This special 3LP clear vinyl collates the “Back To Black” era in a definitive package. Featuring the original studio album, 4x unreleased demos, rare B-sides and demos, alongside the notable live performance from Paradiso, Amsterdam (February 8th 2007) from the Back To Black tour, never released in full and on vinyl.
This edition features brand new alternative cover artwork, including Amy’s handwritten lyrics, and never-before-seen photos by original album photographers Mischa Richter and Alex Lake, plus brand new, exclusive liner notes from Mark Ronson and Salaam Remi.
2026 celebrates the 20th anniversary of the 5x Grammy award winning album “Back To Black”, universally regarded as one of the greatest, most important and influential albums in pop history.
With his last three records all landing within a calendar year (2024-25), enigmatic Swedish producer Civilistjävel! (aka Tomas Bodén) is on a hot streak of releases, his singular vision increasingly ambitious and expansive. There are few artists working at this level so consistently right now, reinventing, revising and continually developing their language. Following on from 2025’s radically re-worked ‘Versions’ (of Mayssa Jallad’s ‘Marjaa…’), Bodén returns to break further fresh ground with his new album, ‘Älvgång’. Featuring contributions from Soccer Committee, Carrier and guest (aka Jabu’s Jasmine Butt), ‘Älvgång’ foregrounds a more brittle and insistent rhythm-based sound, whilst comprising his most broad-ranging collection of material to date.
‘Älvgång’ grew out of a series of sketches made from late ‘24 and throughout the whole of ‘25 at Stockholm’s renowned EMS Studios, which gave Boden free rein to its extensive collection of vintage analogue equipment and rare modular synthesizers such as the Serge and Buchla systems. As a loose framework of tracks began to take shape, so did a reflection of sorts, on family and foundations, underpinned or influenced by sounds that drifted into Tomas consciousness around this time - ancient Swedish pastoral music, Georgian lithurgical chants, gongs, chimes. An idea settled into place, a dedication to his Grandfather, as the earlier release Fyra Platser (tr. ‘Four Places’) was to his Grandmother. Älvgång is grounded with the sense of time and place of an old family photograph, with the tracks over each side bearing one of two names that are more or less the same location - Strinne was the old name for a this loose collection of villages. These days it is more commonly known as Bjärtrå. Metaphorically speaking, the river runs through both.
Civilistjävel! conjures so many adjectives and descriptors, ‘glacial’ and ‘ambient’ frequently among them - but while not altogether untrue, such terms belie the tension and drama so often present in Tomas’ music. Listening to ‘Älvgång’ is not a passive experience. The eight tracks here feel like a patchwork of memories that bathe in the same ethereal, otherworldly glow of Tarkovsky’s polaroids’.
The machine pulses that dominate this landscape are reigned in and tempered by a human hand; lithe, untethered coils, breathing in and out. ‘Strinne Ett’ sets out with purpose, sensing awe and wonder through the murk, but as the final tone unfurls like a question mark, another chapter begins, unfolding/building like a Tarjei Vesaas novel. These lyrical, abstract miniatures combine to reveal a wider context, fragile humanity standing alone against nature.
Guest appearances on Civilistjävel! records have become a regular occurrence (including recent collaborations with Mayssa Jallad, Laila Sakini, Cucina Povera, Thomas Bush, Eldon + Withdrawn), but are used sparingly and with increasing precision. On ‘Strinne Tre’ Mariska Baars’ (Soccer Committee) voice feels like a balm, a clearing. But as her simple, three-word incantation drifts further into fog, the meaning changes, and her words seem to curdle. Carrier’s beats widen the parameters on ‘Strinne Fyra’, a skittering promise that builds tension then refuses to release it; all false starts, Photek gongs, and trinkling modulars. Jabu’s Jasmine Butt pulls all the threads together for the final track, Thomas Tallis’ ghost walking over offset machine impulses, that work against their own symmetry.
Side two begins inquisitively, scanning bleached, alien surroundings, its sparse pads recalling Aphex Twin’s ‘Selected Ambient works Vol 2’. 'Bjärtrå Två’ picks up the baton from ' Strinne Fyra’ with a ruptured Simmons SDS200 analogue drum synth set free from its shackles, the rhythm eventually slotting into the spaces that were hiding in plain sight. What follows seems like an epiphany; ‘Bjärtrå Tre’ is achingly beautiful, a euphoric, winding ascent that leads to devotional plainsong. ‘Bjärtrå Fyra‘s final unheralded shift feels both tragic and haunting.
"Cloud Collision" is the first transmission of Open Water and also the debut from it's founder - Berlin DJ and producer OTEE. Born and raised in the city, he has spent a long stretch in and around its club environments and in the studio, absorbing the way techno functions on Berlins dancefloors before committing to a record of his own. In his productions, he likes to build from rhythm first. His techno is hypnotic in the truest sense — drum-driven and loop-led, powered by groove and atmospherics, chasing movement over spectacle but always with an eye on the occasional melodic line. The 5-track EP runs on rhythm and space — hypnotic, loop-led techno built on power, movement and emotion. Five tracks that push from dream to pressure to flight and back to earth, restrained and physical throughout, made for the deep end of the floor.
Industrial noise terrorists LARD, the legendary collision of Jello Biafra and Ministry masterminds Al Jourgensen and Paul Barker, return with the long-awaited repress of their 1990 full-length masterpiece, The Last Temptation of Reid.
A vicious fusion of industrial metal, punk rock, political outrage, and black humor, The Last Temptation of Reid remains as relevant, confrontational, and sonically devastating today as it was when it first detonated over three decades ago. From the opening assault of “Forkboy” (later featured on the Natural Born Killers soundtrack) to the twisted brilliance of “Pineapple Face,” “Drug Raid at 4 AM,” and their unhinged reinvention of “They’re Coming to Take Me Away,” (originally performed by Napoleon XIV), LARD created a collection of songs that still sounds unlike anything before or since.
This new edition has been worth the wait. After production setbacks and multiple rounds of test pressings, Jello Biafra personally halted the project to completely remaster the album, ensuring it finally received the sonic treatment it deserved. The result is the best-sounding vinyl edition of The Last Temptation of Reid ever released. As a special bonus, this edition now includes bonus one sided 12” vinyl of “I Am Your Clock.” Originally a UK exclusive 12”, it’s never been repressed until now.
Originally released on Alternative Tentacles in 1990, The Last Temptation of Reid captured the paranoia, hypocrisy, corruption, and media madness of its era with razor-sharp wit and a patented wall of noise and sonic wizardry. The unsettling truth is that it may hit even harder today.
Industrial noise terrorists LARD, the legendary collision of Jello Biafra and Ministry masterminds Al Jourgensen and Paul Barker, return with the long-awaited repress of their 1990 full-length masterpiece, The Last Temptation of Reid.
A vicious fusion of industrial metal, punk rock, political outrage, and black humor, The Last Temptation of Reid remains as relevant, confrontational, and sonically devastating today as it was when it first detonated over three decades ago. From the opening assault of “Forkboy” (later featured on the Natural Born Killers soundtrack) to the twisted brilliance of “Pineapple Face,” “Drug Raid at 4 AM,” and their unhinged reinvention of “They’re Coming to Take Me Away,” (originally performed by Napoleon XIV), LARD created a collection of songs that still sounds unlike anything before or since.
This new edition has been worth the wait. After production setbacks and multiple rounds of test pressings, Jello Biafra personally halted the project to completely remaster the album, ensuring it finally received the sonic treatment it deserved. The result is the best-sounding vinyl edition of The Last Temptation of Reid ever released. As a special bonus, this edition now includes bonus one sided 12” vinyl of “I Am Your Clock.” Originally a UK exclusive 12”, it’s never been repressed until now.
Originally released on Alternative Tentacles in 1990, The Last Temptation of Reid captured the paranoia, hypocrisy, corruption, and media madness of its era with razor-sharp wit and a patented wall of noise and sonic wizardry. The unsettling truth is that it may hit even harder today.
For more than two decades, Vidmantas ?epkauskas has occupied a singular position within European underground culture. As the driving force behind Opium Club and gallery 1986 in Vilnius, founder of Ant Bangos, Alfavilnius and OLE festivals, curator, label owner, promoter, DJ and artist, he has spent much of his life creating the conditions for other people's music to be heard.
It makes sense then that he has no shortage of friends and collaborators in play. Across ten tracks, V presents shades of Italo, krautrock, post-punk, minimal synth, industrial pop and neon-noir romanticism, arriving somewhere between the dancefloor and a dream-state. The cast of collaborators both contextualize and help sharpen the vision.
First and foremost, much of the album was crafted alongside Frankfurt's Philipp Lauer, whose friendship with V grew through marathon studio sessions. Curses lends his unmistakable blend of dark romance and theatrical energy to "Is This What You Want?", Australian cosmic journeyman Dreems joins for the kaleidoscopic "Blitz Disc," Domenique Dumont brings their unmistakable emotive touch to "Avventura," while Lithuanian artists Noyus and Ruta MUR, both distinctive voices from the country's queer scene, whose vocals add another dimension to the record's emotional palette. As V puts it, "These are the people I've been vibing with."
That he finally delivers a full-length LP with such elusive qualities is more than a clue to his character. The title itself, a nod to Magritte's famous paradox and his years living in Brussels, suggests that any attempt to define V through a single image is destined to fail. At once playful and philosophical, 12:55 (Ceci n'est pas une V) questions ideas of identity and artistic value while marking the closing chapter of the musical persona that followed ?epkauskas' earlier success as Vidis. Neither retrospective nor statement of intent, it feels like a connected set of reflections spanning a lifetime of influences.
Underoath reinvents the balance between chaos and harmony with each successive release. Their compositions, conjured from creative tension, become iconoclastic anthems. Even when the band almost combusts, the crackling energy coalesces into something deeply resonant for millions.
Each time they have a chance to do something safe, Underoath challenges themselves instead, with integrity and attitude. Their pair of gold albums and three Grammy nominations stand in stark defiance of the idea of commercial compromise. The Underoath catalog weaponizes noise, aggression, and ambiance as skillfully as melody.
They're Only Chasing Safety is the fourth studio album by American melodic hardcore band Underoath. It was released on June 15, 2004, through Solid State Records. Following the release of their third studio album, The Changing of Times (2002), half of the band's members were replaced. After finalizing the line-up with vocalist Spencer Chamberlain, the band recorded They're Only Chasing Safety with producer James Paul Wisner (Dashboard Confessional, Further Seems Forever, Paramore). In the heavy and punk music scene, the album is considered a watershed moment. The blend of heavy metal and hardcore influences with a strong pop/punk sensibility spawned a new branch of heavy music. The sound eventually became synonymous with the screamo scene of the mid-2000s. The record went gold in 2011.
Like Roses aus Berkeley, Kalifornien, sind eine echte Macht. Offenherzige Texte über Liebeskummer, Verlust und Selbstreflexion treffen auf energiegeladene Hooks und rauen, melodischen Gesang, der geradezu dazu einlädt, lauthals mitzuschreien - eine Kombination, die der Band eine treue Fangemeinde sowie Nordamerika-Tourneen an der Seite von Acts wie Pierce the Veil, Neck Deep und Mayday Parade eingebracht hat. Seit 2018 ist die Band am Start, hat ein paar Singles und EPs veröffentlicht und präsentiert nun ihr erstes richtiges Album. "Gänzlich unprätentiös beschreiben Like Roses ihren Sound wie folgt: "Leute mit Instrumenten, die davon schreien, wie traurig sie sind - und zwar über den Lärm, den sie mit besagten Instrumenten machen." So weit, so emo. Aber eben mit Pop-Punk-Drive und einem Fünkchen Mathrock." - Visions 2023 "Emo is alive and well in the Bay Area band Like Roses, whose song "Wrist" captures the nostalgic sound of early-2000s melodic pop-punk through the lens of queer yearning" - "Wrist" (Like Roses), New York Times - Song of the Week Für Fans von Joyce Manor, Modern Baseball, Tiny Moving Parts
The Garden, experimental punk duo made of twin brothers Wyatt and Fletcher Shears and their new album Bootleg is available on vinyl and CD via Epitaph Records. Recorded in Los Angeles and produced by Wyatt and Fletcher, the 14-track album is packed with The Garden"s eclectic instrumentation and visceral production work. Formed in 2011 by twin brothers Wyatt Shears and Fletcher Shears, The Garden built their signature "Vada Vada" style from the raw foundation of bass, drums, and eerie electronic textures. Their minimalist approach delivers an explosive, genre-defying sound that is equal parts chaotic, precise, and unmistakably original. Blending an uncanny, arthouse-inspired visual identity with fearless creativity, The Garden has become one of alternative music"s most influential cult acts, beloved by Tyler, the Creator and Mac DeMarco. Renowned for their explosive live performances, they"ve cultivated a fiercely dedicated global following while inspiring a new generation of artists and fans drawn to their singular creative vision.
Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more
Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.
Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.
Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.
Fudge is Michael Kiwanuka’s most free and instinctive album to date. A vibrant, deeply human record shaped by spontaneity, emotion, and creative joy. It’s loose, soulful, and alive with the kind of magic that only happens when the process leads the way. The album was inspired by the encouraging words of the late Chick Corea, whose interview Michael stumbled upon during the pandemic lockdown, urging him to embrace what he loved without worrying about what others might think.
Each physical edition brings you into that world. The artwork, created by Michael’s friend and visual collaborator Stevie Gee, bursts with colour and character. It’s a psychedelic cartoon-inspired piece that perfectly mirrors the album’s warmth and wonder
Fudge is Michael Kiwanuka’s most free and instinctive album to date. A vibrant, deeply human record shaped by spontaneity, emotion, and creative joy. It’s loose, soulful, and alive with the kind of magic that only happens when the process leads the way. The album was inspired by the encouraging words of the late Chick Corea, whose interview Michael stumbled upon during the pandemic lockdown, urging him to embrace what he loved without worrying about what others might think.
Each physical edition brings you into that world. The artwork, created by Michael’s friend and visual collaborator Stevie Gee, bursts with colour and character. It’s a psychedelic cartoon-inspired piece that perfectly mirrors the album’s warmth and wonder
Tommy Lefroy has never been afraid of existential questions. From their critically acclaimed debut EP, Flight Risk, the band has captured audiences with their candor wrapped in wit. Both lyrically intimate and sonically vast, the band’s catalog is confessional and commentative, balancing irony with sincerity. They broach their biggest subjects yet on their first full length album, The Precariat. An economic term, the precariat refers to a growing class of people facing increasing instability. “Most people we know are experiencing an unprecedented level of precarity, permeating into the collective psyche. We feel like the best we could strive for in a body of work is an unflinching capture of the moment. The Precariat felt like the perfect title, and emblem of how it feels to be alive these days.” Recorded in Los Angeles at Blue Canyon Studios, The Precariat was produced by band members Wynter Bethel and Tessa Mouzourakis, with co-production from Stephen Sesso, and executive production by Mike Crossey (The 1975, Wolf Alice, MUNA). The album’s songs were written by Bethel and Mouzourakis, over the tenure of their friendship, across apartments and tour vans, phone calls and late night conversations. With themes of friendship, coming of age, personal and collective grief, environmental uncertainty and political decay, The Precariat offers a sonic landscape in which to contend with our rapidly changing world. The album’s title track (largely inspired by Springsteen’s critical narratives mistaken for bleeding heart patriotism) grapples with constant exposure to global suffering, and feeling entrenched within systems that fail us. “The Precariat” disintegrates into the ‘American cities’ outro, an idea started while the band lived in London, about missing home while watching it destabilize from afar. The Precariat faces this head on – all the sheen of the American empire has worn off, and there is much work to be done. “We hope to foster an antidote to precarity – community.”
FORBIDDEN’s legacy is one of being the youngest, hungriest and most ambitious of the Bay Area brethren that has launched metal paradigm-shifters from Metallica to Machine Head. With a reconstituted lineup, guitarist Craig Locicero and bassist Matt Camacho, have crafted an hour-plus masterpiece of thrashy predilection, emotive musical movements, and prog-scraping sonic ambitions. From the intensity of opening track, “Single Point Failure” to the philosophical shades of 9-minute closer, “Flower of Life”, this is FORBIDDEN not merely stretching beyond the steely foundations of 1988’s classic Forbidden Evil or the quantum leap of 1990’s Twisted Into Form, but the sound of a band with a new sense of scope and purpose. Produced by Zach Ohren (Machine Head), Forbidden isn’t merely a revival for quintet whose membership has included players from Machine Head, Voivod and Imagika, but full-blown reinvigoration and purgative endpoint for this Bay Area metal institution.
FORBIDDEN’s legacy is one of being the youngest, hungriest and most ambitious of the Bay Area brethren that has launched metal paradigm-shifters from Metallica to Machine Head. With a reconstituted lineup, guitarist Craig Locicero and bassist Matt Camacho, have crafted an hour-plus masterpiece of thrashy predilection, emotive musical movements, and prog-scraping sonic ambitions. From the intensity of opening track, “Single Point Failure” to the philosophical shades of 9-minute closer, “Flower of Life”, this is FORBIDDEN not merely stretching beyond the steely foundations of 1988’s classic Forbidden Evil or the quantum leap of 1990’s Twisted Into Form, but the sound of a band with a new sense of scope and purpose. Produced by Zach Ohren (Machine Head), Forbidden isn’t merely a revival for quintet whose membership has included players from Machine Head, Voivod and Imagika, but full-blown reinvigoration and purgative endpoint for this Bay Area metal institution.
Following the acclaimed Milano Undiscovered, Italia Undiscovered and Italia Synthetica series comes Italo International: a new collection celebrating the enduring legacy of Italo Disco. Eight exclusive tracks by established European artists reimagining one of Italy's most influential musical movements with originality, respect, and a contemporary vision.
Italo International is a journey through the many shades of elegant and visionary electronic music, moving between Italo Disco, Synth Pop and dancefloor-oriented sounds. The talented and steadily rising Polish producer Rafał Lachmirowicz, aka Also Playable Mono; Hungarian artist Gianni Durante, aka Electro Potato, who for years has been bringing back the sound of early-Eighties Italo Disco with passion and a contemporary sensibility; Norwegian Tommy Holsen, aka DJ TinTin, who together with the Eighties band Go explores the classic sounds of Nordic Synth Pop; British producer Mark Wilkinson, aka Kid Machine, who for over fifteen years has been creating productions made for the dancefloor; Tyrell Corporation, the alias of Dutch producer Alden Tyrell, who joins forces with Italian duo Italoconnection to rework a track destined to set the dancefloor on fire; Swedish multidisciplinary artist Tobias Bernstrup, who for three decades has been reinventing the more sophisticated side of Italo Disco with elegance and a distinctive vision; the Dutch project Sfera Celeste Project, which blends Moroder-inspired sounds with a hypnotic minimalism reminiscent of Jeff Mills; and, closing the journey, British artists Heartbreak, Ali Renault and Sebastian Muravchik, with a poignant and slow-burning excursion into the melancholic world of Synth Pop.
Celebrating 50 years of dancing, Amnesia represents the heart and soul of electronic music in Ibiza. Telling a story that spans five decades, the 50th anniversary vinyl/CD compilation is a window into a legendary venue that has helped establish some of the world's biggest tracks.
From the iconic piano riff of Eric Prydz' 'Pjanoo' to the laid-back groove of 'Benediction' by Hot Natured. A club that spans eras and genres - the disco of Chic's 'Good Times', the synth-pop of New Order's 'Blue Monday', or the gritty electro of Alter Ego's 'Rocker'.
The soundtracks of 50 summers are represented across 50 tracks spanning 10 vinyl/5 CDs. A hand-picked selection that reflects the incredible breadth of Amnesia's cultural influence, featuring music from Calvin Harris, Donna Summer, Paul van Dyk, Candi Staton, Fred Again.., Robert Miles, Laurent Garnier, Binary Finary, and many more.
