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In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 – just prior to the alto saxophonist's relocation to Europe – the album was eventually released in 1972.

The Black Ark exhibits not only the power and imagination of Howard's playing, but also his breadth as a composer and bandleader. Listeners expecting unrelenting blasts of "energy music" might be surprised to find a cohesion atypical of free jazz; amidst the wild, impassioned solos, Howard weaves in Latin rhythms and fat-bottomed grooves.

The first side, consisting of "Domiabra" and “Ole Negro,” sets the album's tone. Both tracks sound as if they could have appeared on some of Blue Note's proto-spiritual jazz, groove-heavy releases – evoking the likes of Lou Donaldson or Horace Silver – before ceding the floor to the horn players' anarchic firepower.

As John Corbett writes in the liner notes, "Two players stand out. Bassist Norris Jones – who would soon consolidate his name into a one-word reversed amalgamation/permutation of the two, Sirone – is given ample room, largely unaccompanied; his corporal approach foreshadows later work with the Revolutionary Ensemble. But the secret weapon on The Black Ark is Arthur Doyle. Straight from basement rehearsal sessions with Milford Graves, whose ensemble he had joined and who remained a favorite of the drummer for decades, Doyle is a human flamethrower."

Trumpeter Earl Cross' guttural, vocal effects complement Doyle's take-no-prisoners approach, while the estimable combination of Muhammad Ali (Rashied's brother) on drums and Juma Sultan on congas adds an ever-shifting propulsion. The septet is rounded out by the enigmatic pianist Leslie Waldron, who anchors the group with imaginative accompaniment and occasional boppish flourishes.

Every bit worthy of its reputation as an "out-jazz" holy grail, The Black Ark only sounds better with age. It remains the ideal record to convert the remaining free-jazz skeptics.

Julius Hemphill's debut record, 1972's Dogon A.D., was self-produced for his Mbari imprint, and it was issued with a beautiful black-and-white cover. Very DIY. The label's name writ large along the bottom edge, like it was the band's name. It's a quartet record featuring Hemphill on alto and flute, with Baikida Carroll on trumpet, Abdul Wadud on cello, and Phillip Wilson on drums – a classic jazz front line/rhythm section format, but nothing conventional about the way the music sounds.

The long track – from where the LP takes its title – is one of the key epic statements of new jazz in the era. Among its remarkable distinctions, it manages to draw on Wilson's schizoid experience having been a member of the Paul Butterfield Blues Band and the first drummer for the Art Ensemble of Chicago, in making an 11/8 rhythm into a staggeringly funky thing of joy. Over the course of fourteen and a half minutes, Hemphill builds a nearly continuous solo, his spiritual blood brother Wadud sawing the cello with a deep blues soulfulness that is raw and mantra-like in its repetitive incantation. It feels right and wrong in equal measure, the theme carrying its own piquancy with honked barnyard dissonances and some contrary motion between the horns and string. Most of all, it takes its own sweet time, in no hurry to get anywhere in particular, but out for a righteous stroll. – John Corbett (excerpt from the liner notes)

The Sound of Hardstyle Vol. 2 – The Anthems marks the long-awaited return of the iconic vinyl series, celebrating the most unforgettable anthems that defined an era. This exclusive release features monumental tracks like ‘Scrap Attack’ by Headhunterz, ‘Lost In Dreams (Alpha² Remix)’, and Alternate Reality, the legendary Qlimax anthem by Brennan Heart.

Each groove on this vinyl takes you back to a time when anthems weren’t just tracks, they were moments that united crowds, shaped festivals, and pushed the boundaries of the Hardstyle sound.

Whether you’re a vinyl collector or a true Hardstyle devotee, The Sound of Hardstyle Vol. 2 – The Anthems is a must-have piece of history.

Michel Houellebecq is, of course, well-known for his novels, translated into more than 40 languages, and his Goncourt Prize (The Map and the Territory, 2010), but perhaps less so for his debut album, released exactly a quarter of a century ago on Tricatel label. One can sense the influence of Serge Gainsbourg's L'Homme à la Tête de Chou, a disillusioned Procol Harum and a world-weary Burt Bacharach hovering over Houellebecq's poems in Présence Humaine, a now cult classic album orchestrated by Bertrand Burgalat and the musicians of Eiffel. Twelve thousand copies sold and a few concerts later, the writer decided (or so we thought) to bid farewell to the stage, only to generate more media attention though his literary success. Frédéric Lo is, of course, known as an exceptional lyricist, composer, arranger, and producer, author of a sublime fourth solo album (L'Outrebleu, released last March) and a master of collaborative work, notably with Bill Pritchard, Peter Doherty and Daniel Darc. Initially, Michel Houellebecq and Frédéric Lo met for the tribute album that the latter was planning for the tenth anniversary of Daniel Darc's death, but their recording of "Psalm XXIII" was, to their great disappointment, rejected by the label and therefore did not appear on the final version of Cœur Sacré (2023). Fortunately, every cloud has a silver lining, and the two men decided to take their collaboration a step further. Lo decided to set the writer's words to music, in his studio in Pantin. Raw, stripped-down music draped in electronica, adorned with piano and antediluvian drum machines, often minimalist, sometimes repetitive, provides the perfect backdrop for twelve tracks that question and reflect on humanity's past and future (if indeed there is one). Reflections on the human condition, 21st-century style, a work of speculative fiction conceived by two eternally modern "young lads," Souvenez-Vous de l'Homme (Remember Man) is an album that might occasionally evoke The Stranglers' La Folie, and, given the title, that's probably no coincidence. But above all, it's a hypnotic and melancholic album, uncompromising and captivating. Most importantly, it's an album like no other.

The album has been a labour of love spanning nearly a decade with the origins of KAYTRAMINÉ trace back to 2014, when Aminé unveiled "Not At All," an unofficial remix of KAYTRANADA's 2013 track "At All." Impressed by Aminé's rendition, KAYTRANADA extended a hand to collaborate officially, leading to his production contributions on three songs from Aminé's 2015 mixtape, Calling Brio. The upcoming album showcases the pair reigniting their innate chemistry, further solidifying their musical bond.

The first original work in 15 years since 2010's “SOLID,” the 6-track mini-album “BECOMING THE GENBAKU ONANIES” is complete!
Unshaken by the changing times and environment, accepting the passage of time, and enduring countless twists and turns, THE GENBAKU ONANIES remain
steadfast in their pride as a punk band. Between change and constancy, their unwavering, resilient will, flexible sensibility, and supple insight are truly one of a
kind. Punk rock that tears through the air pierces your soul!

The first single cut 7"" from an original album in 15 years since 2010's “SOLID”!
Unshaken by the changing times and environment, accepting the passage of time, and enduring countless twists and turns, THE GENBAKU ONANIES remain
steadfast in their pride as a punk band. Between change and constancy, their unwavering, resilient will, flexible sensibility, and supple insight are truly one of
a kind. Punk rock that tears through the air pierces your soul!

Daniela Casa (1944–1986) was a singer and composer, and the wife of fellow library music artist Remigio Ducros, author of America Giovane ("Young America"), an LP that ideally precedes this second chapter. Originally released in 1975, America Giovane N. 2 is today — like much of the Edizioni Leonardi catalog — extremely rare and highly sought-after by collectors.

Musically, it shares with the aforementioned America Giovane a remarkable stylistic diversity: from folk to psychedelia, from funk to rhythm and blues. Unlike the first volume, however, this record reveals a more pronounced jazz aura — "Fix" and "Soft Bird" are virtually two brief free-jazz excursions — which makes the album even more compelling and distinctive.

America Giovane N. 2 is part of a reissue series produced in collaboration with Edizioni Leonardi (Milan, Italy), dedicated to extremely rare library music LPs originally released between the late 1960s and early 1970s — most of which had never been reissued until now. These recordings are finally made available again for collectors and library music enthusiasts.

‘Under The Sun’ is the new album from The Wanton Bishops, a band by every definition of the word, but primarily the vision of one eclectic man – Nader Mansour. The album is an exploration of identity and ultimately a love letter to his hometown Beirut, capturing Nader’s kaleidoscopic life journey through a melting pot of musical influence; primarily gutsy blues-rock but with tinges of psychedelia, surf-rock, dance, as well as the Lebanese influences of Nadar’s hometown. “It’s Lebanese Rock”, adds Nader, “a new genre, a blueprint for future music. It’s not fusion, it’s confusion, it’s not world music, it’s rock music from the world, for the world”.

Following the release of The Wanton Bishops’ debut album ‘Sleep With The Lights On’, a Delta blues record inspired by the likes of RL Burnside and Muddy Waters, Nader journeyed to America’s deep south to experience the roots of Mississippi blues. The experience spawned a musical epiphany for Nader, as he returned home to Lebanon a changed man with a newly inspired musical vision. Nader’s music slowly emerged from the Delta swamps into the Lebanese mountains, and the music of The Wanton Bishops began to reflect Nader’s homeland, his people, and his personal journey. To quote Nader, "I’m finally getting to the core of the music I want to create, and that core is scarily confused, yet uniquely special, much like our own identity as Lebanese people living in Beirut, that eternal cultural crossroad."

Veniceberg Records returns with its eleventh installment. After a series of remarkable releases featuring some of the biggest names in the Italian and international underground scene, the label has chosen not to look too far afield for this EP. Instead, it proudly presents a very promising young talent and current resident of the club: Banjo.

With productions characterized by catchy vocals, this is an excellent blend of house, electro, breakbeat, and techno sonorities. He doesn’t fail to deliver a 4-track EP that's ready to ignite the sweatiest moments on the dancefloor.

Love Never Sleep.

Supported by the legendary Don Letts on BBC Radio, this is the limited 1st edition with Screen Printed sleeve. The 4 track vinyl contains the full version of 'Angels & Rebels' plus a bonus version of 'Change The World' on the A-Side. GAUDI provides 2 uncorrupted remixes on the B-side.

Sonic Groove Experiments returns with the debut album from Mendikant DX. A Pack of Ghosts draws the listener into a deep ambient-industrial swirl of decay; a haunting soundtrack to the grim, back-lit, post-reality world we find ourselves in. Written and produced by techno veteran Bryan Zentz.

Matryoshka has already built a reputation as a producer for DJ Loser's Magdalena's Apathy imprint as well as work for the Nostalgians, an under-the-radar ambient rap collective featuring Yungwebster, Mdb, tnotsobad, Nopaprr and ogpra1. Her musical roots – dubstep, trance and hard dance – tell some of the story here, but she transmogrifies those influences into haunted, Basinski-esque memories like the gaseous traces and decelerated remnants of the club.

On album opener »Lifelover«, Burial's hazed interludes spring to mind, or perhaps the 4am cityscapes of Space Afrika's now mythical »Somewhere Decent to Live«. Background ambiance simmers below Lawson's pensive FM pads, but once she establishes the mood, things take an unexpected turn with a pitch-bent bassline that might have been lifted straight from a 6LACK loosie, and a rhythmic pulse that traces the thin red line of Shinichi Atobe. If it's dub techno, it's a strand that hasn't been codified quite yet.

»Surface Tension« uses deep, Maybach Music-coded bass womps to twist through her skittering slow rhythms and sadcore pads. But it’s Matryoshka’s harmonic instinct that stands out; if you heard the airy »otr« or »fantasize« from Yungwebster's '»II' you'll know exactly what we mean«, and she takes it even further here, weaving cinematic, languid harmonies that bridge the gap between Steve Roach and Future.

Check »Where the Dancers are Spinning« with its levitational, almost orchestral sweeps that Lawson counterbalances with thudding subs, or the brief title track, an Akira Yamaoka-style save room loop that dissipates into a dreamy, dissociated fog, for further proof. Then there's the second side's centrepiece »Parted by the Sea«, where a ratcheting Chain Reaction-style rhythm builds to a tense crescendo only to get splintered unrecognisably in the second half, its broken pieces pillowed by Lawson's billowing time-stretched chords.

Very limited numbers, orders will need to be confirmed.

For his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.

The Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.

Six singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”

The song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.

Wasylyk writes in a room, in his native Dundee, full of “half broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.

Among the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.

The heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write some- thing that was obviously hopeful,” Wasylyk says.

‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”

The album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.”

Mathias Kaden returns to Rekids with ‘Fyutr’, featuring Zoë Xenia and a remix from Dennis Ferrer. The single is a preview of Kaden’s upcoming album. Mathias Kaden returns to Rekids with ‘Fyutr’, following his previous four releases on the label and once again linking up with DJ, producer, and vocalist Zoë Xenia, who also featured on his 2022 ‘Blackbird’ EP on the label. Set for release on 27th February 2026, the single offers an early glimpse into Kaden’s forthcoming album on Radio Slave’s flagship imprint, and comes with a remix from New York House legend, Dennis Ferrer.

A slow-burner with real progression, Mathias Kaden’s ‘Fyutr’ unfolds as a mind-melting journey. Dub chords creep in gently before stretching and mutating, while Zoë Xenia’s spoken-word vocal drifts through the mix, and sweeping strings give it a deep, timeless feel. The single is complemented by a remix from Dennis Ferrer, who flips the original into a beefy, pared-back House cut, warping Xenia’s vocals and locking into a rolling groove before resolving in lush chord work.

Active since the mid-90s, Kaden first appeared on Rekids in 2019 and has since built a wide-ranging catalogue across labels such as Cocoon and Vakant, alongside remix work for DJ Koze, KiNK, Monika Kruse, and Trentemøller. ‘Fyutr’ marks his fifth release on the label, following last year’s ‘Freedom’ remix EP, which received support from Ben Sims, Anja Schneider, Kölsch, Honey Dijon, and more.

Fronted by Rainie Lassiter's sultry, soulful vocal and produced by Blaze, the track glides between sensuality and euphoria, capturing the exact moment house music went from underground NYC basements to global dance floors. The Deep Dish remix turned it into a worldwide anthem, topping charts in Italy and breaking into the UK Top 10, while still holding down credibility with DJs and crate- diggers alike. Its hypnotic groove, lush chords, and emotional pull have made it a staple in countless sets, and it's been sampled by artists like Four Tet & Champion who recognized its timeless pulse. Three decades later, "Hideaway" still sounds as smooth and vital asthe night it first hit the decks. This 12" features the Radio Edit, Deep Dish Remix & the Acapella.

We proudly present Sidequests Trilogy, a special triple vinyl release from Session Victim that brings together the previously released Sidequests Chapters 1, 2 and 3 in one beautifully curated edition. It’s a journey through the duo’s deeper impulses and dancefloor instincts alike—rich, soulful, and unmistakably Session Victim. Sidequests Trilogy is available now on Delusions Of Grandeur as a limited triple vinyl LP on Olive Green Vinyl.

Soul Quest Records present the second edition of their Quest Series, a vinyl compilation featuring tracks that have previously only had digital releases.

Including music from label head, Max Sinàl & KingCrowney, Colm K alongside label co-founder Slxm Sol, Real Love Seeker x BB James & Berkely Hunt with a killer remix from Atlanta’s Stefan Ringer!

Soul Quest present the second edition of their Quest Series, a vinyl compilation featuring tracks that have previously only had digital releases. First up, label co-founder Max Sinàl once again teams up with label mainstay KingCrowney with ‘All Night’, a bumpy dance floor friendly groover featuring Yasmin on vocals. The track also samples an extract from Moodymann’s famous Red Bull interview, with clearance and blessings from the main man himself. Next up we have a track taken from Colm K’s ep released in the summer, ‘A Red Line In A Blue Sky’ remixed by another of the labels co-founders, Slxm Sol.

Deep, sexy grooving house with well placed vocal samples that keeps you zoned in from beginning to end. Flipping over to the b-side, we start off with Real Love Seeker x BB James with ‘I Want You’. Distinctive London flavours spoken through broken beat grooves and BB James’ captivating lyrics, ending with a gorgeous synth solo. Finally Stefan Ringer brings some ATL flavours to Berkeley Hunt’s ‘Wicked Sins’. Stefan twists the original in to a dark, enchanting roller, using the haunting vocals over a percussive groove with perfectly placed synths weaving themselves in and out.

Riotvan opens 2026 pulsating with drama in the form of a sad Valentine and a special collaboration: Hard Ton, joined by New York City icon Amy Douglas. “How am I going to fill the hours now?” It’s an emotion we’ve all known; and one we all dread, the raw burning haunting ache, when left alone with ourselves after loss. Hard Ton and Amy take us on a soul scorching journey through hollowed out earlymorning emotions, set to a raw, early-2000s house energy—somewhere between Berlin and New York, without drifting into nostalgia. Adding a layer of raw intimacy is a stripped-back piano interpretation shaped by Hard Ton together with maestro Matteo Baroni, whose freestyle takes became the emotional backbone of this version. From there, the release branches out: Massimiliano Pagliara stretches the original into a deep, slow-burning piece of late-night elegance, while Sylvio B flips the energy entirely, firing it back onto the floor with bold grooves and big-room confidence.

The Mountain is Gorillaz’ ninth studio album, a collection of 15 new tracks featuring a stellar list of artists and collaborators. Jamie Hewlett’s album artwork captures the four much-loved animated band members - Murdoc, Noodle, Russel and 2D – in a series of beautifully intricate, hand-drawn illustrations.

The Mountain is Gorillaz 9th studio album. The album is a collection of 15 new tracks featuring artists and collaborators including: Ajay Prasanna, Anoushka Shankar, Asha Bhosle, Asha Puthli, Bizarrap, Black Thought, Gruff Rhys, Idles, Jalen Ngonda, Johnny Marr, Kara Jackson, Omar Souleyman, Paul Simonon, Sparks, Trueno and Yasiin Bey; as well as the voices of Bobby Womack, Dave Jolicoeur, Dennis Hopper, Mark E. Smith, Proof and Tony Allen. Produced by Gorillaz, James Ford, Samuel Egglenton, Remi Kabaka Jr. and Bizarrap (Orange County), The Mountain was recorded in London, Devon, Miami, Jaipur, Mumbai, New Delhi and Rishikesh; and features artists performing in five languages: Arabic, English, Hindi, Spanish and Yoruba. The artwork for The Mountain sees Jamie Hewlett’s distinct, yet ever-evolving, style illustrate the world of Gorillaz with an ever more detailed and beautiful intricacy across a series of hand-drawn illustrations. Circumstances find Murdoc Niccals, Russel Hobbs, 2D and Noodle in India, where our heroes are immersed in the rhythms of mystical music-making as they navigate the mountainous terrain of this thing called life.