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Pumpin mental deep travel.
Humble sounds.

SELF Distribuzione is proud to present one of the most presgious publicaons dedicated to the
history of Italo Disco: "WHY / MISS YOU – 40th Anniversary Edion," the new double A-side by
STYLÓO®, available in two exclusive collector's versions.
This release will be offered on stunning Transparent Green vinyl, aimed at enthusiasts of the
format, and in a presgious Collector's Edion on Gold-colored vinyl, created to celebrate forty
years of career and designed for the most discerning collectors and lovers of Italo Disco.

"WHY" and "MISS YOU" are two authenc classics that defined an era and helped shape the sound
of Italo Disco worldwide. Forty years later, these producons retain their melodic power and ability
to move listeners, confirming their status as meless tracks to this day.
This special 40th Anniversary Edion does not merely reissue the original versions—fully
remastered for the occasion—but is further enriched by new remixes entrusted to highly
presgious names.
Roberto Tura@ and Carl Fath have craAed a new and elegant interpretaon of "WHY," while A.P.
Mono, one of the most highly regarded names in the contemporary Italo Disco scene, has given
"MISS YOU" a new look, maintaining its original spirit while offering a modern, current sound.
The result is a project capable of bridging the past and the present, demonstrang how great
classics can connue to live on and capvate new generaons without losing their identy.
To complete the project, two evocave, previously unreleased symphonic overtures, "Echoes Of
Why" and "I Sll Miss You," serve as a tribute to the composional quality of these tracks. Both
symphonic composions were conceived, wriFen, arranged, and produced by STYLÓO® (Rino
Facchine@) together with Alessandro Bonsignori, with the intenon of demonstrang how a great
melody can be reinterpreted through different musical languages while maintaining its elegance
and expressive force.
This arsc choice tesfies to how true musical quality can transcend me and style, confirming
that a great song can be "dressed" in different arrangements without losing its soul.
With over forty years of history, STYLÓO® connues to represent one of the most beloved and
recognizable names in the Italo Disco universe. This release is dedicated to all those who lived
through those extraordinary years and to those today who are ready to rediscover two songs that
connue to move and make people dance.
Because true classics do not belong to the past. True classics live on.

Restock

Chicago funk band Royal Flush release sonly one full length on their local Texas label Lucky and that was Hot Spot. They did so in 1980 before later reissuing it via GEC and although it isn't one of the most well known albums amongst funk heads, we think that is rather a crime because it is a top notch if not underrated album. It is couched in the traditions of the genre but with nods to styles like P-Funk. If you can find an OG copy you will have to shell out plenty of money and although this same label put out a CD version in 1994, it has not been reissued on vinyl before.

Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

Steve Bug and Pornbugs team up on Behind The Glass / On The Swing with remixes from Mihai Popoviciu and Markus Homm.

Unsung House hero, Steve Bug has been there and done it all. Arguably Germany’s most important pioneer, his label Poker Flat has been an epoch-defining imprint. Celebrating 20 years of Bondage Pornbugs are mixing in different circles with recent releases for Selador and Acker Dub, showcasing their crossover appeal with a new generation of DJs.

Opening with ‘On The Swing’ we are delighted by classic deep vibes with a modern twist. Grooevsome and warm, this will get the floor going anywhere in the world. On remix duties, Mihai Popoviciu drops his trademark style, smoothing out the bumps for a deeper ride.

Next up, ‘Behind The Glass’ takes a similar path. Soulful warmth exudes from the speakers as the bumpy bass and echoing keys mark time. Reaching a crescendo with muted acid undertones in the second half keeps attention high and the dancefloor full and happy. For his remix, Markus Homm takes it deeper with shades of Detroit. Liquid cool for the later floors.

Maria is the debut album from renowned Brazilian electric bassist and composer Moyses Dos Santos. A homecoming for the London-based artist, Moyses’ debut reconnects him with his North-Eastern roots while assembling an international cast of collaborators including legendary Brazilian arranger Arthur Verocai, US trumpet sensation Theo Croker and London-based vocal star Lynda Dawn.

After relocating from Brazil to London in the early 2000s, Moyses dos Santos quickly became one of the capitals’ most in-demand players, sharing stages, studios, and writing credits with best-selling artists including Nile Rodgers, Janelle Monáe, Emile Sandé, Gregory Porter and Omar.

In 2022, Moyses toured with Brazilian jazz-funk legends Azymuth, completing the rhythm section alongside Brazilian drumming master Ivan "Mamão" Conti. "It felt like he was my wise Brazilian grandfather figure." Moyses recalls. "When you spend so many years working internationally, you unconsciously start to leave certain parts of yourself behind. Mamão encouraged me to reconnect with Brazilian music, and that's where this record really began."

Brazil’s North-east, where African, indigenous and European traditions collided and fused most intensely, produced a musical heritage unlike anything else on earth, Moyses dos Santos is a product of this syncretism. On Maria, named after his mother, Moyses brings the musical vocabularies of his youth to the fore. From the soul of the church band where he began to learn his trade as a musician, to the rolling batucadas – maractus, baiaos, sambas and frevos – which he played throughout his teenage years.

Drawing on the lineage of North American electric bass giants like George Duke, Jaco Pastorius, and Stanley Clarke, Moyses runs Brazilian musical traditions through jazz, funk, soul and disco: his sound charged with the cosmopolitan energy of London's contemporary jazz scene.

Lead single and album opener “Boa Viagem’ is joyous, carnivalesque dancefloor jazz: a timeless groove for the nightclub and street party alike. Calling directly to a higher power “Brazilian Spirit” is an astral-jazz phenomenon, featuring the transcendent trumpet playing of Grammy nominated Theo Croker. On “Saudade” Moyses calls upon iconic Brazilian maestro Arthur Verocai, whose signature string arrangements cascade around the divine vocals of ascendant London artist Lynda Dawn.

With impeccable style, charisma, warmth and virtuosity, Moyses steps forward with his stunning debut Maria: out on vinyl, LP, CD and digitally on the 12th June 2026.

Kennedy continues to sketch out imaginary worlds where thoughts and sensations are converted into sound via the power of machines. On this fifth instalment of Hi-Tech Soul, the Dutch producer channels fragments of midnight memories and daytime visions into something tactile yet elusive. As with previous chapters, the process remains shaped by surprise as hands and hardware entwine in a quiet, freeform dialogue.

The music itself drifts rather than drives, unfolding like shifting cloud forms that never quite settle. Loose, frayed house patterns hover in a state of flotation as basslines anchor just enough to stop everything dissolving completely. Each track has a sense of elevation where melodic synths filter through the mix like heavenly sunbeams breaking overhead. There's a constant progression to something that never comes, instead leaving you free to find your own meaning as textures blur into something soft, indistinct and gently euphoric.

A pure state of celestial suspension, 'Dream 5' is the newest offering in a series that takes you to a weightless world of infinite interpretations.

UnOwn is back with a third outing of magical edits and this time the enigmatic Fava Luva is cooking up the heat. First up is an edit of 'Roze', a disco gem that gets pulled apart and rebuilt in slow, sensuous fashion. The drums are loose, the funk is real and the vocal is full of tease that will warm up any setting in any season. On the flip, 'Fishy' is just as much of an elastic and playful sound, this time with a sleazier vocal and some mad, cosmically inclined synth expressiveness and plenty of Parliament-style vocal oddness. A pure heater from this ever-more-vital label.

We can't resist the carefully fused and treated sounds of The Reflex who shows his class again here with more multitrack remixes that bring vintage grooves bang up top dates without stripping them of their seasoned charms. 'Cherry Dub' is packed with big riffs and well known vocal-hooks but is dubbed out top perfection with screeching guitar solos destined to send dancers wild. The flip side is a more warm and breezy roller for sunny days and cocktail sessions, again with an iconic vocal and top line adding that familiarity that always unites dancers.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

Zeitgleich mit dem 40-jährigen Jubiläum der Band wurde Complete B Sides: 1988-97 von Pixies neu remastert und wird 25 Jahre nach seiner ursprünglichen CD-Veröffentlichung erneut herausgebracht. Das Album erscheint als Doppel-LP auf schwarzem Vinyl, als Doppel-LP auf klarem Vinyl sowie als Doppel-CD. Außerdem wird diese Veröffentlichung damit zum ersten Mal überhaupt auf Vinyl gepresst. Complete B Sides versammelt alle B-Seiten aus der klassischen 4AD-Ära der Band und enthält einige der besten "anderen" Songs der Pixies, darunter "Wave of Mutilation (UK Surf)", "Into The White" und "The Thing". Ursprünglich 2001 auf CD veröffentlicht, als sich die Band bereits seit fast einem Jahrzehnt in einer Pause befand, enthielt Complete B Sides: 1988-97 alle 19 Nicht-Single-Tracks aus der unglaublichen Reihe von Singles, die die Band zwischen 1988 und 1991 veröffentlichte. Zum Abschluss wurde die instrumentale Version von "Letter to Memphis" hinzugefügt, die zuvor nur auf der US-Version der Veröffentlichung der Alec Eiffel-Maxi-Single erschienen war. Da auf vier Vinylseiten Platz für mehr Musik vorhanden ist, enthält diese aktualisierte Version zusätzlich sechs Live-Tracks, die aus späteren Pixies-Veröffentlichungen stammen, darunter aus der 1997 erschienenen Neuauflage von Debaser. Für diese aktualisierte Edition wurden alle Titel von ihren ursprünglichen analogen Bändern von Kevin Vanbergen neu remastert. Das Ergebnis klingt erstaunlich frisch und vervollständigt zugleich seine umfangreiche Arbeit am gesamten Katalog der Band. Diese neue Vinyl-Edition fungiert außerdem als Begleitstück zur kürzlich erschienenen Compilation Live at the BBC. Designer Chris Bigg (v23) hat dafür ein eindrucksvolles neues Artwork geschaffen und dabei Fotos aus dem Archiv von Simon Larbalestier verwendet, die ursprünglich für die Pixies vorgesehen waren, später jedoch verworfen wurden. Beide arbeiteten seit vielen Jahren mit der Band zusammen und gestalteten beide Veröffentlichungen parallel, um an den verstorbenen visuellen Direktor der Band, Vaughan Oliver, zu erinnern und ihn zu ehren.

Im Februar 2026 erscheint zum zwanzigjährigen Jubiläum Hard to Love a Man" von Magnolia Electric Co. als erweiterte Edition und zum ersten Mal auf Vinyl. Diese Jubiläumsausgabe der ersten EP der Band enthält drei zusätzliche Tracks: remasterte Demos von 31 Seasons in the Minor Leagues" (zuvor unter dem Titel Tonight I'm So Down" bekannt) und Lonesome Valley", aufgenommen in den Echo Park Studios in Indiana während der Hard to Love a Man"-Sessions, sowie One Thin Dime", aufgenommen während der Black Ram"-Sessions in den Sound of Music Recording Studios in Richmond, Virginia. Working-Class-Rock" ist ein Begriff, der häufig zur Beschreibung von The Magnolia Electric Co. verwendet wurde. Kategorisch hatte sich die Band ihren Platz unter gleichgesinnten Ikonen wie Bob Seger, CCR, Tom Petty und Bruce Springsteen gesichert, doch es handelte sich nicht nur um eine ästhetische Beschreibung, sie untermauerten dies mit ihrer Arbeitsmoral. Im Jahr 2005 waren The Magnolia Electric Co. erstaunlicherweise acht Monate unterwegs. Diese Tatsache wurde den Bandmitgliedern selbst am deutlichsten bewusst, da sie so lange von ihrem Zuhause und ihren Liebsten getrennt waren. Daher die Bedeutung des Titeltracks. Wenn Jason Molina die Perspektive der Person einnimmt, die er zurückgelassen hat, und in Hard To Love A Man" singt: "It was hard to love a man like you / Goodbye was half the words you knew / While you were waiting for me not to call / I sent my love", dann wird die Einsamkeit und Schuld der Trennung schmerzlich deutlich. Jennie Benfords verletzliche Stimme, gepaart mit Jason Groths fließender Gitarre und Mike Kapinus' klagender Orgel, unterstreicht dieses Gefühl eindrucksvoll, unterlegt vom charakteristischen, präzisen und geschmackvollen Rhythmusfundament von Mark Rice und Pete Schreiner, während Nicole Evans eine neue, dynamische Stimme hinzufügt. Hard To Love A Man" und der Live-Favorit Werewolves Of London" wurden mit Steve Albini in seinen Electrical Audio Studios aufgenommen, die übrigen Tracks entstanden während eines kurzen fünftägigen Heimaufenthalts in Indiana bei Echo Park Studios mit Paul Mahern, dessen Engineering-Resume schon damals Projekte wie The Blake Babies, Lisa Germano und John Mellencamp umfasst. Während die Magnolien weiter wuchsen und erblühten, ließ Jason Molina die Insassen das Irrenhaus regieren.

This 45 reissues two Spanish classics—DJ’d, sung, and danced to exhaustion—featuring striking arrangements and rhythms inspired by soul, funk, and rock, pushing flamenco-influenced popular music into previously uncharted territory. The flamenco rock of ‘Orgullo’ (1974) by Las Grecas will appeal to international listeners already captivated by the Anatolian sound of Baris Manço, Mogollar… On the B-side, Paco, Paco, Paco’ (1969) by Encarnita Polo is a soul-pop hit with an irresistible syncopated rhythm and killer bass lines. In the final years of Franco’s dictatorship, when Spain’s popular music was kept on the sidelines of avant-garde and countercultural trends, a number of records emerged that dared to bend and hybridize the country’s so-called “national” musical genres (calling it flamenco outright would be imprecise) and infuse them with a dose of modernity. This single brings back two of those local popular classics—DJ’d, sung, and danced to exhaustion—which featured arrangements and rhythms inspired by what their creators had heard in international soul, funk, and rock productions. The first 20 seconds of ‘Orgullo’ (1974) hit with a powerful sonic punch built on ferocious fuzzed-out guitars, distorted keyboards, and thunderous drums that could easily belong in the discography of Led Zeppelin, The Guess Who, or Cream… until, suddenly, Las Grecas start to sing and Flamenco rock is born. It will undoubtedly resonate with international audiences already drawn to the Anatolian sounds of Baris Manço or Mogollar. A few years earlier, in 1969, the brilliant Argentine producer and arranger Adolfo Waitzman had already transformed a harmless light pop tune recorded by a yeyé girl, Encarnita Polo, into a soul-pop hit driven by an irresistible syncopated groove and killer bass lines. The playful ‘Paco, Paco, Paco’ became a bestselling single in Spain and, more than 50 years later, is still celebrated as a brilliant example of the romance between flamenco-inflected sounds and soul-pop. First-ever single reissue.

Fenomenon are a trio hailing from Stavanger, on the west coast of Norway. Throughout their career they have released four full-length records, effortlessly moving between future jazz, downtempo, soul, and broken beat.

Their lush debut 12" Pacific Memories on Nuphonic made considerate waves and made the ears of many DJs perk up. As a result, the tracks "Pacific Memories" and "Solara" were featured on many big-name compilations and mix CDs such as Tom Middleton's The Sound Of The Cosmos, Hed Kandi, and MTV Summer Lounge. The latter was also featured in Michael Bay's sci-fi thriller The Island, featuring Scarlett Johansson. The follow-up single visjon.nord was only released as a white label promo due to the unfortunate demise of Nuphonic in 2002.

Pacific Memories: The Early Tapes collects tunes from both these EPs complemented by songs recorded around the same time. Originally released on CD only in 2006 by the Norwegian label Beatservice, it's now available on vinyl for the first time for its 20th anniversary. If you're a fan of Jazzanova, The Cinematic Orchestra, Kinobe, and Blue States, you can't miss this.

Pacific Memories: The Early Tapes is available as a 20th anniversary edition of 250 copies on turquoise and yellow vinyl.

Fenomenon are a trio hailing from Stavanger, on the west coast of Norway. Throughout their career they have released four full-length records, effortlessly moving between future jazz, downtempo, soul, and broken beat.

Their lush debut 12" Pacific Memories on Nuphonic made considerate waves and made the ears of many DJs perk up. As a result, the tracks "Pacific Memories" and "Solara" were featured on many big-name compilations and mix CDs such as Tom Middleton's The Sound Of The Cosmos, Hed Kandi, and MTV Summer Lounge. The latter was also featured in Michael Bay's sci-fi thriller The Island, featuring Scarlett Johansson. The follow-up single visjon.nord was only released as a white label promo due to the unfortunate demise of Nuphonic in 2002.

Pacific Memories: The Early Tapes collects tunes from both these EPs complemented by songs recorded around the same time. Originally released on CD only in 2006 by the Norwegian label Beatservice, it's now available on vinyl for the first time for its 20th anniversary. If you're a fan of Jazzanova, The Cinematic Orchestra, Kinobe, and Blue States, you can't miss this.

Pacific Memories: The Early Tapes is available as a 20th anniversary edition on black vinyl.

It's time to celebrate five years of Paryìa! From the heart of the label, this compilation brings together our two favourite genres, bridging house and techno. Showcasing different cultures and backgrounds, this compilation represents the many different shades the electronic music scene has to offer. Finding that sweet spot through diverse moods and tempos, each track reflects the individual vision of the artist while taking its place within a collective journey that embodies everything the label stands for.

Featuring contributions from Cinthie, Fireground, Toobris, DJ Babatr, DJ Maria, Isabel Soto, Nesa Azadikhah, and Zombies in Miami.

Random ReVINYL Edition. Black Mountain, the front-line soldiers for the Black Mountain Army, an arts collective from Vancouver, British Columbia, write, perform and record music that speaks (and sings) to this realization: that solutions are rarely simple, that the world is as complex as it is ambiguous, and that music sprinkled with an inoculating dose of madness may well be the Pied Piper that takes us all back into the primordial mountain, where our hearts can be made steady and our minds can be set free. Their debut self-titled record, like a space probe built of erector set parts and transmitting secret and arcane messages to earth by string, charts territories unknown yet remains grounded by the roots of classic rock and roll. It is easy to discern these roots: Black Sabbath, Animals-era Pink Floyd, Blue Cheer, Led Zeppelin and Can. Principal songwriter Stephen McBean's vocals are a smoother, bluesier amalgam of the voices of Neil Young, Mick Jagger and perhaps a James Brown loaded on cough syrup. And when Amber Webber's voice joins Stephen's, the combination brings to mind the potency and chemistry of Richard and Linda Thompson singing together on Shoot Out The Lights, or of Meat Loaf and Ellen Foley howling together on Bat Out Of Hell. Musical comparisons aside, the Black Mountain full-length is one part protest song, one part pop-cultural commentary, and one part sick-groove-rock casserole peppered with mesmerizing ballads and intoxicating ditties. "Modern Music" is the lead-off hitter and counts its way to the imposing and riff-rife "Don't Run Our Hearts Around". Immediately thereafter, the sludge-rock masterpiece "Druganaut" establishes the fecund heart and tone of the record. Black Mountain have also just recently released a 12-inch single (on Jagjaguwar), including an extended mix of "Druganaut" on the A-side. And the band's currently sexploitative counterpart The Pink Mountaintops, a band that also pipes into the prolific well-spring of Stephen McBean's mind, released their self-titled debut record (on Jagjaguwar as well) this past summer. A video by Heather Trawick of the song "Druganaut" is included on the CD version of the Black Mountain self-titled record.

The 18th Parallel strikes hard once again with its new riddim series called ‘BONANZA CHARGE’. Carefully produced in its Geneva studio, the collective of musicians presents two vocal cuts and one horns instrumental released as three 7” singles with dubs mixed by Roberto Sánchez. This is heavyweight roots reggae tailor-made for the heaviest sound systems!

Three months only after the release of the hit song ‘More Work To Be Done’, Young Kulcha – the rising star of European sound systems – returns with a second single on Fruits Records! In stark contrast to the heavy stepper riddim of The 18th Parallel, Young Kulcha’s high-pitched voice tackles the classic rasta theme of mystical revelation. This ‘Mystic Revelation’ is spiritual music designed to be danced to at sound system community gatherings. Scorcher!

Factory Benelux presents a blue vinyl edition of Short Stories for Pauline, the ‘lost’ fourth album by cult Manchester group The Durutti Column. Limited to just 500 copies, this edition also features a new cover image by photographer Mark Warner.
 Originally recorded by Vini Reilly in Brussels in November 1983, the 14 track album features several key Durutti works including College, A Room in Southport and (best of all) Duet. Recorded with Tuxedomoon viola player Blaine L. Reininger, this poignant instrumental proved - ironically – to be the downfall of the album, after Factory founder (and Durutti manager) Tony Wilson insisted that Duet form the basis of an entire neo-classical album. Thus Duet became Without Mercy in 1984, and Short Stories for Pauline was shelved.
Other guest musicians on the album include drummer Alain Lefebvre, harpist Anne van den Troost and sax player Eric Sleichim.

Side A begins with CEM3340 & 2030’s “I Don’t Know”, a Detroit-inspired electro cut merging crunchy basslines, warm strings and raw energy, showcasing the nostalgic yet forward-thinking music crafted by two key figures of the Italian electro underground. Lake Haze keeps the electro narrative moving with “Modular Processed Data”, a melancholic broken-beat piece that balances softness and strength with timeless poise. Closing the side, 3KZ unveils “Step Into Light”, pushing the emotional range further through radiant melodic layers and harmonic clarity: high-impact, luminous, and built for those rare moments on a big system when everything clicks.

The journey ends with three shape-shifting cuts on the B Side that refuse to play it safe. Passarani 2099 (an alias of Marco Passarani) warps the frame with “Golden Valley”, channeling dubstep tempo, neuro-basslines, and haunting sequences into mutant rhythmic territory. Peryl’s “Res Affair” follows as a modular techno bomb—wobbling bass, broken patterns, alien textures, riding the edge between chaos and control with surgical intent. Finally, Nothus closes the compilation with “Tango”, an uncompromising finale of gritty rhythm work and experimental propulsion: the perfect full-stop to a decade mapped in sound.

A legendary group of entertainers who dominated the nightlife of Las Vegas in the late 1950s and 1960s, The Rat Pack blended music, film, and comedy with effortless charisma and style. Its principal figures - Frank Sinatra , Dean Martin , and Sammy Davis Jr. - were widely regarded as the group's leaders. They not only headlined the shows but also supplied much of the music that defined their performances, embodying the spirit of swing and sophistication through their exceptional on-stage and studio chemistry. This special gatefold edition LP brings together 21 outstanding performances, and includes the only two studio duets they ever recorded for release as singles; 'Sam's Song' (Sammy Davis Jr. & Dean Martin) and 'Me And My Shadow' (Frank Sinatra & Sammy Davis Jr.)

Contains new specially prepared liner notes by Penguin Guide to Jazz 's writer Brian Morton and by Paris' prestigious Jazz Magazine. The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday (1915-1959) changed the art of American pop vocals forever. Songs for Distingue Lovers is one of the best albums from her late period and finds her surrounded by important instrumentalists, including Ben Webster and Harry "Sweets" Edison. The album received a four-star rating in Down Beat upon its release. Bonus tracks: 'We'll Be Together Again' and 'April In Paris'

Imagine taking Black Flag, The Beastie Boys and Mclusky, shoving them into a cement mixer and using the resultant sludge as some form of musical cement Okay? Excellent! On an entirely unrelated matter, I Will Take You Hunting release their brand new (4th) and best (1st) album yet in June 2026. The album is released on Geranium Red Vinyl ...and no, we don't know who Patterson is! I Will Take You Hunting are Steve, Dave & DJ Butterscotch, a thrillingly abrasive three piece from Scotland. Their sound is a unique blend of electro-punk with hues of hip hop and groove. They are known for their electrifying live sets and raucous, vivid storytelling.

A duel of fates - "B4U" is where clashing swords and bittersweet sounds envelop the strange voices in the back of your head… On the evening of its discovery, Joseph could be found in a dark room, squatting in front of his desk, gripping its sides for dear life. Headphones blaring the cosmic love letter, sent for him to share with you.

Booty-shake-worthy grooves and a seriously JOSEPH-coded bassline give way to a sound that reminds you to stop taking everything so damn seriously. "Tripidi" is JOSEPH's auditory instruction manual on how to swerve when you stub a toe at 4am.

The twin trombone frontline is an esoteric but noble tradition in jazz, harking back to the famed 1950s recordings of Kai Windings and JJ Johnson. While respecting the tradition, the internationally renowned trombonists Paul Dunlea (from Cork) and Trevor Mires (from London) are not traditionalists, and their collaborative project Silfra showcases their thoroughly contemporary skills as composers and arrangers to create a fascinatingly diverse set of trombone led music.

PNØ is the duo project of experimental vocalist Agnes Hvizdalek and techno innovator Jakob Schneidewind on electronics. They combine minimalistic musical structures with organic improvisations, pure vocal sounds with drum machines, synthesizers and effects
that trigger and manipulate each other’s output. Their vision for the future of music makes them explore crossing points between experimental and electronic dance music. Their first album, «Zakeri», was released in 2015. Since then, they have performed, among others, at ORF Musikprotokoll, Wiener Festwochen, Jazzwerkstatt Wien, Ottosonics, and de/semble.
The album «Hypatia» will be released on June 26th by Palazzo Recordings.

Leopard DaVinci is the official keyboardist of Dabeull's Band.

“Casual Conversation” pairs Leopard DaVinci’s high-gloss funk production with Moniquea’s signature vocal charisma for an instantly addictive modern funk single. Flirty, confident and groove-heavy, the track balances retro-inspired synth textures with a contemporary boogie pulse, making it a strong fit for editorial playlists centered around funk-forward, danceable and soulful music.
Moniquea already holds a respected position in the global modern funk community, and this release delivers exactly what that audience wants: attitude, melody, replay value and undeniable groove. “Casual Conversation” has crossover potential between dedicated funk listeners, nu-disco audiences and feel-good R&B selectors.

“Flaws” pairs Leopard DaVinci’s signature synth-led funk production with Helena’s fresh and expressive vocal presence for a release that feels both timeless and relevant. Built around a message of self-acceptance and inner strength, the track transforms vulnerability into groove, offering a refined mix of modern funk, boogie and soulful pop energy.
Its lyrical theme makes it especially effective beyond niche funk circles, opening space for playlisting tied not only to groove and retro-funk aesthetics, but also to confidence, empowerment and uplifting mood. “Flaws” is melodic, elegant and emotionally direct — a strong crossover track with both artistic identity and listener accessibility.

The 2015 debut album from female punk super-group back in print on new burgundy colour vinyl! NOT SORRY is the first full-length album from all female super-group BAD COP BAD COP. Aptly titled, NOT SORRY brazenly blasts out some of the most vibrant pop-punk around today. Laden with catchy hooks, three-part harmonies that'd make The Beach Boys jealous, and tons of attitude, all 13 tracks showcase BAD COP BAD COP's uncanny ability to blend aggressive instrumentation with polished vocals. A quick glance at the band's collective resume (Compton SF, The Radio Sweetheart, The D'Maggs, The City, Angry Amputees, and Cunt Sparrer) will disabuse any doubters of the notion that BCBC can't hand with the boys. From front to back, NOT SORRY brings the rock. Tracks like "Old Dogs", "Nightmare", & "Support", display the bands' hard playing style and strong sense of melody. One listen to NOT SORRY and you'll know why BAD COP BAD COP have generated so much buzz! "This badass bunch of melodic punk rock ladies have been releasing infectious 7" records for a couple years that just play too damn quickly... The album dashes by like a vacation_over sooner than you'd like." _New Noise Magazine "California's Bad Cop Bad Cop lay down the law with an incredible authority: the tunes are concise and compact melodic punk blazers, filled with equal amounts of bite and sugar-sweet harmony." _Alternative Press "These songs are full of three-part harmonies that can make Bad Religion's Greg Graffin and Brett Gurewitz retroactively jealous, and they're catchy enough that they could easily fit onto any of the early Fat Music comps." _Dying Scene Produced by Fat Mike (NOFX) & Davey Warsop (Suedehead) For Fans of: NOFX, Dance Hall Crashers, Masked Intruder Ongoing social media push via artist and label channels Social Media and Digital marketing campaign See Bad Cop Bad Cop on tour in Europe

Big Crown Records is proud to present Adult Themes, the latest full length offering from El Michels Affair. This album takes the band's "Cinematic Soul" aesthetic literally and sends the listener on a journey through a whirlwind of moods and energies. With their 2005 debut album Sounding Out The City, EMA spearheaded an instrumental funk / soul movement that inspired a slew of bands and even lead to the creation of a few independent record labels. El Michels has since lent his signature sound to artists from Adele to Dr John, Lana Del Rey to Aloe Blacc, and a who's who list of others. In 2016 he co-founded Big Crown Records and has since produced the lion's share of its output. A short stint as the touring band for Wu Tang Clan in 2007 led to the cult classics Enter The 37th Chamber (2009) and Return To The 37th Chamber (2017). Adult Themes marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017 in between producing, playing, and recording on other artists' records Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of `60s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental / orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes." The album plays like the colors on an artists pallet. Songs like "Rubix" and "Villa" are densely orchestrated with the hard-hitting drums that El Michels Affair is known for. On "Life of Pablo", Leon's son makes his first appearance on record and intros a song with an epic arrangement and a moving mood. "Hipps" is a drum heavy ballad that could've easily fit on EMA's debut record, Sounding Out the City. Other compositions like "The Difference" and "Kill The Lights" are bare, melodic mood pieces with sparse drums and sophisticated chord movement. All of these tunes come together to make perfect backgrounds for dialogue and action. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With Adult Themes El Michels Affair has created a "choose your own adventure" in musical form.

All songs written & arranged by Ora Cogan with the exception of Is Anything Wrong by Lhasa De Sela. High Noon & Holy Hells were written by Ora Cogan and arranged by Finn Smith, Ora Cogan and David Proctor. Katie Cruel is a traditional, arranged by Ora Cogan. Engineered by David Parry at Risque Disque September 2022 Mastered by Tom Deis at Pineapple Room Studio All songs mixed by Tom Deis except for Cowgirl, Dyed, Is Anything Wrong mixed by David Parry

Random vinyl, ReVINYL Edition. The Tallest Man on Earth released The Wild Hunt this past April, and the album found its way into the hearts of fans everywhere. The connection that the Tallest Man on Earth (aka songwriter Kristian Matsson) has with his fans is a sight to behold - he has performed around the world, at clubs and festivals, and the bond between Matsson and his audience is breathtaking. Matsson is the rarest of performers, charismatic and captivating, and his passion for performance bleeds through every single time he takes the stage.At many of the Tallest Man on Earth shows this year, Matsson closed his set with a new song titled "Like the Wheel." It quickly became a fan favorite, with YouTube videos spreading virally, and the sets closing on a high note night after night."Like the Wheel," along with four other new songs, make up Sometimes The Blues Is Just a Passing Bird, an EP written entirely after The Wild Hunt. Recorded during a quick break from touring in the summer of 2010, "Like the Wheel" is joined by "The Dreamer," a soon-to-be-classic that Matsson performs on electric guitar. Sometimes The Blues Is Just a Passing Bird is an open and shut chapter in the Tallest Man on Earth's songbook - five new additions to those magical performances.

Puccinis Oper „Turandot“ wurde am 25. April 1926 uraufgeführt, und Decca Classics feiert dieses hundertjährige Jubiläum mit der dritten Ausgabe einer Reihe brandneuer, limitierter Deluxe-Editionen der
Pavarotti-Puccini-Wiederveröffentlichungen.
Pavarottis Verbindung zu dieser Oper ist untrennbar. Obwohl er die Rolle des Calaf nur selten auf der
Bühne sang, wurde die Arie „Nessun Dorma“ zu seinem Markenzeichen, als die BBC die Aufnahme von
1972 als Titelmelodie für ihre Berichterstattung über die FIFA-Weltmeisterschaft 1990 in Italien verwendete.
Die meistgestreamte Opernarie aller Zeiten wurde nun anhand der Original-Masterbänder von 1972 neu
gemastert und in audiophilen Formaten wie LP und SACD veröffentlicht:
Die LPs wurden von Miles Showell in den Abbey Road Studios im Half-Speed-Verfahren gemastert und auf
180-g-Vinyl gepresst. Die Hybrid-SACD-Edition enthält eine 24-Bit-Audioschicht

Das fünfte Lemonheads-Album 'It's A Shame About Ray', wird zum 34.Jahrestag wieder als Single Vinyl auf grünem Vinyl mit der Original-Tracklist nachgepresst. Beschrieben von Musikjournalist und Autor Everett True als "Ein 30-minütiger Einblick in das, was es heißt, hart und schnell und locker und glücklich mit gleichgesinnten Kumpels zu leben, angetrieben von einer gemeinsamen Liebe zu ähnlichen Bands und Drogen und Alkohol und Freiheit". It's A Shame About Ray" hatte in jenen berauschenden, sorglosen Tagen des Jahres '92 eine beträchtliche Wirkung. Die Platte fängt perfekt Dandos Fähigkeit ein, die Sehnsucht und Lust der Teenager mühelos in einem zweiminütigen Popsong zu verpacken. Singles wie "My Drug Buddy" und der luftig-perfekte Pop des Titeltracks mögen herausstechen, aber die eigentliche Stärke des Albums liegt in den Tracks dazwischen; das wirklich fantastische 'Confetti' (über die Scheidung von Evans Eltern) und die atemberaubend lässige Akustik-Coverversion von 'Frank Mills' (aus dem Hippie-Musical Hair), eine Version, in der jedes Quäntchen Pathos und Gefühl für die verlorene Generation der 1960er mitzuschwingen scheint. Wenn Evan Dando Zeilen wie "I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet" singt, weiß man erst richtig zu schätzen, wie wunderbar und verlockend Popmusik sein kann. Und dann gibt es da noch den Ansturm von Aufsässigkeit und Unverfrorenheit im wunderbar verkürzten 'Bit Part'; das aufgedrehte 'Ceiling Fan In My Spoon'... das war Jungs/Teenager-Popmusik mit Stil auf einem Niveau mit The Kinks, den frühen Undertones und den Wipers. "Ray sounds revelatory in its restlessness, mixing college pop with country flair and relocating Gus Van Sant's Portland atmosphere to New England." Pitchfork *****½

SELF Distribuzione is proud to present one of the most presgious publicaons dedicated to the
history of Italo Disco: "WHY / MISS YOU – 40th Anniversary Edion," the new double A-side by
STYLÓO®, available in two exclusive collector's versions.
This release will be offered on stunning Transparent Green vinyl, aimed at enthusiasts of the
format, and in a presgious Collector's Edion on Gold-colored vinyl, created to celebrate forty
years of career and designed for the most discerning collectors and lovers of Italo Disco.

"WHY" and "MISS YOU" are two authenc classics that defined an era and helped shape the sound
of Italo Disco worldwide. Forty years later, these producons retain their melodic power and ability
to move listeners, confirming their status as meless tracks to this day.
This special 40th Anniversary Edion does not merely reissue the original versions—fully
remastered for the occasion—but is further enriched by new remixes entrusted to highly
presgious names.
Roberto Tura@ and Carl Fath have craAed a new and elegant interpretaon of "WHY," while A.P.
Mono, one of the most highly regarded names in the contemporary Italo Disco scene, has given
"MISS YOU" a new look, maintaining its original spirit while offering a modern, current sound.
The result is a project capable of bridging the past and the present, demonstrang how great
classics can connue to live on and capvate new generaons without losing their identy.
To complete the project, two evocave, previously unreleased symphonic overtures, "Echoes Of
Why" and "I Sll Miss You," serve as a tribute to the composional quality of these tracks. Both
symphonic composions were conceived, wriFen, arranged, and produced by STYLÓO® (Rino
Facchine@) together with Alessandro Bonsignori, with the intenon of demonstrang how a great
melody can be reinterpreted through different musical languages while maintaining its elegance
and expressive force.
This arsc choice tesfies to how true musical quality can transcend me and style, confirming
that a great song can be "dressed" in different arrangements without losing its soul.
With over forty years of history, STYLÓO® connues to represent one of the most beloved and
recognizable names in the Italo Disco universe. This release is dedicated to all those who lived
through those extraordinary years and to those today who are ready to rediscover two songs that
connue to move and make people dance.
Because true classics do not belong to the past. True classics live on.

“Morning Light (Silence of a Winter’s Dawn)” is the debut album by tenor saxophonist and composer Rik van der Made, a dazzling blend of contemporary jazz and atmospheric folk. Van der Made tells stories full of spiritual ecstasy, inspired by the sea and the seasons. In recent years, The Dutchman refined his style and technique at the Royal Academy of Music and explored the creative hotbed of London. There he gathered a super group to record this album.
Rik van der Made – tenor saxophone; Immy Churchill – vocals; Benji Bown – piano; Niklas Lukassen – double bass; Johan Evans – drums. Special guest: Alex Hitchcock (alto sax)

Mesdames et Messieurs! FLEUR is back for one last time with a new release An EP with 4 sparkling popsongs written by the- king- of- garage- pop Mark ten Hoor (THE KRYNG) who also wrote her last album "Fille Sauvage" (2024). Title track "Jour D'ete" is an uptempo breezy pop-gem about summer and being young and in love. "Je Ne Veux Pas De Toi" romps and stomps with FLEUR telling her admirer how things stand in the bongo driven chorus. "Le Temps Nous Le Dira" could have easily been the title track. A super catchy melancholy song with driving 12-string guitar. The delicate, moody and dreamlike "Qu'est-ce Que Je Fais de Mal" is a perfect closer.

For nearly four decades, since its founding during the mid 1980s, the Belgian imprint, Sub Rosa, has continuously plumbed the depths of numerous, radical creative histories, assembling a catalog of releases that has almost no equivalent, while remaining nearly impossible to nail down. That said, for most of its run, Sub Rosa has been primarily recognized for its rigorous explorations of the lesser explored shadows of experimental sound practice (sound-art, sound-poetry, early electronic and electroacoustic music, free-improvisation, etc.), delivering a remarkable body of artifacts that have collectively helped to rewrite history in their wake. While it's always been impossible to anticipate where the label might take us next, threading their catalog are plenty of releases that throw further wrenches in the cogs, expanding our understanding of what they pursue, as in the case of a handful of titles, appearing as early as the 1980s, dedicated to ethnographic field-recordings from various parts of the world. Among the most striking and celebrated of these was 2017's Ethiopian Urban And Tribal Music: Mindanoo Mistiru / Gold From Wax, comprising an astounding body of recordings made by Ragnar Johnson and Ralph Harrisson in Ethiopia during 1971, reissuing material originally released by Lyrichord the following year. Now, Sub Rosa returns to the incredible work embarked upon by the pair and captured on that same trip with Ethiopian Musics 1971, comprising the recordings originally released by Ocora shortly after their completion, expanded in this edition to include an entire disc of never before released music. Widely regarded as some of the most important field-recordings ever made of indigenous Ethiopian folk music (as captivating and intoxicating as they are revelatory: providing insights into the roots of the country's singular traditions of popular music and jazz that have come to be celebrated the world over), this incredible collection is issued by Sub Rosa in a beautifully produced 2LP edition, complemented by a four page insert providing detailed descriptions of each song, as well as notes by the ethnomusicologists and recordists, as well as a 2CD edition, with a twelve page booklet. Insanely good and absolutely essential for any fan of field-recording, ethnomusicology, the music of Ethiopia, or the label's mission at large. Once again, Sub Rosa has defied our expectations and delivered a remarkably important intervention in the history of recorded sound.

Located in the Horn of Africa region of East Africa, few cultures are distinctly singular, while being so diverse (containing 80 distinct ethnic groups who speak 70 languages and 200 dialects) as that of Ethiopia. The home to some of the oldest surviving sects of Judaism, Christianity, and Islam (each contributing important aspects of its collective cultural body), particularly the country's culinary and musical traditions have become celebrated the world over, and (generally speaking) feel entirely independent of those of its neighbors. Given this, it's unsurprising that, during the summer of 1971, the young ethnographer, Ragnar Johnson, accompanied by Ralph Harrisson, traveled to Ethiopia to begin his brief career as a field recording ethnomusicologist, capturing material on reels of magnetic tape that would be subsequently released across three LPs for Lyrichord and Ocora, respectively, coming to form a cornerstone of documentation and study of the country's many indigenous musical traditions, as well as providing wide, global access to them for the first time. While Johnson's recording career was relatively brief, ending toward the end of the decade when he began to focus more on teaching in UK universities, with a focus on the anthropology of art and social anthropology, his impact on the field was lasting. Between 1971 and 1979, in addition to those he made in Ethiopia, he made hugely significant recordings in Yemen (also issued by Lyrichord before being reissued by Sub Rosa) and Papua New Guinea, which were originally released by David Toop's Quartz Publications to wide celebration, before being revisited by Ideologic Organ in 2023.

While it's worth noting that commercial releases of ethnomusicological recordings by labels like Folkways, Lyrichord, and Ocora were still in their relatively early days when he entered the field, Johnson's recordings quickly stood apart for their vivid qualities and clarity of space, allowing them to stand the test of time. As he later stated: "I used a Uher Report L stereo tape recorder, BASF quarter inch tapes at a recording speed of seven and a half inches per second with two directional microphones mounted to record an isosceles triangle of stereo sound," he reveals. "The location of the microphones and musicians was critical. The musicians were fully informed of all aspects of the recording process."

Johnson's recordings are extremely vivid, there is a clear sense of space and the cries of the flutes exist across the entire stereo field. It's a reflection of Johnson's skill as a field recordist that his recordings continue to be reissued over forty years later. "I used a Uher Report L stereo tape recorder, BASF quarter inch tapes at a recording speed of seven and a half inches per second with two directional microphones mounted to record an isosceles triangle of stereo sound," he reveals. "The location of the microphones and musicians was critical. The musicians were fully informed of all aspects of the recording process… I used to enjoy being in the moment and hearing something wonderful despite the stress of the vigilance required to ensure that the recordings were accomplished according to plan. The responsibility is to record and document the music as effectively as possible so that it has been preserved for posterity. It is better to actually record music than to sit in a seminar room debating the ethics of recording music." It is this very ethos and sense of clarity that can be encountered across the length of Ethiopian Musics 1971.

For the sake of clarity, the two LPs of material that comprise Ethiopian Musics 1971 should be regarded as a single body of recordings alongside those made in Ethiopia by Ragnar Johnson and Ralph Harrisson during the summer of 1971 (previously issued by Lyrichord and reissued by Sub Rosa), and as two that have, until now, remained historically distinct. The first LP gathers that material released by Ocora during the early 1970s on Musiques Ethiopiennes, while the second comprises (as far as we can tell) twelve never before issued recordings, expanding the journey and making this the definitive edition of the release with its incredible total of 23 recordings of songs, allowing it ever greater scope to achieve the recordists' modus operandi of capturing the broadest and most diverse cross section of Ethiopia's many musical cultures, ranging from different forms of urban music captured in Addis Ababa, documenting largely orally transmitted idioms within which lyrical content is given greater emphasis than the instrumental components (played on masenko fiddles, craar and bagana lyres, washint flutes and kabaro drums), to folk idioms hailing from the Danakil desert and the border regions with Sudan and Kenya. There are songs sung and played in bars, divination chants, laments, dances, Christian songs, and Amharic sung poetry, to only begin to scratch the surface.

Ethiopian Musics 1971 is one of those rare albums where each musical moment is pure, intoxicating gold, while also being greater through the sum of its parts. There are the many songs, forming a rich tapestry of remarkable range across the respective two LPs/CDs (moments that wondrously flirt with sonic abstraction; hypnotic rhythms; pulsing chant; melodies that, in structural arrangement and tonal combination, help us reframe how such a thing might be understood, and a great deal more), each imbued with a remarkable directness and emotive sensibility, and there is the stunning quality of these recordings themselves, transporting each sound to our ears as though we intimately share its creator's space, while being imbued with the pure heart and remarkable spirit with which they were made. As we said before, it's little wonder, once heard, why these recordings and this music feels as fresh and relevant (enduring more than 50 years) today as when they were made. Once again, Sub Rosa has raised the bar with this essential addition to the incredible work that Ragnar Johnson and Ralph Harrisson did back in Ethiopia during 1971, radically expanding our access to the sounds that they captured with these stunning, beautifully produced 2LP and 2CD editions. Absolutely engrossing from the first sounding to the last, this one can't be missed.

Repress!

THE M.V.P.'s burst into life on the Northern Soul scene back in 1975 courtesy of Blackpool Mecca DJ Ian Levine and has long since divided opinion. Is it pop, is it soul, are they black, are they white, etc etc. Well, it's a rock record from 1971 and has nothing to do with soul... but everything to do with Northern Soul! It packed the floor at the Highland Room and was adopted as a Wigan Casino anthem and immortalized by Tony Palmer in his 1977 Granada TV documentary This England. It was reissued by UK Buddah, due to popular demand, driven in no small part by the TV show and its 20 million viewers. Now, some 40 years on, we present the iconic track, both stereo and mono mixes, as mastered at the time by Bell Sound's senior engineer Joe Breschie.

SALES POINTS:
All time Northern Soul Classics - Two fabulous sides
Massive appeal to ALL Northern Soul fans
As featured in the film Northern Soul

Faellesskab reveals their most critical and emotionally charged work to date, a deeply personal voyage into the heart of Nordic black metal, where raw emotion and melodic depth keep reveling in sorrow and longing beauty. Translating to "Community", Faellesskab's six tracks weave a strong musical oeuvre within the Afsky canon; their walls of haunting melancholia, interwoven with vital intensity, have never been more powerful. Yet, this new work also sees the band at its sharpest in social criticism, as Ole Luk of Afsky notes: Faellesskab - Overture to the Downfall. Here, community is praised like herd animals fleeing responsibility.

A parade of moral superiority, where truth is trampled in the name of consensus. Where unity means silence, and doubt is a crime. Six songs of shame disguised as care, of freedom suffocated, and of the solitary few who still dare to question. A chorus of hollow words, where silence screams the loudest. Welcome to the celebration - the curtain hasn't just risen, it's been torn away! Afsky will mark the release with a special show in Copenhagen on October 17, graced by a full European album release tour kicking off the following week. Two singles are set to be unveiled in the lead-up to the release. While Afsky continues to refine their signature sound, this release is set to be another landmark in the band's uncompromising discography.