical group to fuse Latin music of all kinds with the Welsh language, this time Rio 18 draw inspiration from slightly different musical corners, including Chicano Soul, Nuyorican pop, and Salsoul disco plus Latin sounds filtered through the cultural spectrum of the USA.

Most significantly though, the album was among the last ever to be recorded by the acclaimed producer Liam Watson at his legendary studio and shrine to all things analogue, Toerag Studios - a huge inspiration and influence on Rio 18's Carwyn Ellis. The "Fontana Rosa" sessions saw Ellis draw together an all-star band at the fabled studio which is perhaps best known through its place in the White Stripes history.

Talking about the story and gestation of the album, Carwyn said:

"I was in Mexico City with Baldo Verdú when I heard that Toerag Studios in London was going to close. It came as a shock - Toerag and Liam Watson, its owner and resident producer had been a massive influence on me. Liam, along with Edwyn Collins, had taught me much of what I know about recording, had hired me as an instrumentalist on countless sessions and had helped me to get started when I began my own solo career. And over the years, I'd still go in to record with Liam whenever the opportunity arose. When I heard that Liam was shutting up shop, I took it upon myself to try and ensure he went out with a musical bang. I rounded up the best band I could get: the aforementioned Venezuelan percussion wiz and singer, Baldo Verdú: American drummer, multi-instrumentalist and producer Shawn Lee: the Isle of Wight's finest drum and percussion master, producer and composer Rupert Brown (whom I'd originally met at Toerag many moons ago): Elan Rhys, one of Wales's finest voices and long term collaborator with Rio 18, as well as being one third of the wonderful folk group, Plu: and Kassin - my Brazilian brother from Rio de Janeiro, bassist and producer with artists such as Jorge Ben, Caetano Veloso, Gilberto Gil and a multitude of others, including Carwyn Ellis & Rio 18.

So this was my dream team, assembled to make beautiful music one more time at Toerag (I have to add at this point that Shawn and Rupert hit it off so well at our sessions that they booked their own session shortly afterwards! Look out for the brilliant Shawn Lee's Toerag Orchestra 'Percussion Discussion' album). Toerag, if you're not familiar with the place, made its name as London's foremost analogue studio for some 30 years, recording directly to tape which in essence means musicians playing live, together in a room until they get it right. And the sound? Oh the SOUND!! And this is all Liam Watson's doing, his sonic aesthetic - a real master engineer. The studio is perhaps best known as the place where the White Stripes recorded their monster hit album 'Elephant' but for me it's where I got to record with James Hunter, Lay Low (from Iceland), Quruli (from Japan), Fabienne Delsol (from France) and made many lasting friendships, learnt a great deal about popular music, as well as making a bunch of my own best recordings with Colorama.

Over the course of five days we laid down as much music as we could. We had some visitors too: guitar slinger Little Barrie (Primal Scream, The The and Liam Gallagher among other things, but also my dear bandmate in Edwyn Collins's band): sax and flute maestro Jim Hunt (Amy Winehouse, Primal Scream, Duffy and very many others): and Diego Laverde Rojas, the Colombian Latin harp virtuoso.

This time the music had a slightly different edge - although we still maintained our Brazilian/Welsh connection on 'Deffro'r Dydd' (written with and sung by Elan Rhys), our Cumbia vibe and some Merengue ('Mariposa' and 'Te Adoro', sung by Baldo Verdú) and even a traditional Afro-Venezuelan tune ('La Quichimba', again sung by Baldo) - the main influence for me this time was Latin music as recorded in the USA, both new and old. 'No More Secrets' is a straight up slice of Salsoul disco, while 'Hei Ti' is a punky funky but of Nu Yorican pop somewhere between ESG and the Beastie Boys. But one of my main influences in the last couple of years has been the current wave of Chicano Soul coming from California, particularly via the Penrose and Big Crown labels. I was turned on to this music when I was in Japan in early 2023 - Takashi-san at Pleased To Meet Me Records in Nara played me the Altons' 'Float' and I was hooked!

And that music has a similar aesthetic to Toerag: music recorded live to tape by excellent engineers, performed by fine musicians and singers. So our songs 'Impossible', 'Heartbreaker' and 'Lovesick' are very much in this vein. And that just leaves the title track, 'Fontana Rosa'."

wetdogg was born in a grotto in Detroit, Michigan with a mission to information to the masses. Through sonic awakening, wetdoggs mission is to enlighten the subconscious and shine light on the deepest crevices of the human psyche. Allowing pathways back into animalistic intuition and away from the technocracy, dig a hole, plant a seed, run in circles and free your mind.

Coming out of Detroit based label Hold Me Records started by Detroit Techno aficionado MGUN and Underground don of all dons Ryan Spencer, wetdogg releases her first Album pssssssp…

From the artist:
"When a dog runs into a river and comes out and shakes itself dry, there is no data collected, technology does not aim to control those that it cannot. Numbers are definite and infinite, a linear path to doomsday. With every move we make, we are tracked and traced and categorized in order to sell ourselves into data hell. Intimacy used to have meaning, the present moment, truth and love but so much of it has been taken captive by technology that seeks to psychologically manipulate and control. A dog runs into the water because that is what dogs do, but it seems these days we are starved from our natural instincts, instead relying on someone else's answer that we of course seek online. "

Using the primitive technology of the password journal (often marketed to little girls to keep their secrets) wetdogg uses the idea of the password journal to imagine a utopia free of the surveillance state in her upcoming album pssssssp…

Founded in 2022, Hold Me Recordings is an independent record label based in southwest Detroit, MI. It is run by Manuel Gonzales (MGUN) & Ryan Spencer, who with a deep-rooted connection to the city's musical history, showcase innovative sounds that challenge the status quo and push the boundaries of contemporary electronic music. Focused on promoting both emerging and established artists, Hold Me is releasing genre-defying tracks that blend unconventional productions with the sincerity of Detroit's legacy. From experimental techno, to downtempo and ambient, Hold Me is committed to offering music that sounds fresh, exciting, and unlike anything you've heard before.