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Bodhi, the Cardiff-based production team, return to Hotflush Recordings with a follow-up to last year’s standout Laurus Ascending extended play.

Having emerged in 2012 with a slew of breathlessly-received edits and subsequent releases on labels including Future Classic and Rinse, the pair took a 4-year hiatus in 2017, returning with an invigorated sound in 2022. Recent releases on Hotflush and dh2 have brought the duo back to the forefront of the UK’s cutting edge music scene.

‘Corrupta’ is six tracks of bass-inflected, garage-influenced beat science. Opener ‘dwndwn’ sets the stage with a genuine wtf beat-drop moment. That vibe is continued on the shuffling ‘Silian Rail’.

Dancefloor smasher ‘Okinobi’ is a hat-tip to the recent Speed Garage revival, while T.O.P. is a classic slice of 2-step bassline pressure. Bodhi’s techno influences are also present with electro breaks hybrid of ‘Without You’ and the 8am Berghain vibes of ‘Bellcurve’.

This is another long-form statement of intent from some of the most inventive club producers in the game right now.

Support from Jamie xx, Lee Gamble, I.Jordan, dBridge, Machinedrum, DJ Haus +++

Madlib’s WLIB AM: King of the Wigflip Returns on Double Vinyl via BBE Music BBE Music is thrilled to announce the long-awaited rerelease of WLIB AM: King of the Wigflip, the final installment in the legendary Beat Generation series from none other than Madlib. Originally released in 2008, this masterful collage of dusty loops, raw beats, and left-field soundscapes remains a high-water mark in the Stones Throw producer’s sprawling discography.

Now, for the first time in years, fans can experience the album in all its analog glory with this deluxe double vinyl edition, carefully remastered to preserve Madlib’s signature warmth and grit. A tribute to pirate radio culture and late-night airwaves, WLIB AM weaves together a rich tapestry of hip-hop, jazz, and soul, featuring an all-star cas t of collaborators, including Talib Kweli, Guilty Simpson, MED, and Oh No. Each track showcases Madlib’s uncanny ability to blur the lines between genres, effortlessly flipping obscure samples into hypnotic, off-kilter rhythms. From the hypnotic bounce of “Blow the Horns on ‘Em” to the smoked-out groove of “The Plan Pt. 1,” this is Madlib at his most playful, unpredictable, and inspired.

This special double vinyl edition, released exclusively via BBE Music, brings one of the Beat Generation series’ most celebrated albums back into circulation for crate-diggers and collectors alike. With original artwork and a high-quality pressing, this rerelease is a must-have for Madlib aficionados and vinyl lovers who appreciate raw, unfiltered beat craftsmanship. Don’t miss your chance to own a piece of hip-hop history—WLIB AM: King of the Wigflip is back and sounding better than ever.

Erlebe Joe Bonamassas Erfolgsalbum 'Redemption' aus dem Jahr 2018 wie nie zuvor mit dieser brandneuen Limited Edition Orange Vinyl. Das 13. Studioalbum von Joe Bonamassa, der für seine einzigartige Gitarrenarbeit und seinen gefühlvollen Gesang bekannt ist, verbindet Blues und Rock zu einer kraftvollen musikalischen Reise.
Diese Sammleredition, die jetzt auf orangefarbenem 180g-Vinyl gepresst wurde, verleiht einem modernen Blues-Klassiker einen neuen Look. Mit herausragenden Tracks wie „King Bee Shakedown“, „Molly O'“ und dem emotionalen Titeltrack „Redemption“ ist diese Veröffentlichung ein Muss für audiophile und langjährige Fans gleichermaßen.

Caroline Polachek released her solo debut Pang back in 2019 after having been the lead singer of the acclaimed band Chairlift for more than 10 years. Immediately upon release Pang received major hype and critical acclaim, but in the years since, it has practically achieved a monolithic status in modern art pop.

Not surprisingly, expectations are huge for her sophomore album Desire, I Want to Turn Into You, but with excellent singles like "Billions" and "Sunset", it is evident that Polachek is a headstrong and original pop star who is here to stay!

Monde UFO follow the celebrated ‘7171’ album with a trip to the mysterious ‘Flamingo Tower’. In the shadows of the Los Angeles bustling music scene, the enigmatic collective led by visionary Ray Monde create a trance-like fusion of psychedelia and avant jazz, mantra-like evocations, brash moody ambience and passages reminiscent of long-lost library music.

Magnifying Monde UFO’s idea of musical chaos, their early sonic escapades into off-kilter exotica is now elevated with sweeping atmospheric waves of sound inspired by an eclectic brew of Arto Lindsey, Khan Jamal’s ‘Drum Dance To The Motherland’, Keith Hudson, Milford Graves, Marion Brown, Don Cherry and Lennie Tristano.

Cast deep into number theory with occasional quasi-religious touchstones, ‘Flamingo Tower’ bustles with background sounds overlaid with intimate melodies conjuring plenty of suitably strange illusions; a synthetic orchestra plays baroque pop, a guitar is set to auto destruct and Ray Monde’s hushed vocals carry a bracing narrative. It’s an evocative album, one for the heavy music nerds, sprinkled with ear candy and proliferated by mysterious numbers which litter the song titles.

“Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers.” New Commute

Love is a first kiss, a late night call, an ache of longing that can break your heart or a long drive with the top down to anywhere but here. Love can equally be contained, repressed and longed for as much as it can save, nurture and embolden. Love is a measure of our humanity or how lost we have become. In her new album, How Love Bends, Reb Fountain muses on the transformative power of love. Imprinted with our fear, desire, hurt and hope as much as it is an expression of our suffering and joy, love is an ever-evolving shapeshifter that lives in our marrow; magnetic and emergent it is loosed by its archer to ride on the wind. Reb's medium is that of a surrealist, playing with the stories that we tell ourselves she harnesses the sage wisdom of the dream; we embark upon a limitless exploration of love, life and loss within a landscape entirely of Reb's making. Reb's love is the stuff of chaos and oceans, vulnerability and revolution; stirring up the depths of the human condition and dancing with the richness of who we really are. Unapologetic, vulnerable, heartbroken and commanding; this is How Love Bends. How Love Bends is at once haunting and alluring, mystical and triumphant. Reb is a seeker, actively reaching for the expanse. A reverent explorer she traverses the turbulent and tidal with heartbreaking vulnerability and blazon courage. The result is an emergent odyssey; a dynamic dreamscape unfolding and revealing itself mid-evolution. Reb has explored new approaches to songwriting revealing nuanced layers with endless depths.

In 2021, Luke (aka Lukid) recorded a mix for Dekmantel, which had some of his jungle tunes (under his Refreshers alias) featured in the set, including an unreleased tune of his called Crumbling Down. I couldn't find any information about this tune anywhere and was unsure if it ever came out or if there were ever any plans to release it.

So out the blue, in 2023, I reached out to him about this track to find out about what the situation was with it, and he replied saying that there were no plans for it to come out. I offered to release it on Future Retro London, which Luke was thankfully up for & here we are!! It was quite a gamble considering I'd never seen any Refreshers tunes released anywhere else besides on his own label (which I have all the releases of and can recommend strongly) but I'm grateful that he was willing to work with me on putting this one out.

Big thanks to Luke for allowing me to have put out Crumbling Down, to Andrew (aka Yedsy, who does all the artwork for Refreshers) for the design of this release's artwork and to Phineus II for his heavyweight remix on the b-side.

Full throttle from Vancouver, BC to wherever the open road takes them The Vicious Cycles are BACK with their new LP Get Wrecked on Pirates Press Records! Before you even get the shrink wrap off the gatefold jacket, you can guess what kind of party you're in for. "Our pal Shakey Deal is the cover model," says Cycles head honcho Billy Bones. "A tuff looking scrub on a minibike says a lot about who we are." And who is that exactly? "We play garage/punk rock and roll songs about motorcycles. We like to have a good time." The promise of debauchery carries over into song titles like "Naked On a Beach," and "On Fire in the Hot Tub." As rip-roaring, danceable party music goes, it's second to none, and rest assured there's plenty of bike enthusiast inside baseball, but the lyrics often go deeper than a superficial glance might indicate. For example, the lead single, "Hold On Tight," is about, as Billy puts it, "the physical feeling of riding with your favorite person on the back of your motorcycle - easily one of the best feelings a human can have." So, a classic biker anthem? "But also," he's quick to add, "a metaphor for life and relationships. We're gonna make it." Waxing philosophical with motorcycles as allegory over chrome-plated punk rock 'n roll? That's The Vicious Cycles' songwriting in a nutshell. Another album highlight, "Daddy Was a Gambler" references Billy's father - an ex-preacher who regularly hauled his kids to Circus Circus in his '57 Chevy - and his mother, a nurse and, as Billy puts it, "as close to an actual saint as anyone in the world. The song is an appreciation for the two of them, and how their differences made me who I am." "Naked On A Beach" sounds like a party, but Billy explains it's "a critique of capitalism and the tiny lives we're expected - and sometimes content - to live." Even the title track, "Get Wrecked," is more than just a statement of defiance; it's a message to Billy's son about dealing with the conformist naysayers of the world. Longtime fans & newcomers alike will be stoked for the straightaways, but stick around for the twists and turns, just like any good ride. The band brings in pals on strings & saxophone for a 60s Wall of Sound-inspired production on "Black Boots, Black Leather Jacket," and try their hands at their first murder ballad on "Pretty Hands." There's an instrumental tune ("Blowing Smoke") and hell, there's even a deep cut cover of "Trouble Again" - originally performed by Stewart Copeland of The Police - which only the biggest nerds of a certain age will recall as the theme song to the 80s Star Wars animated series Droids! In the end, no matter the detours, the band - along with Jesse Gander (Territories, Comeback Kid), & Mariessa McLeod at Rain City Recorders - kept their eyes on the prize: sing-along choruses, handclaps, and short songs that get the job done and don't overstay their welcome. "I didn't want us to write a record that you could dance to." quips Billy. "I wanted us to write a record that you couldn't not dance to."

Neck-snapping soul masterpiece from Freddie Scott, famously sampled by Biz Markie for his melancholic pop-rap hit "Just A Friend" and a surefire piano-driven basement party anthem in its own right.

The work of the legendary producers Gamble & Huff, the track was also sampled by Ghostface Killah for the wonderful "Save Me Dear" with Jay Dilla also utilising the crunching drums to lace many memorable productions for A Tribe Called Quest and Slum Village.

A peerless piece of deep soul and hip-hop history, here's your chance to own the first ever officially licensed reissue on 45.

On the flip, "Powerful Love" is uptempo guitar-soul with finger-popping swing. Featuring delicate horns and gorgeous backing vocals, it's an unfairly slept-on gem but, given the weight of the A-Side, this is perfectly understandable.

This special 7" single comes housed in a heavy duty custom printed full-colour company sleeve and is limited to just 500 copies.

High Roller Records, reissue 2025, 180g black vinyl, ltd 250, 425gsm heavy cardboard cover, lyric sheet, A4 info sheet, poster, fully restored original artwork, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this German Speed Metal classic

High Roller Records, reissue 2025, transparent beer colored vinyl, ltd 250, 425gsm heavy cardboard cover, lyric sheet, A4 info sheet, poster, fully restored original artwork, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this German Speed Metal classic

Über 45 Jahre existiert die englische Hardrock Gruppe IRON MAIDEN bereits. Die Band um Sänger Bruce Dickinson gehören zu den weltweit erfolgreichsten Bands mit unzähligen Hits, ausverkauften Welttourneen und No. 1 Hitsingles. Diese im Jahr 2000 vom lokalen niederländischen Radio
übertragenen Live-Aufnahmen erinnern daran, wie mächtig und dynamisch IRON MAIDEN den Fans Live einheizen.

Pat Kelly possesses one of the great soul voices to come out of Jamaica. Influenced by the fantastic American singer Sam Cook, Pat Kelly could ride over any tune that came his way and with his outstanding falsetto voice always added a little magic to each recording.

Pat Kelly (born 1949,Kingston, Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of the Techniques, his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin. Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune 'You'll Want Me Back' retitled 'You Don't Care' which held the Number 1 position in Jamaica for six weeks. Their next hit was another Curtis Mayfield cover of the Impressions 'Minstrel and Queen' again retitled for the Jamaican market as 'Queen Minstrel'. Further hits followed with such cuts as 'My Girl' and 'Love is Not a Gamble' before in 1968 Kelly decided to become a solo artist and hooked up with producer Bunny Lee. Bunny decided not to break the tried and tested formula and put Kelly on another Curtis Mayfield track 'Little Boy Blue' a style that
suited his voice so well. This paid dividends and was followed with 'How Long' (will I love you)' which gave them the biggest selling Jamaican hit of 1969. A track which broke the mould in that often used tradition where Jamaican tracks are sweetened
for the foreign markets by adding string arrangements. This was reversed on this occasion as the tune had already been released in the UK and dubbed over with strings so came back to the Jamaican shores and released there.
Another string to Pat Kelly's bow was his engineering skills. Having already spent a year in America studying electronics he put this to good use and became little known to many
one of the chief engineers at Channel 1 studios in the late 1970's and early 1980's.

For this release we have focused on the fabulous singing skills of Mr Kelly and have compiled some of his finest recording moments for your listening pleasure. The aforementioned timeless cuts to 'How Long ( Will I Love You )', 'Little Boy Blue'
alongside some other killer lost classics, as our set opener 'It's a Good Day', 'Somebodys Baby', 'Give Love a Try' and 'I'm In the Mood for Love'. His version of 'Twelfth Of Never' in a Rocksteady Style sounds as good now as it did then. We have
also included his interpretation of the James Carr soul hit 'Dark End of the Street' which has Pat Kelly working over the same rhythm as 'How Long' but giving it a different slant
with these fresh lyrics. A fine set from one of the Islands finest, Jamaican Soul indeed... hope you enjoy the set.