POV zeigt Nico Santos in zwei Extremen: ganz nah und ganz groß. Sein viertes Album ist ein Doppelalbum
aus zwei vollständigen Welten: Personal und Optimist. Personal versammelt intime, persönliche und echte
Geschichten, vielleicht die biografischsten Texte, die Nico bisher geschrieben hat, für Momente, die man
allein mit sich hört. Optimist ist das Gegenstück: große Hymnen und der Soundtrack zu seinem lauten,
schnellen Leben als Popstar, für Nächte und Momente mit Freunden. Zusammen ergeben beide Seiten 18
Songs, darunter ”Why Don’t You Stay”, ”Optimist”, ”Ray of Light”, ”All Time High” und ”Body”.
„ZIRP!“ ist das fünfte Studioalbum von DIIV und zeigt die New Yorker so zugänglich wie je zuvor. Produziert vom Hyperpop-Pionier A. G. Cook (Charli XCX, Caroline Polachek) begeben sie sich dabei in neue
Sound-Gefilde: Zwar bleiben die für DIIV typischen Shoegaze-Elemente erhalten, doch nun steht zum ersten Mal der Gesang von Frontmann Cole Smith im Mittelpunkt des Mixes. „ZIRP!“, benannt nach der
Niedrigzinspolitik, die uns in eine Welt gescheiterter Start-ups geführt und uns alle zu „Nutzern“ gemacht
hat, baut mit einer neu gewonnenen Leichtigkeit auf den Themen des Vorgängers „Frog In Boiling Water“
auf. Durchweg konzentrieren sich DIIV bei ihrem neuen Album auf ihre bisher kraftvollsten und einprägsamsten Melodien; jeder neue, in sich geschlossene Hook und jeder beiläufig eingestreute Ohrwurm zeugen von
einer Band, die mehr als bereit ist, ihr Potenzial im Mainstream voll auszuschöpfen.
„ZIRP!“ ist das fünfte Studioalbum von DIIV und zeigt die New Yorker so zugänglich wie je zuvor. Produziert vom Hyperpop-Pionier A. G. Cook (Charli XCX, Caroline Polachek) begeben sie sich dabei in neue
Sound-Gefilde: Zwar bleiben die für DIIV typischen Shoegaze-Elemente erhalten, doch nun steht zum ersten Mal der Gesang von Frontmann Cole Smith im Mittelpunkt des Mixes. „ZIRP!“, benannt nach der
Niedrigzinspolitik, die uns in eine Welt gescheiterter Start-ups geführt und uns alle zu „Nutzern“ gemacht
hat, baut mit einer neu gewonnenen Leichtigkeit auf den Themen des Vorgängers „Frog In Boiling Water“
auf. Durchweg konzentrieren sich DIIV bei ihrem neuen Album auf ihre bisher kraftvollsten und einprägsamsten Melodien; jeder neue, in sich geschlossene Hook und jeder beiläufig eingestreute Ohrwurm zeugen von
einer Band, die mehr als bereit ist, ihr Potenzial im Mainstream voll auszuschöpfen.
„The Who By Numbers“, das Anfang Oktober 1975 erschien, ist das siebte Studioalbum von The Who
und stellte einen Wendepunkt für die Band dar, da die Songs größtenteils introspektiver und persönlicher
waren als ihre bisherigen Veröffentlichungen. Das Album war ein kommerzieller Erfolg und erreichte Platz
8 der US-Billboard-Charts sowie Platz 7 in Großbritannien, was zum Teil auf den Erfolg eines der leichteren
Stücke des Albums zurückzuführen war: „Squeeze Box“ wurde zu einem internationalen Hit und schaffte
es in Großbritannien in die Top Ten, in den USA in die Top 20 und in Kanada auf Platz 1.
50 Jahre später wird „The Who By Numbers“ im Oktober dieses Jahres als Super-Deluxe-Edition-Box
mit 5 CDs und 1 Blu-ray neu aufgelegt. Diese enthält ein 100-seitiges Hardcover-Buch mit Fotos, Erinnerungsstücken und exklusiven Anmerkungen von Pete Townshend und dem Who-Experten Andy Neill, 92
unveröffentlichte Titel und Mixe, brandneue Atmos-, 5.1- und Stereo-Mixe von Pete Townshend, 11 von
Petes Original-Demos für das Album, Aufnahmesessions aus den Ramport- und Shepperton-Studios, frühe
Mixe, Guide-Vocals, die bislang umfassendste Version von „Live At Vetch Field, Swansea, Wales, 12. Juni
1976“ sowie auf der Blu-ray Audio- und Videomaterial von einem bisher unveröffentlichten Who-Konzert,
das auf 2-Zoll-Videoband im Metropolitan Stadium in Pontiac, Michigan, aufgenommen wurde.
„Glitter“ ist das achte Studioalbum von Mariah Carey und dient als Soundtrack zum gleichnamigen Film
aus dem Jahr 2001. Das im September 2001 veröffentlichte, schillernde Album verbindet retro-inspirierten
Disco, Funk, R&B, Hip-Hop und Pop und fängt den pulsierenden Sound der frühen 1980er Jahre ein,
während es gleichzeitig Careys unverwechselbaren Gesang und ihr Songwriting zur Geltung bringt. Mit
Songs wie „Loverboy“, „Never Too Far“ und „Lead The Way“ beschäftigt sich „Glitter“ mit Themen wie
Liebe, Ehrgeiz, Liebeskummer und Selbstfindung. In den letzten Jahren hat das Album eine treue Fangemeinde gewonnen und wird heute weithin für seine nostalgische Produktion, seine kraftvollen Balladen
und die kreative Verschmelzung von klassischem Disco mit zeitgenössischem R&B und Hip-Hop geschätzt.
Anlässlich seines 25-jährigen Jubiläums wird das Album zum ersten Mal seit seiner ursprünglichen Veröffentlichung auf Vinyl neu aufgelegt, gepresst auf 2LP in fuchsiafarbenem Vinyl.
Après le Gobble SP 04, nous sommes fiers de vous présenter le Gobble SP 05 !
Pour ce nouvel opus, nous avons une nouvelle fois sélectionné des morceaux inédits de Tieum, produits à l’origine dans les années 90/2000. Des tracks choisies avec soin pour composer un EP à son image, rempli de cette énergie et de cette identité qui ont marqué toute une génération.
Un grand merci à Tieum pour sa confiance et pour nous permettre de ressortir de ses archives ces morceaux qui nous ont bercés tout au long de notre jeunesse !
Un véritable voyage dans le temps pour tous les amoureux du hardcore gabber oldschool.
Après le Gobble SP 04, nous sommes fiers de vous présenter le Gobble SP 05 !
Pour ce nouvel opus, nous avons une nouvelle fois sélectionné des morceaux inédits de Tieum, produits à l’origine dans les années 90/2000. Des tracks choisies avec soin pour composer un EP à son image, rempli de cette énergie et de cette identité qui ont marqué toute une génération.
Un grand merci à Tieum pour sa confiance et pour nous permettre de ressortir de ses archives ces morceaux qui nous ont bercés tout au long de notre jeunesse !
Un véritable voyage dans le temps pour tous les amoureux du hardcore gabber oldschool.
Five Special were a five-man harmony vocal group from Detroit whose members included Mike Pattillo, Steve Harris, Zeke Stanley, Greg Finlay and Bryan Banks (the younger brother of Dramatics’ main man Ron Banks). The aim of these five young men was to create a group with the potential of anyone of its members to be able to step up to sing lead on any given song, something which they went on to achieve to great aplomb.
Ron Banks was very instrumental in the founding of Five Special introducing them to his long-time friend Charles “Chuck” Underwood, a one-time former road manager of the Dramatics and by then the owner of the independent T.E.A.I Record Corporation label (T.E.A.I being an abbreviation for “Tellin’ Everybody About It”). Five Special’s first release for T.E.A.I was the 1976 joyously uplifting dancer “The More I Get To Know You” a Jimmy Roach and Marcella Henderson composition featuring Bryan on lead, released as a part I and part II deemed to be a more disc-jockey friendly practice at the time. The record was popular with radio stations throughout the Detroit metropolis leading Chuck to precure a deal with Polygram which resulted in the song gaining release on their nationally distributed Mercury label. A second Five Special Mercury release followed in 1977, the Jimmy Roach penned mellifluous “(Let’s Stop Making) Small Talk” backed with the Ron Banks/Paul Clark penned psychedelic soul styled “Oh, Oh (Look What We’ve Done)” with Greg Finley and Zeke Stanley exchanging tenor and baritone parts throughout.
Through our ongoing working relationship with T.E.A.I Soul Junction have gained access to some previously unissued master tapes on Five Special which were recorded for an intended album project that was never finished. From these tapes we took “The More I Get To Know You” in its 5:50 minutes entirety (not split into parts 1 & 2) backed with the previously unissued mid-tempo delight “You Got To Be The One That I Love” with interchanging leads from Bryan and Steve coupled with the released psychedelic soul “Oh, Oh (Look What We’ve Done)” with interchanging leads between Greg and Zeke, catalogue number SJ565, currently a very popular release amongst Collectors and DJ’s alike. For our second and follow up Five Special 45 release, we have chosen to lead with the gorgeous, previously unissued “Two OF A Kind” penned by Ron Banks with lead vocals being provided by Steve Harris. The B-side of this release opens with another unissued psychedelic song, the Ron Banks/Chuck Underwood composed “Stone Chain Reaction” featuring punchy interchanging lead vocals from Greg Finley and Zeke Stanley, this is coupled together with the released mid 1970’s sweet soul masterpiece from the pen of Jimmy Roach “(Let’s Stop Making) Small Talk” making this yet another quality three track release from Soul Junction.
Released in 2025, the “Thirst Walk” 7” features the first new music released by post-hardcore art rock pioneers Shudder to Think since the late ‘90s.
This pressing of the 7" is on opaque pink vinyl and is available to stores for the first time. NON-RETURNABLE
In a world where stereotypes wrestle for power, "Macho Madness" challenges everything we thought
was normal. Overblown masculinity, the illusion of strength, and staged rituals of dominance - that is
what we call the "Macho Madness".
Remastered using pure analogue components only, from the master tapes through to the cutting head.
Ranging from urban soul, via orchestral weightiness right up to bluesy ballads and appealing easy listening, Extension Of A Man is certainly Donny Hathaway’s most ambitious album and the crowning conclusion of his phenomenal career. This is hardly a surprise since the album comes from one of the most versatile personalities in the field of soul. Both his debut album Everything Is Everything (ATCO SD 33-332) and the studio album Donny Hathaway (ATCO SD 33-360), which was recorded before the present LP, treated soul purely as a starting point to express Hathaway’s manifold ideas with regard to music and arrangement, and song and performance.
On Extension Of A Man, this ambition began and culminated in the opening piece, a six-minute orchestral composition entitled I Love The Lord; He Heard My Cry, Pts. 1-2. Hathaway himself arranged and orchestrated the work for 45 musicians and he conveys the elation and optimism of Gershwin’s Rhapsody In Blue in a religious context before it passes seamlessly to the transcendental Someday We’ll All Be Free, one of Hathaway’s most popular songs. The next two pieces, Flying Easy and Valdez In The Country, are also original compositions that were first recorded at the end of the Sixties as part of Chess’s studio groups.
The first is a sugary pop soul number that stands out due to its excellent performance, while the second is a gentle jazz-fusion jam in which Hathaway demonstrates his highly accomplished improvisation skills. Love, Love, Love and Come Little Children were chart singles whereby the first number is a poetic love song which is greatly influenced by Marvin Gaye’s What’s Going On. Donny Hathaway’s musical talent was boundless in every sense, and this album confirms without a doubt that he was way ahead of his time. It certainly makes one wonder what he would have achieved had not succumbed to a cruel fate.
MUSICIANS: Donny Hathaway (keyb, voc, b); Gene Orloff (concert master); Marvin Stamm (tp); David Newman (ts); Phil Upchurch, Cornell Dupree, David Spinozza, Joseph Bishop (g), Willie Weeks, Stanley Clarke (b); Fred White, Ray Lucas, Grady Tate (dr); Ralph MacDonald (perc).
33rpm Lacquer-cuts: Kevin Gray
200g Double Ultimate Record®
Limited Edition: 4000 copies
Box and Tip-on Gatefold printed in Italy
Pressed by Simon Garcia, Marciac, France
When the concert started that 4 November 1966 at the famous Berliner Jazztage, four musicians took the stage. Close-knit to the point of telepathy, they were about to give one of their last concerts. The mythical partnership of Stan Getz on saxophone and Gary Burton on the vibraphone was coming to an end, but were they even aware that this was one of their last acts? Accompanying them was an exceptional rhythm section with Chuck Israels on bass and the great Roy Haynes on drums.
With the first notes of “On Green Dolphin Street” the audience was won over by the rapport of empathy within the quartet. The programme was beautifully compiled to alternate flamboyant standards conducive to the most exuberant solos (“The Blues Walk”), heady ballads where Getz demonstrated his splendid sound and lyrical singing (“The Shadow of Your Smile” and “Once Upon a Summertime”), and compositions by Gary Burton where the vibraphonist displayed his subtle harmonic universe (“The Singing Song” and “Edelweiss”).
Suddenly, a high-spirited version of “O Grande Amor”, the standard by Antônio Carlos Jobim and Vinícius de Moraes, sounded out to prefigure the distinctly bossa nova vibe of the second part of the concert: Astrud Gilberto was to take the stage. With the opening bars of “Samba de Uma Nota Só” the flavours of Brazil were palpable. Gilberto’s voice, fragile yet mischievous against the background of the iridescent vibraphone and wrapped within the airy countermelody of the saxophone, recreated all the freshness and innocence of the legendary recording of 1964. As if they were performing together for the first time, Gilberto and Getz played a subtle game of seduction to create music that was sensual, light and melancholic.
The colourful sequence of bossa nova standards – “Você e Eu” by Gilberto Gil, “Corcovado” and “The Girl from Ipanema” by Jobim – intermingled with numbers that were jazzier in both form and spirit – “Jive Hoot” by Bob Brookmeyer, “The Shadow of Your Smile” and “It Might as Well Be Spring” – was simply irresistible.
With the final notes of “Jive Hoot”, Stan Getz smiled and bid farewell to the audience with a simple “Auf Wiedersehen”. The recording of this dream-like performance lay untouched for nearly sixty years, until we unearthed the original tapes in the archives of Berlin Radio. This album is the very first edition of a memorable live concert, entirely restored using Phoenix Mastering®.
The album that launched punk rock — raw, fast, loud, and utterly unstoppable!
Part of the Acoustic Sounds 40 Series
Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds!
180-gram 45 RPM double LP
Mastered from the original master tape
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jacket by Stoughton Printing
The Ramones ignited the punk-rock movement with their eponymous 1976 debut album, revitalizing rock and roll at one of it's lowest ebbs with attitude, energy and a loud, fast new sound. By cutting music down to it's bare essentials — four chords; a simple, catchy melody; a sped-up tempo and irresistibly inane lyrics, the Ramones blazed the trail for thousands of bands that followed, influencing everyone from The Clash and The Sex Pistols to Green Day and The Offspring.
Although The Ramones never achieved mainstream financial success, they released 21 live and studio albums, had a devoted fan base and were inducted into the Rock & Roll Hall of Fame in 2002. Other bands, such as the Stooges and the New York Dolls, came before them and set the stage and aesthetic for punk, and bands that immediately followed, such as the Sex Pistols, made the latent violence of the music more explicit, but the Ramones crystallized the musical ideals of the genre.
'What feels like a dream, a portal between worlds, a shimmering of ideas – that liminal space is the departure point for Midori Takada and Jakob Bro’s ever-unfolding musical friendship.
'On their second outing From Such A Blue Sky / かくも青き空から, arriving on Copenhagen's Loveland Music in October, the compositions are transformative, and the sounds travel between immediate emotional and abstract planes.
'The classically trained Japanese percussionist Midori Takada, later dubbed an ambient pioneer for the landmark 1983 album Through The Looking-Glass (another portal), left behind her Western classical training and found her own paths, drawing on African and Indonesian drumming, minimalism, theater, environmental music and instant composing.
'Similarly, Danish composer and guitarist Jakob Bro creates otherworldly sounds and beautiful, delicate melodies through intuitive creation and collective listening.
'On From Such A Blue Sky the music is co-composed and created in the studio over three days, from early morning to sundown. The compositions are increasingly open ecosystems, and the range of sound sources expands significantly from the puristic Until I Met You, with Thai gongs, heavy drums, ceramic flutes, electric guitar and pedals adding to the sonic imagery of From Such A Blue Sky.
'From Such A Blue Sky is the second album in a trilogy recorded at AVACO Studios in Tokyo, a studio in Shinjuku renowned for its sound works in Japanese film since 1952. The trilogy is an ongoing continuation of their musical friendship, which has already led them to duo performances at World Expo Osaka, Tessenkai Noh Theatre Tokyo, Pierre Boulez Saal Berlin and Roskilde Festival.'
Naya Beat is incredibly excited to announce the release of an astonishing lost “holy grail”, Mohinder Kaur Bhamra’s 1982 masterpiece ‘Punjabi Disco’. Unknown and inaccessible to even the deepest of diggers, it is the first British Asian electronic dance album recorded and a true lost relic. A chance find of the original multitrack masters during the Covid lockdown led to ‘Punjabi Disco’ being rediscovered. Lovingly mixed down and remastered from these very studio recordings, the reissue also includes remixes by Peaking Lights, Baalti, Mystic Jungle, Psychemagik, and Danger Boys, as well as a cover by Say She She’s Piya Malik and Turbotito & Ragz and a previously unreleased track. It is available for pre-order and out on x2LP vinyl and all digital platforms on October 31st, 2025.
Released the same year and into equal obscurity as ‘Ten Ragas To A Disco Beat’, Charanjit Singh’s acid house opus, the reissue of ‘Punjabi Disco’ is set to have similar reverberations in the world of dance music. Produced by Mohinder’s eldest son and legendary bhangra pioneer Kuljit Bhamra using a recently acquired Roland SH-1000 synthesizer and a CR-8000 CompuRhythm drum machine played by his then 11-year-old brother, the album was recorded at Roxy Music bass player Rick Kenton’s studio in London. The concept for a Punjabi disco album was subsequently stolen from the Bhamra’s by the very record label that had agreed to distribute the album. Eventually self-released with no label support, ‘Punjabi Disco’ vanished into complete obscurity.
A pivotal figure in British Asian music, West London-based vocalist and first-generation immigrant Mohinder Kaur Bhamra became the first woman to sing at Punjabi weddings and other community events in the UK. Her son, Kuljit, would accompany her, playing tabla at her events from the age of six. Wedding music was traditionally a tame, segregated affair: men and women seated and separated on opposite sides of the room. ‘Punjabi Disco’ was born out of a desire to create an unsegregated dancefloor and inspired by the sounds of disco from the era. A tapestry of electric drum rhythm, warbling bass, and psychedelic siren-like Roland synth melodies provide a vehicle for Mohinder’s powerful voice. Part disco, part funk, part acid house, and infused with Punjabi folk melodies, the sound of ‘Punjabi Disco’ is as mesmerising as it is undefinable.
Featuring an incredible gatefold package and exhaustive liner notes by the Guardian’s Global Music Critic, Ammar Kalia, the x2LP release has been cut to vinyl for the discerning listener and DJ by Grammy-nominated Frank Merritt from The Carvery, London.
This is Naya Beat’s ninth release in a series of reissues, remixes, and compilations dedicated to uncovering electronic and dance music from the subcontinent and South Asian diaspora.
After continuing to refine the space between House and Techno across a string of acclaimed releases, Portuguese producer Alfonsvs returns to his own imprint Kokölò with his most dancefloor-focused statement yet. Ready for the summer and with the festival season in full swing, Need Your Love EP sees the Porto-based artist embrace classic house influences without losing the energy and depth that have become his signature.
Opening with the title track, 'Need Your Love' wastes no time setting the tone as driving analogue drums, uplifting old-school piano chords and soulful vocal samples combine into an infectious peak-time cut built for hands-in-the-air moments. ‘In There' is a collaboration between Alfonsvs and RR, that shifts into darker territory, balancing the EP’s author intensity and eye for trippy vocal fragments with René Raabe’s spacious synth work to create an immersive late-night journey.
On remix duties, kicking-off the B-side, Amsterdam favourite Elias Mazian delivers his reinterpretation of 'Need Your Love', transforming the original into a deep rolling house workout driven by swinging drums, his soft voice and a warped, rubbery bassline that effortlessly bridges classic and contemporary club sounds.
Continuing to blur genre boundaries, 'Everybody' pairs deep, driving grooves with sharp progressive-inspired synth stabs, while closing track '6AM Liberation' rounds out the EP with hypnotic rhythms, subtle acid flourishes and the unmistakable feeling of sunrise after a long night on the dance floor.
La Rama is hyped to bring you the debut 12” of an incredible Montreal based DJ/Producer, Ghazi aka Visionaire Not Millionaire. With some singles on VAs making it out in to the world over the last few years, it was time for Ghazi to have a maxi of his own. ‘Electrika’ arrives with a massive nu-school title track, the Bass/Break rumbler ‘L.O.S.T.’ & the dungeonous ‘Distress’. All this rounded off with our main man Marco Passarani’s second appearance on the label with a Passarani Club Dub!
Straight dance floor power for all your international party needs. Thank you for rocking with us :-)
Music & Mix by Ghazi aka Visionaire Not Millionaire. Mastered & Cut by Marco Pellegrino. Remix by Marco Passarani. Design by KG. Distributed by Mother Tongue & La Rama Records.
For UnExposed Records first vinyl release, Uruguay’s Marcos Coya wanted to show the world a different side of his artistic approach. In a world of monotonous copy/paste, Marcos wanted to bring something unique to the table. A compilation of spacey, dreamy & emotional tunes custom built for the dance floor yet still experimental as well. Deep grooves & long developments. No fluff. No overbearing bangers. True underground production principles. Crafted for those with a refined palate.
The A-side is dedicated to Marcos Coya’s four to the floor production work. This sonic expedition begins w/ a bang: the record’s title track “Moon Trippin”! A showcase of freaky melodies accompanied by groovy percussions which bolster a vocal of Prince speaking his mind about the true essence of creating musical art & his disdain for mainstream music industry critics.
“Delirium” closes out the A-side w/ a dreamy acid house tune adding an emotional touch to the record. After hours material. A real step forward for Marcos and his production work. Leaning heavier than ever into trusting his melodies. Taking a bit more risk with his approach by creating something you’ve never heard from him on any of his nearly 20 vinyl releases over his career.
For the B-side we shift over to a more breakbeat approach with 2 absolute heaters. B1 introduces the track Hearthug has claimed to be one of the tracks of the year: “Rage Dog”. Rage Dog is a Marcos Coya signature track due to its rock & hip hop influences developed during his adolescence. Marcos even purchased new synthesizers specifically to improve this track & its melodies. The cherry on top is the vocal from Rage Against The Machine’s front man, Zack de la Rocha, which adds a rebelliously political undertone to the record, something UnExposed & Marcos both are very proud to address w/ passionate conviction during this time of war and injustice.
We close out the record with “D.N.A.”, the most experimental piece of art on this vinyl release. A wild combination of breakbeats, guitars, melodies & crazy vocals. The perfect bizarrely fascinating conclusion to this wild trip to the moon and back.
Early support from heavy hitters such as: DJ Koolt, Anthea, Velasco, KT, Hearthug, Mario Liberti, Daïf & many more!
Hailing from the ancient Russian city of Tambov, on the banks of the Tsna River, the youngest member of the Trip family Vladimir Dubyshkin emerges for a potent debut solo EP. cheerful pessimist is an engaging package of highly anticipated deep, swirling techno tracks that many will recognise from label head Nina Kraviz's DJ sets. Diving straight into the core of a peak time set, Vladimir unleashes five formidable doses of unrestrained energy. Swollen sub bass and thumping percussion forge an unmistakable sense of physicality, whilst spiralling, a melodic leads run circles around the listener. Cheerful pessimist wastes no time warming up, plunging head first into the belly of the beast. A thrilling debut and an essential release for lovers of vibrant techno.
Pascal Moscheni debuts on Limousine Dream with a double 12" featuring 8 stunning representations of the modern tech house sound. Ultra functional, but with plenty of character, and hard-driving but never overbearing - these are tools for DJs working with high-energy dancefloors.
Teal return on October 2 with Love Comes Thru, the trio's nine-track debut album. Expanding their emotionally resonant blend of downtempo trip-pop, the record reaches into street soul, dub, and experimental grooves, marking a confident new chapter for the group.
At its core, Love Comes Thru is a reflection on the quiet strength of love—not through grand gestures, but through the steady presence that carries us through uncertainty, change, and connection. Written over the course of a year of bi-coastal collaboration, the album became a testament to the bond Teal share as artists, friends, and family.
From the lush synth landscapes of "Aries Moon" to the footwork-inspired pulse of "Time Is Blind," the album explores themes of patience, vulnerability, longing, and intimacy. Standout singles "Kissing in a Dream" and the title track lean into left-field street soul, while stripped-back, 808-driven tracks like "Change Your Mind" and "Anomaly" demonstrate the power of restraint without sacrificing momentum. Building on the group's love of ambient improvisation, Love Comes Thru also features instrumental pieces with percussion by Brandon Valdivia (Mas Aya/Lido Pimienta).
The album closes with the sensual "Bubbling," bringing the journey full circle with a reminder that love ultimately comes through in its most embodied, physical form. Love Comes Thru is presented in a deluxe, limited-edition matte-finish, double-embossed jacket with a printed inner sleeve. Available on LP and digitally through Rubadub, In Sheep's Clothing, and Forced Exposure beginning October 2.
Wewantsounds is delighted to continue its Ziad Rahbani reissue program with Ana Moush Kafer, a classic album by the Lebanese legend Ziad Rahbani, recorded at his By-Pass Studio in Beirut during the height of the Lebanese Civil War in 1985. Showcasing Rahbani’s signature blend of Arabic music infused with touches of jazz-funk and bossa nova, the album has attained cult status over the years. Originally released on cassette, it has never before been available on vinyl. Newly remastered, this edition features the original Relax-In cassette artwork from 1985 and includes new liner notes by Mario Choueiry of the Institut du Monde Arabe in Paris.
Ziad Rahbani, who passed away in 2025, remains one of the most influential figures in modern Arabic music and a cultural icon in Lebanon. A musician, composer, pianist, producer and playwright, he helped modernize Arabic music over five decades. The son of composer Assi Rahbani and singer Fairuz, he shaped her late 70s–80s recordings producing Wahdon and Maarifti Feek, while building a major solo career with classics such as Abu Ali and Houdou Nisbi, which have become cult favourites for a new generation of DJs and music lovers.
Released in 1985 in Lebanon, Ana Moush Kafer stands as one of Rahbani’s key achievements. Recorded at his By-Pass Studio during the Lebanese Civil War, it blends Arabic melodic traditions with jazz-funk, bossa nova and Western arrangements. Originally cassette-only, it became one of his most revered releases. Throughout the album, Rahbani’s writing reflects the turbulence of wartime Beirut with a blend of sharp social observation, political satire and melancholy. It captures a moment in Lebanese cultural history where experimentation, satire and popular song intersected, giving the album its enduring influence among music lovers.
Sung by Rahbani and Sami Hawat, alongside Beirut-based musicians, the album features both Western and traditional Arabic instruments. It balances refined arrangements with lyrical irony, social commentary and political reflection, which remain deeply resonant in today’s context in Lebanon.
One of the highlights of the album is the song “Shou A’ada Ma Bada,” with lyrics by Joseph Harb, which reveals a clear bossa nova influence, while the closing track, “Al Mokawama Al Watania Al Lobnani,” offers a deeply human view of war, avoiding patriotic cliché in favour of a nuanced perspective rooted in lived experience.
As Mario Choueiry observes in his liner notes, “Ana Moush Kafer stands as one of the high points of modern Arab political songwriting, yet transcends its historical and geographical context through the universal relevance of its themes and the timeless quality of its music.”
Forty years on, Ana Moush Kafer remains a landmark of Arab music. Wewantsounds presents it on vinyl for the first time, newly remastered and featuring original artwork. This long-awaited reissue restores one of Ziad Rahbani’s most important works to circulation, reaffirming its place as a defining statement in modern Arabic music.
a 1. Ana Moush Kafer 5:03
b 2. Shou Hal Ayyam 5:46
c 3. A'anitham 4:37
d 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]
[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]
[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]
[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]
[a] a1. Ana Moush Kafer [5:03]
[b] a2. Shou Hal Ayyam [5:46]
[c] a3. A'anitham [4:37]
[d] a4. Shou A'ada Ma Bada [3:45]
[e] b1. Yessa'ed we Yea'en [5:05]
[f] b2. Bi Halyawmayn [3:46]
[g] b3. Bharf Esheen [1:12]
[h] b4. Bhaneek [5:34]
[i] b5 Al Mokawama Al Watania Al Lobnani [3:06]
[a] a1 | Ana Moush Kafer [5 03]
[b] a2 | Shou Hal Ayyam [5 46]
[c] a3 | A'anitham [4 37]
[d] a4 | Shou A'ada Ma Bada [3 45]
[e] b1 | Yessa'ed we Yea'en [5 05]
[f] b2 | Bi Halyawmayn [3 46]
[g] b3 | Bharf Esheen [1 12]
[h] b4 | Bhaneek [5 34]
[i] b5 | Al Mokawama Al Watania Al Lobnani [3 06]
[a] a1 | Ana Moush Kafer [5 03]
[b] a2 | Shou Hal Ayyam [5 46]
[c] a3 | A'anitham [4 37]
[d] a4 | Shou A'ada Ma Bada [3 45]
[e] b1 | Yessa'ed we Yea'en [5 05]
[f] b2 | Bi Halyawmayn [3 46]
[g] b3 | Bharf Esheen [1 12]
[h] b4 | Bhaneek [5 34]
[i] b5 | Al Mokawama Al Watania Al Lobnani [3 06]
[a] a1 | Ana Moush Kafer [5 03]
[b] a2 | Shou Hal Ayyam [5 46]
[c] a3 | A'anitham [4 37]
[d] a4 | Shou A'ada Ma Bada [3 45]
[e] b1 | Yessa'ed we Yea'en [5 05]
[f] b2 | Bi Halyawmayn [3 46]
[g] b3 | Bharf Esheen [1 12]
[h] b4 | Bhaneek [5 34]
[i] b5 | Al Mokawama Al Watania Al Lobnani [3 06]
As intended from the start, Acid for the Grandma moves without a fixed direction. No clear starting point — just a path taking shape along the way.
No common ground, except the need to keep making music: instinctive, personal, at times compulsive. Each track stands as a standalone fragment, driven by the same impulse — turning tension into sound.
“Carl layers willowy guitar arpeggios, foggy keyboards, and chimes over Windy’s murmured intonations and rippling basswork. Everything sounds fresh and unaffected in the careful hands of these two gentle souls. Pick it up, lie back, and allow it to lull you into an undisturbed reverie.” Big Takeover
At the time of original release it was written that the album "will transport the listener to other plains of reality.” (Acid Test). Meanwhile, Alternative Press called it “alluring and addictive.” and CMJ called it "expansive, daydream enhancing music.”
The pair have also recently released their collaborative album with Optigan Conservatory, which can be revisited here. A beautiful and hermetic energy larger than the sum of its parts was captured in the collaborative process of making this album. There are echoes of the earliest releases from Windy & Carl as well as refractions of the same opacity that surfaced in the early kranky catalog.
A fine time to be shining a light on these label stalwarts as the dark Autumn evenings roll in
Polarity Records returns with its eighth release. After years of experimentation with live performance, new technologies and evolving setups, Luca Piermattei returns his focus to studio production.
Natural Recording Vol.2 marks a new phase in his artistic trajectory: a more essential and distinctive sonic language, balancing emotional depth, harmonic sensitivity and a stronger focus on musicality, dynamics and performance-inspired arrangements. A refined approach where every element finds its place with intention.
Repressed LP on Neon Orange Vinyl. Come Away With ESG - 35-year anniversary release of the classic genre-busting debut album by the Bronx sisters ESG. The sample-friendly opus that’s the inspiration for hip-hop, house and post punk. Music that falls outside of the no wave, new wave and post punk library, it’s for the dance floor but it’s not funk, there’s no horns, no driving organ; it’s the opposite of Sly And The Family Stone but no less cool and no less groovy. “A lasting document of their unique brand of minimal funk that would influence subsequent post-punk, hip-hop, and dance music acts. Stripped down to the most basic of drumbeats and rudimentary bass lines, ‘Come Away’ confirms the notion that the real rhythm is what happens between the beats. AllMusic // “This is dub disco with a punk edge.” Paste // “Uncut punk-funk straight off the streets of the South Bronx.” Record Collector // “ESG are that rare thing” Guardian // “Come Away with ESG sounds so shockingly current.” Paste // “A musical snapshot of New York City at the beginning of the '80s.” Allmusic
With her 3rd Blue Note album Synonym, Meshell Ndegeocello presents a remarkable album of duets on classic songs that are known, loved, and diverse in tone, “genre”, intent, and BPM. This is an album about joy, love, selfhood, individual representation and universal experience that explores expressions of desire, care, heartbreak, friendship, disappointment, and love in all the forms. All the songs feature two singers who identify as the same gender, wherever that might be on the continuum, and are musically matched for contrast or compliment including Cynthia Erivo, Cat Power, Robert Glasper, Chaka Khan, Madison Cunningham, Laura Lee (Khruangbin), Emily King, Lizz Wright, Lianne La Havas, Moses Sumney, Brandi Carlile, ANOHNI, WILLOW, Bill Callahan, Chris Thile, and more.
We are very glad to present this masterpiece of contemporary leftfield music by Pieter Kock and Nate Davis under their project ‘Sports Café’. If you liked the previous 2xLP of Pieter (The End ll), you will love this new one pairing with Nate. The 2 buddies deliver the perfect soundtrack for lazy afternoons and kinky listening session: put the record on the turntable, play ON, first pop, the feelings is good, you want to chill, you go in the fridge, you open a can of beer, sit on the sofa, start to roll your cigarette, the guitars (Vini Reilly style) are playing, the acid lines show up, nice melodies are coming, nice synths too, little vocals here and there that can remind some sort of PMU’s cafe rooms vibe (it’s from where the name of the project is coming from)… it’s cool, yeah baby, you enjoy, you feel good!!, the more you listen to it the more you love it… A proper shroomy excursion if you are into the trip. Trust us this album is a must have, big TIP ;)
Hector Ram and Ricky Ramirez are starting to celebrate ten years of Short Attention Records and it's US house stalwart DJ Aakmael they've enlisted to pop the champagne cork and cut the cake. He's one of those artists who turns out plenty of music, much of it sounding within the same consistent deep house framework. But there's always a little something to his tunes that keeps you coming back for more - a perfectly chosen sample, a nagging bassline, a sense of melancholy that you cannot escape. All of that is true on his latest. 'Things Always Happen' has keys that convey beautiful pain, then 'If You Believe' is a deep house haze with smudgy samples and blues-y ache. 'Free' is more light with trilling jazz-funk keys and earthy guitar frets sprinkled into the mix. 'Stopmotion' shuts down with a signature Aakmael bump. Just timeless stuff.
A tasty slice of early 90s New Jersey hip-hop makes this inaugural release from Concrete Flowers a real doozy. Apache's 'Gangsta Bitch' was produced by Q-Tip and taken from his 1993 debut Apache Ain't Shit, so it is a portal back to the raw, unfiltered energy of a time when the Flavour Unit collective was at its most vital. Apache had already appeared alongside Naughty By Nature, Queen Latifah and 2Pac before this record landed and the Q-Tip production connection to A Tribe Called Quest gives it a lineage that still hits hard. The Beatnuts' 'Hit Me With That' on the flip doubles down on the era's boozy, sample-heavy swagger, making this a perfectly paired two-sider that reminds you exactly why the golden era was so golden.
San Francisco electronic pioneers Darwin Chamber and DJ Spun head down the arcade for four tracks of the unmistakable flavour of modified 8 Bit sound chips from the 80s. 'LFO's Are Real' definitely nods to the Leeds duo that kicked the Warp Records revolution off, but that's just a starting point for some rough edged electro machinations and some spooky extra-terrestrial samplings. '8-Bit Phantasy' connects Chicago-style piano magic with acid undertows and gets brought to dancefloor life by a serious injections of funky ass breakbeatery. 'Intruder Alert' is the gnarliest of the lot, the bass end nothing if not speaker threatening, before 'We Gotta Get' is wonderfully disorientating disco dub delirium. Raw and direct, this will set the floor alight quicker than a can of petrol and lit match.
Phwoar! TD go four for the floor on Volume 9, letting loose with a set of sure-shot hits from all corners of their sonic spectrum.
A tag team match up, this action spectacular trades peak-time pump, Balearic cool, Italo thrust and dance-punk theatrics on its way to snatch the championship.
Obviously TD ooze subtlety and taste, so as we sat sipping Schnapps from our Stanley cups, we couldn't help but take a little inspo from our kitchen decor. 'Live Love Pump' - what a mantra. In musical form, this philosophy takes the shape of a capital D-isco delight, equal Pats Cowley & Adams, EQ-freaked and filtered into something dafter than a pair of chrome clad millionaires. Big room mirrorball magic if ever we've heard it.
The A2 sees the drunk AOR funk of 'Sure Line' take a leisurely stroll down the coast, a Gauloises in the gob and tattered Baldwin in the back pocket, flipping and flopping along the prom to buoyant bass, melting brass and more than a little melancholy.
Booting off the B-side, 'Un America' is a massive mid-tempo chugger replete with laser fire, synth scree and nipple high guitar. Powering along on a serious bass sequence armed with hooks-a-plenty, mostly incomprehensible lyrics and a groove which won't quit, this has all the ingredients required for an Italo all-timer.
The finale finds us in the company of some punk pioneers at their absolute silliest, bringing the kind of whacky vocal vibe, surf-centric style and off kilter groove the B-52s made a career of. Add in animal chatter and scratchy guitars and you've got the sort of secret weapon the Idjuts unleash waaaay post peak.
Limited Press - Numbered Insert - Drum Fun Guaranteed
Fully licensed ! Ltd to 500 copies. Singer and guitarist Ram John Holder was born in. 1939 in Georgetown, British Guiana, then moved to Cincinnati
in 1954, and to the East Coast to work as folk blues singer in the early 1960s. In 1963, he took residency in England where he recorded several
albums. Released in 1969 Black London Blues is surely is masterpiece. A socio-political manifesto the album chronicles the trials and tribulations
that were the result of being a black-immigrant in London, and it contains all the pathos and pain one can imagine. Self-conscious, as concept
albums often are, the record is almost like an audio A-Z or pub guide. It’s funky/soul and represents his own black experience. It is a must have
for all the blues revivalist out there, a record to rank along the lines of early Mike Cooper and American stalwarts like Eugene McDaniels or Sixto
Rodriguez!
Tracklist:
SIDE A: 1. Loie - 2. Lloro Tu Despedida - 3. Goin’ Home - 4. Me ‘N You
SIDE B: 1. Liebestraum - 2. Shu Shu - 3. Blue Samba - 4. Favela - 5. Linda Flor
SOULGRA
This one means a lot to us. A project we’ve been working on for a couple of years. One where we hand over the curatorial keys of the label to very specific artists in whom we have absolute trust and who have an almost academic knowledge of a specific rhythm or a specific region where our eyes and sensitivity cannot reach. In order to amplify powerful voices from the global south, where the true underground is happening today, and that move away from the traditional axis of New York, London, Berlin. We present to you: Mzansi Bass curated by Shannen SP.
A project meant to explore the space between 3-step, Gqom, the dark sides of Amapiano, and mutations of Pritori rap deeply rooted in Black African rave music from the local scenes of Durban, Johannesburg, Cape Town, Eastern Cape, and their global mutations from Brazil and the Netherlands. The project is anchored around the legacy act of DJ Lag and new comers of South African bass whose music has broken international barriers with pure-emotionally-rich dance music. The release works as both a celebration of the roots and the future offering it projects. As Shannen puts it, it's electronic music with a futuristic feel, both raw but minimal, trance-inducing and deeply physical, built in a very particular geographic space for
the whole world to enjoy.
Indulge into this special soundscapes crafted by their own inhabitants. Expect a couple each year from now on.
Part celebration, part reflection, THE TIME OF OUR LIVES arrives as both the final release of Lancey’s twenties and the closing chapter of a creative world he has spent the last decade constructing. The most expansive statement of his career to date, moving freely between trap, alternative R&B, dance music, Afro-influenced rhythms and more, Lancey explores triumphant highs and lows of stark vulnerability across the album, interrogating ideas of success, freedom, loneliness and what it truly means to have the time of your life. Lancey Foux stands at the forefront of UK rap’s evolution, blending elements of hip-hop, cloud rap, trap, Jersey club, drill, and more into a sound that’s uniquely his own. Since emerging from Newham, East London in 2015 with a clutch of freestyles and SoundCloud singles, Lancey has occupied a lane entirely of his own making. As he closes out his twenties, Lancey looks ahead to the next decade full of more unpredictable artistry as he continues to break the rules and change the game.
Ursprünglich 1968 in New York auf Barakas eigenem Label Jihad veröffentlicht, ist "Black And Beautiful Soul And Madness" ein leidenschaftliches Zeitdokument der 1960er Jahre. Man könnte es leicht für eine verschollene Veröffentlichung von ESP-DISK halten, fügt es sich doch nahtlos zwischen Sun Ra, The Fugs und Albert Ayler ein. Die Band nutzte ihre Stimmen auf vielfältige Weise: mal singend im Stil von Doo-Wop und Soul, mal rappend im Stil der Last Poets, und oft auch beides gleichzeitig. Emotional fesselnd und von enormer Kraft, wird dieses Werk nun erstmals wieder auf Vinyl zugänglich.
In 2000, after almost two decades of hibernation under the ambient waves and dub currents of the Sargasso Sea, LSD revived the seminal ‘Auntie Aubrey's' series, an Orb Remix Project. Released as a 2 x CD compilation, Part 3 is a veritable smorgasbord of classic, new and unreleased labour-of love remixes that span three decades yet still transcend space and time.
Many influential artists have been involved with The Orb since the beginning, and the project keeps evolving and adapting. Dr. Alex Paterson, the gravitation centre of the Orb is known for his playfully subversive remixes and true to form this album highlights the diversity of his musical mind.
We see the good doctor remix the melancholy and evocative “The Last Lighthouse Keeper” from The Transit Kings, an early British electronic music group that included Jimmy Cauty of The KLF, one of the original members of The Orb. The remix of ‘Davy Jones’ Locker’ from System 7 takes you surfing on a sun-dappled sea of ambient dance nostalgia, while Killing Jokes’ ‘European Super State’ remix (in which LSD label founder Martin ‘Youth’ Glover plays bass guitar) sounds like the soundtrack for an imaginary spy thriller with the powerful lyrics and hypnotizing voice of Jaz Summers.
Legendary producer Youth teams up with Lx yet again on a psychedelic rocker with spellcasting vocals by Lara Smiles, and this is just the beginning! Boasting an all-star lineup, the compilation includes many of our scenes most esteemed electronic music producers such as Coldcut, David Harrow, Sendelica and Gaudi as well as the ambient blissed out vibes from the enigmatic DF Tram, Duende India Collective and The Gyuto Monks of Tibet, this collection offers up such the variety to appease even the most dedicated Orbsessives and music connoisseurs
