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London Jazz Classics originally came out in 1993 - the first album ever to be released on Soul Jazz Records. The album brought together rare and obscure dance tracks in a unique mix of jazz dance and fusion, funk, Brazilian and Latin grooves. 

The album was ironically titled - none of the music was from London, none of the music was traditionally classified as jazz, and all of the tracks were at the time practically unknown to most people. Instead these were tracks that were filling dancefloors in a nascent jazz dance scene in London being created by a small group of DJs – Paul Murphy, Gilles Peterson, Sylvester, Patrick Forge and a few others.

As demand for these rare groove jazz tracks grew, previously unknown records such as Alive!’s ‘Skindo Le Le’, Doug Richardson’s ‘Salsa Mama’, Carlos Franzetti’s ‘Cocoa Funk’ and Emilio Santiago’s ‘Bananeira’ became sort after and even-harder-to-find items with original copies going for £100s of pounds. 
These tracks became part of the soundtrack to this jazz dance scene which has now spread across the world. This music paved the way for the arrival of many of the UK’s new wave of current artists such Shabaka Hutchings, Nubya Garcia and Ezra Collective who today offer a uniquely London sensibility of fusing jazz with wide-ranging cultural influences – everything from afrobeat to soul.

London Jazz Classics was the first album to bring this jazz dance music featured here to a wider audience. More than 30 years since its initial release Soul Jazz Records are releasing this new 2026 edition, bringing the music once more to a new generation of listeners.

Manchester-based poet, writer and producer Antony Szmierek has announced the release of his debut album, Service Station At The End Of The Universe. The past few years have been a wild ride for the artist. Cutting his teeth on the Manchester spoken word scene and gaining notoriety for his seamless flow skewering everything from the hardships of contemporary British life to finding the unexpected beauty in the everyday, it was the 2023 release of his single ‘The Hitchhiker’s Guide To The Fallacy’ that kicked off his meteoric ascent.

Carlos Alberto Garcia Moreno, better known by his stage name Charly Garcia, is an Argentine singer-songwriter, multi-instrumentalist, composer and record producer, considered one of the most important rock musicians in Argentine and Latin American music Named "the father of rock nacional", he is known for the complexity of his compositions covering genres like folk rock, progressive rock, symphonic rock, jazz, new wave and many others. His lyrics are known for being defiant and critical towards modern Argentine society, especially during the era of the military dictatorship and for his rebellious and extravagant personality.

This is not a Ben Vida, Booker Stardrum, and Will Epstein record; it’s a Play Time record. That’s a subtle but important distinction, for a couple reasons. One, the sound of Magic Object—a polymetric blend of improv and pulse minimalism for saxophone, drums, and Moog—doesn’t really sound anything like any of their many other ensembles or respective solo projects. And two, it was only while making Magic Object, their debut album, that Play Time realized they were a band at all.

Let’s back up. The roots of the trio date to 2020-21, when Will and then Booker moved to the Hudson Valley, where Ben was already living. The three got into the habit of playing together at Ben’s house, and they soon realized that their hang sessions felt fundamentally different from making music in some falling-down studio in Bushwick. Where those experiences were rushed and cramped, a new sense of time and space now suggested itself. Where once they rat-raced the music, now they relaxed into it.

Early gigs yielded similar revelations. A booking at Tubby’s, the beloved Kingston venue, evolved into a kind of residency. Tubby’s is a small space, fitting around 100 people, with a bar in the front room and a stage in the back. Play Time decided that they didn’t want to play on the stage; they wanted to play in front, among the people in the bar. Rather than hogging the spotlight and overpowering the other voices in the room, they blended with the energy of their surroundings and emerged as a sort of minimalist-jazz-krautrock bar band.

Gradually, they discovered a newfound “elasticity”—Ben’s word—that reshaped the music from inside. “It’s this communal thing,” he says. “It’s vibes. And it’s embedded in the community up here, which feels really vital and nourishing.” They were jamming, but it wasn’t just a free-for-all; they found themselves listening to each other in new ways. “Ben and Booker joke that they’re always playing in different time signatures,” Will says. “We’re all going forward with our own ideas, but we’re open to each others’ as well, and they’re all sort of dancing together.”

“We all have our painterly solo projects,” Will says—where, Booker adds, “we do a lot of studio arranging and thinking and composition that takes shape over a period of time.” Play Time, on the other hand, is all about being in the moment. That spontaneity was key to the process of recording the album. They booked two days in their friend Joey’s studio, a converted wooden barn. “It’s just a live room,” Booker says. “There’s no separation or anything. So we’re all in the space together and it’s got this beautiful, woody sound, and that’s very much the sound of the record.” For two days, they just jammed, for seven or eight hours each day. When it was over, they went through, edited down the portions they liked, and added very judicious overdubs designed to enhance the original recordings without fundamentally altering them, staying true to the spirit of the sessions.

The result is something like a snapshot and a mission statement all rolled into one. “You’re hearing us discover the voice of the band in real time,” Ben says. “We finished those sessions and we were like, ‘Oh, that’s what our band sounds like now.’”

Now, with Magic Object, the rest of us get to find out too.

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Balmat is a label with a cloudy outline. Jointly shepherded by Albert Salinas and Philip Sherburne, two friends living in Cardedeu, Catalonia, and on the Balearic island of Menorca, Balmat grew out of Lapsus Radio, a weekly show born almost ten years ago. Balmat’s mission is simple: to foster new ideas, expand upon personal obsessions, and put enveloping sounds out into the world.

“Balmat” means “empty” or “void” in Catalan. But quite apart from any negative connotations, we prefer to think of it in terms of possibility: a space waiting to be filled.

Anthea’s PILLZ imprint returns with its ninth release, welcoming Argentinian producer Dani Labb for the ‘It’s Tayme’ EP. Across four tracks, Labb combines detailed sound design with rave-ready energy, moving between modern electro textures and flashes of 80s club nostalgia while keeping a strong focus on the dance floor.

From the smoky, late-night drive of the title track to the playful lift of ‘Te Gane’, the deeper groove of ‘Cosmoclub’ and the hazy broken rhythms of ‘Cuchillo’, the EP delivers versatile club material with character and momentum throughout.

Somewhere between the after-hours haze and the first flicker of sunrise, Nebraska re-emerges - this time with a twist in the signal. Long respected for his deep-cut sensibilities and dancefloor intuition, Ali Gibbs returns to Delusions Of Grandeur not just as Nebraska, but with a handover to his new alias: Dubl Drat. The Alter Alter Ego EP plays like a transmission from both sides of his creative psyche - one rooted in warm, groove-led house and disco mutations, the other drifting deeper into dubbed-out, heady abstraction.

The A-side opens with Alter Alter Ego in its Nebraska OG Mix form - a crunchy, funked-up mid-tempo burner. Chopped Rhodes solos flicker in and out of the mix while a rolling bassline locks into a low-slung groove - equal parts party-starter and late-night dancefloor hypnosis. Next, The Teckel Track slides the tempo down into a proper slo-mo four-on-the-floor bumpy groove. Fat stabs punch through layers of glitchy FX while a melodic bassline snakes underneath, forming a hazy, infectious earworm tailor-made for those early-night mood-setting sessions. Closing the A-side, Olive (Dubl Drat Dub) signals a shift. Here, Gibbs leans fully into his Dubl Drat persona, dissolving structure into a blissed-out dub excursion.

Chopped breaks scatter across the stereo field, chiming melodies echo into the distance, and granulated percussion parts build a dense, immersive landscape - one to get lost in rather than dance through. Flipping over we have Alter Alter Ego (Dubl Drat Remix) which reconfigures the title track into a stripped-back boogie workout. The groove is leaner but no less potent, driven by a killer bassline and punctuated with signature Rhodes licks - pure, understated club pressure. Finally, Olive (Nebraska Version) offers a gentle comedown. This alternate take softens the edges, introducing additional guitar textures that drift into Balearic territory. It’s nostalgic, introspective, and quietly expansive - a closing chapter that lingers long after the last note fades. The Alter Alter Ego EP isn’t just a new release - it’s a dual-state exploration, a conversation between rhythm and space, between Nebraska and Dubl Drat, and marks the last ever Nebraska release as Ali closes the chapter and the alias for the final time.

The second release from Baller Beats brings two killer vocals to move your soul. DJ Goce knocks it out of the park with an updated tough version of a beautiful soul track that instantly captivates! S man on the flip with a club-ready 2000’s RnB vocal, beefed up with a familiar instrumental - Made for the mix!

Side A) DJ Goce hits hard with this standout raw and punchy soul edit that will NOT leave your crates. The emotionally charged vocal locks you in with a feeling of heartbreak and pain, grabs you by the soul, and doesn’t let go! Don’t miss out on this absolute gem of a edit!

Side B) Australia’s S Man has made a big stir of late with several successful releases on various Australian imprints. Baller Beats is happy to have him onboard with a classic RnB vocal that was in need of a 7’ club cut edit. Early 2000’s nostalgia with a beefed up instrumental that just works so well in the mix!

Mit diesem außergewöhnlichen Doppel-Vinyl lässt sich die Musik aus den ikonischsten Filmen von Clint Eastwood neu entdecken. Als Schauspieler, Regisseur und Produzent zählt Eastwood zu den prägenden Figuren der internationalen Filmgeschichte - und hat über Jahrzehnte hinweg ein ebenso markantes musikalisches Universum geschaffen. Diese sorgfältig kuratierte Sammlung vereint Originalaufnahmen aus seinen Filmen und spiegelt die enorme stilistische Bandbreite wider: von Jazz-Legenden wie Charlie Parker und Duke Ellington über Soul- und Pop-Klassiker bis hin zu Orchesterwerken und traditionellen Stücken. Die Auswahl zeigt eindrucksvoll, wie entscheidend Musik für die Atmosphäre von Eastwoods Filmen ist - mal subtil, mal prägend, immer charakteristisch. Gepresst als hochwertige Doppel-LP auf farbigem Vinyl, ist diese Edition zugleich Sammlerstück und klangstarke Hommage an eine einzigartige Film- und Musiktradition.

Get In Where You Fit In, was originally released in October of 1993 and would be his fourth album in a row to be certified platinum. Production was handled by Ant Banks and The Dangerous Crew, which featured live instrumentation, incorporated P Funk samples, and G Funk synths. The lead single "I'm a Player" sampled Bootsy Collins' funky bass of "Hollywood Squares" and Quincy Jones' son QDIII produced the epic Bay Area G Funk laden classic track "Just Another Day". And it wouldn't be a Too $hort record without some pimp and sex tales like "Blow Job Betty", "All My Bitches Are Gone" and the upbeat "Gotta Get Some Lovin". Bay Area legends Spice 1, Ant Banks, and Mhisani aka Goldy join in on the posse cut "The Dangerous Crew" followed by a track with more Bay Area legends Rappin' Ron and Ant Diddley Dog dissin' ex Dangerous Crew member MC Pooh on the title track. Get On Down has repressed this Too $hort 90's fan favorite album on Purple-In-Clear Colored Vinyl.

Warehouse Find!

Time to welcome Soul 223 to the label with his debut Delusions EP entitled Fear Of Stopping. Something of a complete legend in our eyes and ears, Steve Pickton has been releasing top drawer tuneage for over two decades both as Stasis on influential labels such as B12 and Peacefrog and more recently as Soul 223 on equally well regarded imprints like Delsin, Soul Jazz and Neroli. Always one to shy away from any limelight or self promotion it's true to say that this underrated British producer remains something of an anomaly, staying true to his underground roots where faceless, shadowy and obscure reigns supreme over the latest over-exposed cover star. This ethos naturally carries through into his music where you will always find both expansive beauty and unrefined rawness in equal measures ensuring his tracks always sound fresh rather than over produced or contrived.

Fear Of Stopping opens the EP with a low-slung disco groove providing the backbone for intermittent pad washes and reversing stabs. The focus here is firmly on the drums and simple conga riff with thankfully very little else to deter you from this sublime slice of abstract dance music.

Next up we have a remix from another ridiculously talented producer who chooses quality over quantity, having only ever had one release under his own name, albeit for one of the most respected labels in the world; Rush Hour. Maxi Mill came to our attention having released one of the tracks of 2011 namely To The Next. On this, his first ever solo remix he brings a brilliant bump to the EP with a raw, warehousey and bass-heavy workout. Just the right amount of strings and pads keep the deep vibe intact but the filtering bass and jacking drums definitely take this one to the floor.

Flipping over we have Walberswick in it's Hoist Covert Mix incarnation. Almost thirteen minutes of spaced out, deep Detroit house music awaits you, ready to lure you in and cocoon you with it's warm and hypnotizing machine funk. Lovely to hear the old Stasis influence working it's way into this one sounding both decidedly old-school and completely futuristic and otherworldly as only the best tracks ever do.

Closing the EP we have Birdbrook Rain dropping the BPM's for a beautifully sparse track that brings with it an almost desolate and disconnected feeling, echoing synths providing a naive melody while a dusty pad shifts simply beneath. A little slice of magic concluding a fresh and interesting EP, we hope you agree.

Sub Radar 01 repress. Hangar dark Tribe sound. A pure psychedelic experience. No vocals samples. Just sound.

2026 Repress

RAWAX proudly welcomes legendary Fresh & Low to the family!
Rawax are very happy to present you in future most of their amazing
past productions on the new "Treasures" series.
Starting with groundbreaking LITTE "i" EP from 1997!

2026 Repress

In our era of post-truth & questioned realities, tin foil hatted folk project their insecurities onto the puppet masters, those holding the strings to us all, the endless psy-op at play. For those opting for psychedelic enlightenment over psychological terror, we find solace in the dance, especially when the music is from heads such as Jeku.

‘Peyote Trance’ follows the Helsinki based artists journey into the “trip”, where mother nature instead pulls the strings. A sound of trance often not followed, continuing the work of forebearers such as eXquisite CORpsE; where the zap of the synapses in the brain connect with the bubble & squeak of electronics. Creating a sound advanced by nature, yet resonating within the concrete walls us ravers know and love. All 4 tracks harness a kinetic energy that nudges you to ascendance, not desperately reaching for it like the heavy handed aesthetics of the genre can. Instead, the heads down motion of the music can take you there, and well, a little bit of Peyote might just help, as mother nature intended.

Alex Caballero, also known as Doctrina Natura (Seville, Spain), is known for his organic, nature-inspired sound, and this remix follows that style closely. It exists alongside my original track, like two versions in different universes with the same purpose.

In his version, the focus is on punchy, tight drums that give a 90s feel. The track starts dark and moody, then gradually builds into a more intense and powerful climax, keeping its natural and immersive vibe throughout.

This is the second time Alex has remixed one of my tracks. The first collaboration dates back to 2019 on Edgar’s Nferee. While my own sound has changed significantly since then, Alex has remained true to his distinctive style, steadily raising the quality of his work.

Superb second opus for T.I.R. !

The record open on a flood raving Tribe tune from Spinhell...
Then his second tune brings something definitly more old school Tribe, minimal and jumpy/pumping, annoncing the style that carries the flip from CRLTTO and Dottor Gonzo

2026 Repress

Traversing wormholes and flexing versatility, Nicola Cruz gets back on his club-ready biz.

No proper introductions needed here. Sometimes you just have to sit back and appreciate someone at the top of their game. The third portal thing, done masterfully. Hats off.

Time-honoured templates that provide the foundations for his hybrid mutations. Three mescaline-strength techno incursions backed up with a vivid projection of fractal electro.

Big on murk. Properly steeped in introspection, expanding consciousness and horizons. The vision quest endures for the duration.

New levels of insectoid detail and lysergic flourish revealed with every close listen, but he’s always keeping it robust. Giving it chest with some serious dancefloor dramatics until the final unfurling.

Originally self-released in 2023, Stella Kola, the debut album from Beverly Ketch (Jow Jow, Weeping Bong Band) and Robert Thomas (Sunburned Hand of the Man, Dalthom), now returns in a renewed edition—bringing wider attention to a record that already felt like a quietly essential artifact from the moment it first appeared.

Given the pair’s respective roots—and the presence of collaborators drawn from across the Northeast experimental underground—one might expect “a brutal blast of acid swirl.” Instead, what emerges is something far more unexpected. The album is “steeped, not in noise and dissonance, but in the fragrant, captivating folk of Linda Perhacs, Judee Sill, Karen Dalton, and Bridget St John.”

From the opening moments, especially on “Rosa,” the record reveals its core sensibility: “a ballad that digs deep into the psychedelic-folk tradition until it takes root in a freshly sporous permaculture.” What follows is a set of songs that feel both carefully assembled and organically grown—delicate structures held together by a wide circle of contributing musicians, including Wednesday Knudsen (flute), P.G. Six (harp, guitars, keys), Gary War (synth), Jen Gellineau (viola, violin), Willie Lane, L. Gray, and others.

Rather than functioning as studio additions, these collaborators form a genuine collective presence. “The family affair feeds into the album’s charms,” and the feeling is unmistakably communal. Like many of the ‘60s folk records it echoes, Stella Kola carries “the feeling of community and camaraderie” at its core, shaping a warmth that runs through the entire release.

The album’s emotional palette leans toward a quiet, persistent melancholy: “the best records from that era also carried with them an inherent sadness and Stella Kola’s songs wash over the listener with a beautiful woe.” Its sound edges into the terrain of Fairport Convention and Pentangle, with references to “Beggar’s, Kings, Dark Damsels, and Tarot,” yet never settles into revivalism. Instead, Ketch and Thomas extend the tradition outward, refracting it through their own distinctly American, underground language.

As one early description of the album notes, “the masterful restraint of ‘Rosa’ and the rest of Stella Kola’s shimmering debut evokes Anne Briggs, C.O.B., Pentangle and similar ancestors that knew the best way to honor traditions was to widen the heritage even further.”

Even among a prolific and unpredictable network of underground musicians, Stella Kola stands apart. “It’s early in the year, but it’s hard to see an album, especially a debut, capturing the heart as hard as this one.” With its return in reissue form, the album reasserts itself not just as a hidden gem, but as an essential document of contemporary folk experimentation—an intimate, collective work that continues to unfold with time.

Unit Nine is a The Hague-based musical collective weaving together soulful melancholy, minimalist composition and soft grooves. Their debut album, Disaster Jester, will be released digitally and on 12?? vinyl on The Hague imprint PIP Records on November 14th, 2025, celebrated with a release show at Paard, Den Haag. The album was recorded under guidance of renowned producer Tijmen van Wageningen, at The Womb Studio. Disaster Jester revolves around the archetype of the jester, the trickster who embodies both chaos and wisdom, humour and tragedy. Across the album, music video and cover artwork, he appears as a clown in a shadowy crime narrative and as a weary detective who eventually dons the fool?s hat himself. The image becomes a mirror for the artist: observing, stumbling, laughing & fooling. The track ?Afgesproken Plek? features rap artists KC and MC Lost, who provided an imaginary crime skit playing on the detective persona central in the story telling of the album. While their universal and timeless sound could travel anywhere, there?s something distinctly The Hague about Unit Nine; a mix of irony, unpolished charm, and understated design sensibility. Their city?s blend of rough edges and refined aesthetics runs through their work and places the debut album within a historical tapestry of not-so-mainstream culture and art that the sea town is known to embody.

Industrial, kind of tribute to Coil I think. Excellent !!

Ragga breakcore & Noisy Industrial Hardbreakz.

Friday Fuzz are a collec#ve of professional musicians now presen#ng “Much Funk About Nothing,”
an excellent piece of work with a retro flavor. With years of high-profile collabora#ons under their belts, Marco Leo, Cesare Pizze:, Elvin Be:, and Niccolò Barozzi have worked with some of the
greatest Italian musicians—including Tullio De Piscopo, Fabrizio Bosso, Paolo Tommelleri, Alessio
Bertallot, Rocco Hunt, Casinò Royale, and Aereoplani Italiani, just to name a few.
The album features a primarily instrumental sound that evokes 1970s funk and soundtracks. The
band is defined by its ability to create sonic atmospheres ranging from more sparse, introspec#ve
moments to rock and psychedelic horizons, always with funk as the common thread. The result is
“Much Funk About Nothing,” an album that represents the perfect synthesis of their sonic
explora#on and crea#vity.

Returning from an 18-month hiatus, Companion resurfaces with its long-awaited ninth offering – a six-track EP that beautifully distills the label’s devotion to patient tempos and deep immersive moods. The Garden is the result of a remote, cross-border dialogue between London and Belfast: a project born from a seasonal fatigue with the dancefloor and a collective turn towards our most inner states of being. The debut collaboration between Serenity Complex (Wigs) and Aika Mal, the EP is a meticulously detailed exercise in restraint, trading industrial harshness for a lush, subterranean hush.

The production breathes with a tactile, low-slung urgency: gritty, compressed drums and haphazardly recorded beatboxed percussion captured on a patio beneath the Devon sun provide a raw counterpoint to the EP’s cinematic sweep. Steered by narcotic basslines imbued with the brooding, early DNA of Massive Attack, these undulating pulses coil around the listener with a subtle, magnetic pull. They create a state of suspended momentum where tension never fully resolves and instead becomes the point of return. Aika Mal’s voice acts as a spectral anchor – mellifluous and transfixing as it moves in and out of each carefully curated element.

Drawing from the gossamer, reverb-drenched landscapes of Love Spiral Downwards and the gothic opulence of The Golden Palominos, the tracks lean into a slow, deliberate pace. Dub-influenced low end and trip-hop structures form the backbone, while fractured, gritty breakbeats bring a sharper edge. The release traces low-lit excursions into limerence, thriving in the heavy humidity of the afternoon just as easily as in the blue light of the pre-dawn or the apricity of first light.

The Garden celebrates togetherness by blurring two distinct artistic outlines into a single, prismatic whole. It is an invitation to submerge – a descent into the overgrowth.

Thrill by name, thrill by nature, Will Howard christens a new alias on his Kalahari debut.

Spitting venom straight out of the gate, this is boisterous sci-fi dramatixxx delivered with chest-out conviction. Dancefloor accelerators built for big rooms and planet-ending cataclysm. Fully letting the handbrake off.

An unfurling odyssey with noirish narrative and cybernetic detail woven throughout. Triumphant and exhilarating, yet an ominous thread runs beneath. The end times are nigh but we dance to ignore the coming storm.

Not your cookie cutter stuff. This is proper character – raw, fronted up and packing vigour for days. A boiling tempest throughout.

Turbulent velocity, but brimming with nuance and explorative detail. Afterburners deployed as we escape orbit at the last possible moment. Pure rocket fuel.

HOT CASA RECORDS is very proud to present two fantastic songs from 2007 by the great singer DULCE NEVES for the first time on vinyl .


Born on January 28, 1960, in Mansoa, in the Oio region, in northern Guinea-Bissau, Dulce Neves is one of the greatest voices in Bissau-Guinean music. Coming from a family of musicians, she began her professional singing career at the age of 16. After the country gained independence on September 24, 1973, she became the pioneer among female vocalists to join the famous group Super Mama Djombo (whose name references the protective god of warriors), with whom she recorded several albums delivering sublime, politically engaged music blending Tina and gumbe styles.


After completing primary school in Bubaque (an island in the Bijagos archipelago), then secondary school at the Kwame Nkrumah national high school in Bissau, and secretarial courses in 1976, Dulce Neves spent ten years working at the National Bank of Guinea-Bissau, all while continuing to sing.


In 1980, she decided to return to her passions — singing and music — and launched a solo career. Four years later, she won the “Prix Calao,” followed in 1985 by the “President of Mali Prize.” It wasn’t until 1996 that Nha Destino arrived, her debut album with its afro-zouk-gumbe flavors, sung in Portuguese Creole. In 2000, Dulce Neves was appointed Ambassador of Modern Bissau-Guinean Music by President Kumba Yala.
In 2007, the album Mundo Rabiba was released, blending gumbe and afro-zouk — and it was a massive success, going gold that same year.

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.

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

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.

39 Jahre nach ihrem Debutalbum und 13 Jahre nach "Welcome Back To Insanity Hall" veröffentlichte eine der legendärsten original Psychobilly-Acts um den charismatischen, außergewöhnlichen (manche würden sagen "frenzy") Bandleader Mark "Sparky" Philips ein Dutzend neue Songs, oder sind's nicht doch 13? Schon von jeher scheren sich DAG einen Dreck um den klassischen Psychobilly-Purismus: Ihr Sound ist immer noch eine einzigartige Mischung (Hellbilly) und kombiniert Elemente von Rockabilly, Punk, höllischem Rock'n'Roll mit mal Country-esken Einflüssen oder dunkelsten Blues, alles immer geprägt von Sparkys rauem, giftigem Gesang. Und als ganz besonderer Gast tritt Emanuela Hutter von The Hillbilly Moon Explosion wieder im Duett mit Sparky bei ,Cast A Lonesome Shadow" an. Eine wilde und schräge musikalische Reise durch menschliche Abgründe, Wahnsinn und dunkle Sehnsüchte. "Psychotic Mutilation" mit genau den Songs, die diese kranke Welt verdient. Simply a masterpiece!! Die Pressung der LP-Erstauflage dürfte ein jedes Sammlerherz höherschlagen lassen, denn neben 180g Vinyl, klassisch schwarz oder Multicolour, gibt es noch ein Plakat und am Ende der der endlos B-Seiten-Rille ein verstecktes Special zu finden, oder genauer gesagt: ganz in der Mitte der B-Seite....lasst euch überraschen. LP als 180g Vinyl, Glanz-Cover & A2 Poster, CD als Digipack. Diese Version hier ist schwarzes Vinyl mit rot-orange-weiß Splatter (Lonesome Shadow Splatter)

Soul Jazz Records journey into early 1990s ragga, drum & bass and jungle. The album features all-time classic jungle anthems such as General Levy’s ‘Incredible’ alongside some serious Ragga heavyweight tunes like Cutty Ranks ‘Limb By Limb’ and Congo Natty’s classic re-make of Barrington Levy’s Under Me Sensi’.
The renowned album tells the story of how Jungle developed out of acid house but with its roots in the UK Dancehall scene of the 1980s and comes with extensive sleevenotes, exclusive interviews and photography.

Random Color ReVINYL Edition. Never has a Songs: Ohia album's process been so integral to its overall feel as is the case with DIDN'T IT RAIN, the band's sixth proper full-length. The album, like the working class South Philadelphia neighborhood in which it was birthed, has a real used goods kinda feel to it. Engineer Edan Cohen employed what some may consider "old-fashioned" recording techniques -- the entire album was recorded live with no overdubs, the full band playing in one room with the players always within arms' reach of one another; singers Jason Molina, Jennie Benford and Jim Krewson (the latter two of Jim & Jennie And The Pinetops) sharing microphones singing live together, sometimes sitting in chairs, sometimes standing. The result is a sound which resembles the warmth and personality of the classic Muscle Shoals Sound recordings of the early- to mid-70s: Willie Nelson's PHASES & STAGES, the Rolling Stones' "Wild Horses", and others by Aretha Franklin, Boz Scaggs, Bob Seger, Lynyrd Skynyrd and Wilson Pickett.Inspired by the Mahalia Jackson song of the same name, the title track is a beautiful song about the shifting tides of life and the old cycle of "a lot of shit going down before shit clears up". It's a damn fine place to start an album that seems in no hurry whatsoever to make a universal statement, instead perfectly content to walk its own path toward resolution. And damn if Songs: Ohia principal songwriter Jason Molina hasn't gone and created a record that is even more intensely personal and healing than any of his previous works. Neil Young had his AFTER THE GOLDRUSH, this is Molina's DIDN'T IT RAIN. Indeed, this is the album with which Molina really leaves his mark as a serious songwriter and artist. On 1999's genre-bending Ghost Tropic full-length, Songs: Ohia made it clear that it could make a cohesive album that took its listener on a journey from front to back. Its dislocated feel set a haunting tone, and its largely instrumental and drone-like quality was the process of the Ohia eluding itself and its own tendencies, searching for the underside of its roots freshly yanked. With DIDN'T IT RAIN, Molina & Co. return to the beauty of the song form and offer up a startlingly soulful and introspective song cycle in which Molina -- accepting a comfortable degree of anonymity amongst the other players -- meditates on what it means to feel rooted again (in the city of Chicago, where he's called home for the past three years), sounding more sturdy at his core than ever.

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

A collaborative classic from the Italian Avant-Jazz pioneers Zu and Chicago's Jazz mavericks Spaceways Inc Originally released in 2004, RADIALE is back, bringing together explosive energy, avant-jazz improvisation, and experimental rock in a landmark collaboration. Radiale (2004) by Zu is the band's second studio album and stands as one of the most defining releases in the European avant-garde scene of the early 2000s. With this record, Zu moved decisively away from the slightly more exploratory feel of their debut Bromio and developed a tighter, more aggressive sonic identity. The trio-- built around baritone sax, electric bass, and drums-- strips away almost all conventional melody, focusing instead on repetition, tension, and raw physical impact. Listening to Radiale feels less like following a sequence of songs and more like being drawn into a continuous sonic current. The music is driven by hypnotic, circular rhythms and abrupt dynamic shifts, moving from sparse, almost suspended moments to sudden, explosive bursts. The baritone sax often functions more as a percussive force than a melodic instrument, while the bass locks into distorted, looping figures and the drums maintain a relentless, tightly controlled intensity.

A collaborative classic from the Italian Avant-Jazz pioneers Zu and Chicago's Jazz mavericks Spaceways Inc Originally released in 2004, RADIALE is back, bringing together explosive energy, avant-jazz improvisation, and experimental rock in a landmark collaboration. Radiale (2004) by Zu is the band's second studio album and stands as one of the most defining releases in the European avant-garde scene of the early 2000s. With this record, Zu moved decisively away from the slightly more exploratory feel of their debut Bromio and developed a tighter, more aggressive sonic identity. The trio-- built around baritone sax, electric bass, and drums-- strips away almost all conventional melody, focusing instead on repetition, tension, and raw physical impact. Listening to Radiale feels less like following a sequence of songs and more like being drawn into a continuous sonic current. The music is driven by hypnotic, circular rhythms and abrupt dynamic shifts, moving from sparse, almost suspended moments to sudden, explosive bursts. The baritone sax often functions more as a percussive force than a melodic instrument, while the bass locks into distorted, looping figures and the drums maintain a relentless, tightly controlled intensity.

Limited Silver Vinyl. The Rapture wurde im Frühjahr 1998 von Vito Roccoforte und Luke Jenner gegründet. Mit einem scharfen Ohr für Visionäre wie PIL, Television und Chrome erlangte die Band unter ,Kennern" im ganzen Land schnell einen Ruf für ihre energiegeladenen, oft chaotischen Live-Auftritte; wobei Jenner wie ein auf Steroiden stehender Trottel herumhüpfte, während die Rhythmusgruppe ihren patentierten ,sonic deathfuck groove" zum Besten gab. Im Herbst desselben Jahres wurden zwei Alben aufgenommen: eine LP mit acht Titeln, die auf dem wegweisenden Art-Punk-Label Gravity Records aus San Diego erschien, sowie eine Single, die bei Sonny Kayes Gold Standard Laboratories veröffentlicht wurde. Nach diesen beiden Veröffentlichungen nahm die Band ihre ,Make-it-fucked-up"-Philosophie mit auf Tour und tourte mit Sunny Day Real Estate, Gogogo Airheart und Nuzzle. Im Mai 1999 zog die Band nach New York City um. Matt Safer, der kurz zuvor aus Washington DC zugezogen war, übernahm den Bass. Mit einer solideren Besetzung als je zuvor stürzte sich die Band in die Erforschung von Dance- und Popmusik und erweiterte ihre bisherigen Einflüsse um Chic, The Byrds, The Happy Mondays und Timbaland. Auf der darauf folgenden EP - Out Of the Races and Onto the Tracks aus dem Jahr 2001 - festigte The Rapture ihren ikonoklastischen Stil wild-energetischen Rocks, der sich ebenso sehr an Dance-Musik wie am Post-Punk orientierte.

Wir präsentieren Rattlesnake Boy", das Debütalbum des in Neuseeland lebenden Künstlers Mainard Larkin. Das Alt.Country-Konzeptalbum "Rattlesnake Boy" entstand in Zusammenarbeit mit dem Produzenten Shannon Fowler (Tom Lark) und handelt lose von einem Pro-Wrestler am Ende seiner Karriere. Das Album wurde jedoch auch von einer zerbrochenen Beziehung inspiriert, sodass die Songs einen tiefen emotionalen Kern haben. Mainard ist seit seiner Kindheit ein Fan des professionellen Wrestlings. Als Teenager besuchte er ein Raw-Event in den USA und meldete sich sogar in einem Fitnessstudio an, um die Grundtechniken zu erlernen. Später wurde ihm klar, dass viele Wrestler der frühen 2000er Jahre in einer Branche arbeiteten, in der Drogenkonsum an der Tagesordnung war und Gesundheits- und Sicherheitsbedenken keine Rolle spielten. Mainard entschied sich, die eigenen emotionalen Kreuzungen durch die Geschichte eines Pro-Wrestlers zu erkunden, der eine ähnliche Phase des Umbruchs durchlebt.

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.)