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A reflection on how we hold each other and how we let go, ‘Secular Music Vol 1’ is the first instalment in a triptych of albums by multi-limbed live dance music outfit Girls Of The Internet. Continuing their ongoing policy of “therapy through music”, the album touches all points on the shifting landscape of human connection: belief, doubt, loss, forgiveness. Emphasising human elements of songwriting, performance and production within the lineage of house, disco and electronic music; this first record furthers the band’s flair for manifesting the creative and communal spirit that birthed the scene. Joining the dots that have not been joined for a long time, the collective takes on people of all sexualities, gender expressions and body types. House music was created as an inclusive artform and Girls of the Internet are here to assert we are all invited. The group is completed with a rotating assembly of talented collaborators, including the live band with Nandi and Wynter on vocals and Tommy Peach on bass and trumpet. ‘Secular Music Vol 1’ also features guest appearances from Dani Siciliano, Sió, Pinty, i am an island, and James Alexander Bright - also a regular member of the live band. Girls Of The Internet’s 2024 album ‘When I Was Lost, I Found Myself’ was the follow-up to the acclaimed ‘Girls FM’, one of BBC 6 Music’s Albums of the Year in 2019. Firmly on the radar of key DJs Gilles Peterson, Tom Ravenscroft, Trevor Nelson, Pete Tong, and Lauren Laverne for some time, the band’s songs have more recently found fans in BBC Radio 1’s Sian Eleri and BBC 6 Music’s Nick Grimshaw as well as around the rest of the planet on tastemaker stations Byte FM, FIP, NTS, KALW, KCRW, KEXP and Soho Radio. Girls Of The Internet have performed on home turf at Glastonbury, The Warehouse Project’s Homobloc, Drumsheds, Printworks, Latitude, Lost Village festival, and a residency this summer at London’s Colour Factory. With Ibiza shows at Pikes and Glitterbox at #1 Club in the World Hï; this July saw Tom take on their first US dates with DJ sets in New York, LA and San Francisco. The live band are currently in the middle of an extended live tour that runs through to December. ‘Secular Music Vol 1’ is set for release on 14th November 2025 on Girls Of The Internet's own recently launched House Of the Internet label.

A box of this limited 7” showed up in the post, The Dahlmanns’ new single.. Norwegian power pop masterminds scoring dues from their whole rock and roll journey, Suzi Quattro, Dictators, Stooges, and all the great Scandinavian power pop / garage rock scene. Its been 15 year ssince their debut, and they still have a knack for perfect pop tunes wit ha hard edge. The A-side is a classic power pop, clap along to this… Line says ”the lyrics are inspired by the images of Finland’s Touko Laaksonen. It’s about a ”Tom of Finland” type character meeting up with his gang to attend shows at Max’s Kansas City in New York”. And on the flip, the Dahlmanns have turned a Prince classic into one of their own, Line explains, ”In my early teens, around the time of the release of his ”Sign O’ The Times” album I was obsessed with Prince. I never cared much for the over-the-top, experimental funk stuff but I liked ”Controversy” and ”Dirty Mind”, the latter includes another pop gem, ”When You were Mine”. ”Dirty Mind” was released on October 8th 1980, Johnny Ramone’s birthday and also mine. Such coincidence in life makes me happy”. A new album is pending, but jump in quick to get ahold of one of these 7”s.

To mark what would have been Mikis Theodorakis' 100th birthday in 2025, Intuition released a very special album: 'Lost Songs' - fourteen previously unpublished compositions by the world-renowned Greek composer, presented here for the first time in a remarkable solo piano version by German pianist Henning Schmiedt. A remarkable moment took place in 2009 at Mikis Theodorakis' studio in Athens: Henning Schmiedt personally played his piano arrangements of the 'Lost Songs' to Theodorakis himself. Some of the melodies sparked the composer's memory, while others did not - but he listened attentively, offered comments and gave guidance that directly influenced the final versions of the pieces.

As such, 'Lost Songs' can be considered a posthumous release with the composer's blessing. These pieces offer a glimpse into Theodorakis' expressive power and artistic maturity from a very young age - most of the 'Lost Songs' were written in the early 1940s and provide a compelling window into the formative years of one of the most important composers of the 20th century.

'Lost Songs' is available on 180g vinyl and digipak CD editions.

Full of joy, they ran to meet him.
Then threw one of the shirts over each of them,
and when the shirts touched their bodies they were transformed into swans,
and flew away over the woods.
The record is comprised of a series of improvised recordings made over the course of an evening in Autumn ’23, captured at the Jabu home studio, south Bristol while Teresa was staying in town for a show. Everything was recorded into the desk in a single take and left as it was, no editing or overdubs, instruments were swapped around and effects units left buzzing ground hum scattered over the floor.
Teresa and Guest (Jasmine of Jabu) provided the vocals, taking words from anything at hand - poetry books, an old copy of the Whole Earth Catalog - their voices winding together, echoing out each other’s melodies. This approach is mirrored by the instrumentals, anchored by something at times - a bassline, one of Birthmark’s synth drones or a fizzing chord but always on the edge of collapsing in on itself or floating away. The tracks become more soporific as the record goes on (and as the night got later), ending on a refrain of ‘say you think its true’ as the instrumental finally dissolves the pedals get dialled up to 11 and Birthmark’s drones turn into distant lasers in a last swan song of feedback.
Recorded Sep 2023 in Bristol, BS3, by:
Teresa Winter (vocals, fx)
Guest (vocals, guitar, fx)
Birthmark (synth, fx)
A.Childs (samples, bass, guitar)

Swan Song

The vinyl LP at the heart of this éthiopiques 31 tracks 2 to 11 was one of the very last vinyl records ever released in Ethiopia. But above all it represents, we felt, the absolute masterpiece of the Ethiopian Groove – the Swan Song of Swinging Addis. The album leaves a clear idea for posterity of the level of sophistication and mastery that modern Ethiopian music had achieved, before being crushed under the Stalino-military heel of the Derg – as the bloody revolution that was unfolding came to be called.

Ethiopia1976.

The Revolution that broke out in February 1974 rolled on in a ruthless march. The whole of Ethiopian society was utterly stunned. The bouquets of flowers handed joyfully to the first tanks of the coup d'état were to wilt very rapidly. From September 1976 to February 1978, 18 months of Red Terror (the name given by the junta itself) spilled blood throughout the country. This fratricidal conflict took its heaviest toll among students and youth. The shift from feudalism to a cruel and primitive Stalinism left the country's citizens deeply traumatised, and snuffed out any pretence of activism, whatever the sector of society. This ice age was to last for seventeen long years.

ሙሉቀን፡መለሰ Mulukèn Mellèssè Muluqän Mälläsä

It was three tracks by Muluken that served as the opener for éthiopiques-1 more than 25 years ago. Seven more tracks appeared on éthiopiques-3 and 13, all accompanied by The Equators, which was soon to become the Dahlak Band.

The first track, Hédètch alu, also the very first piece that Muluken ever recorded, left audiences both unsettled and amazed. Reflecting the singer's extremely young age (he was just 17 at the time), this angelic voice mystified many, who thought they were in fact listening to a feminine voice. He was not yet 22 when he released his last vinyl record in 1976 with Kaifa Records (KF 39LP), one of the very last to be issued in Ethiopia, before the cassette tape became the dominant medium for music distribution – and before the new revolutionary regime put a stop to all independent musical life, via an unspeakable barrage of prohibitions and other persecutions.

Mulu qèn, literally, “A well filled day”. This tender maternal intention wasn't enough to ward off the cruelty of fate. His mother's premature death drove Muluken to leave his native Godjam, in northeast Ethiopia, to live with an uncle in Addis Ababa. Born Muluken Tamer, he took his uncle's last name – Mèllèssè.

The spelling Muluken appeared in his administrative records. Transcription of Amharic to the Latin alphabet, both in Ethiopia and for scholars, gives rise to controversies and quibbles that can never be neatly settled. French allows for a closer approximation of the original pronunciation, thanks to its battery of accent marks, confusing as they may be to anglophones.

Between rather accommodating administrative record-keepers and the various versions that pop up in interviews given by the artist, Muluken's year of birth oscillates between 1953 and 1955…

1954? One thing is certain: the artist's talent made itself known very early indeed, because he got his start in 1966-67, at the age of 13 or 14. Photos from the period attest to his extreme youth. It's a strange sort of initiation for a very young teenager to become a sensation in the heart of Addis's nightlife at the time, Woubé Bèrèha – the Wilds of Woubé. And what's more, in the club of the Queen of the Night, the Godjamé Assègèdètch Alamrèw herself, the very same that was portrayed by Sebhat Guèbrè-Egziabhér in his novel-memoir Les Nuits d’Addis Abeba2… The legendary female club owner who is remembered to this day by the capital's ageing boomers.

Muluken first tried his hand at the drums, before he grabbed the microphone. He emigrated briefly to the Zula Club, across the street from the old Addis Post Office, one of the ground-breaking bars of the burgeoning musical scene, before joining the Second Police Band in 1968, for around three years. He spent a few months with the short-lived Blue Nile Band founded by saxophonist Besrat Tammènè. As the musical scene grew increasingly successful, and pulled slowly but decisively away from its institutional ties, Muluken released his first 45rpm single in February 1972 (Amha Records AE 440). It was included in two LP Ethiopian Hit Parade compilation albums in September of the same year. All in all, Muluken released eight two-track 45s and the same number of original cassette tapes between February 1972 and 1984, the year that he departed for permanent exile in the USA. After converting to Pentecostalism in 1980, Muluken gradually abandoned all secular musical activity. In 1985, at the end of a concert in Philadelphia, he decided to quit concerts and recording for good. Mèlakè Gèbré, the historic bass player from the Walias band who was playing with him that night, recalls that everything appeared so irredeemably diabolical in Muluken's eyes, that it was to be the end of his contribution to Ethiopian Groove.

The end of the story, the beginning of a legend.

Dahlak Band, forgotten by History

Aside from his personal history and vocal talents, it must be remembered that Muluken Mèllèssè was one of the biggest names in the musical innovations that marked the end of the imperial period. These éthiopiques aim to convince those who are just discovering this hidden gem... As for Ethiopians themselves, they are to this day captivated by this singular and atypical figure in the Abyssinian pop landscape – even though he withdrew from public life some 40 years ago. Incorrigible devotees of poetic twists, of more or less hidden meanings, Ethiopians appreciate above all the care Muluken took in choosing his lyrics and the writers who penned them, such as Feqerte Haylou, Alemtsehay Wodajo and, here, Shewalul Mengistu (1944-1977). Love songs, written by women, a far cry from the conventional drivel that pleases sappy sentimentalists.

Muluken is equally acclaimed for his perfectionism when it came to music, the opposite of the overly casual approach that is all too common. He remained a faithful partner of musicians who came from a lineage that borrowed from several inventive and pioneering bands (Venus, Equators, Dahlak). Amongst them were certain artists who began their musical lives with Nersès Nalbandian at the Haile Sellassie Theatre and who come of age in around 1973 – at just the wrong time, you might say. Among them were the pillars Shimèlis Bèyènè (trumpet), Dawit Yifru (keyboards) and Tilayé Gèbrè (sax & flute). Most notably Tilayé Gèbrè, certainly one of the most important musicians, composers and arrangers of his generation, of the end of the imperial era, and of the early years of the Derg.

It was only in 1981 that a miraculous opportunity arose for Tilayé to escape the Stalinist paradise of the dictator Menguistou Haylè-Maryam. Once again it was Amha Eshèté (1946-2021) who provided a solution. The spirited and courageous producer, who had been in exile in Washington since 1975, succeeded, thanks to his incredible perseverence, in bringing the Walias Band to the USA. It was, in fact an extended Walias Band comprising ten musicians3, six of whom chose to slip away after a few concerts and the recording of an LP (The Best of Walias, WRS 100). Tilayé Gèbrè was one of these. He has been living in the USA ever since. There he joined the then-nascent Ethiopian diaspora, which lived largely unto itself, and was making only very modest headway in the American musical market. It seems unfair that Tilayé Gèbrè and the Dahlak Band were not able to benefit earlier from the public recognition that they do deserve.

A similar draining away of the top-rate talents would lead to the reorganization of the major groups of the “Derg Time”. The remaining artists spread themselves around between Ibex Band (renamed Roha Band), Ethio Star Band and a remodeled Walias Band. That spelled the end of the Dahlak Band.

With this record, produced by the essential Ali Abdella Kaifa a.k.a. Ali Tango, we can appreciate everything that the Derg not only destroyed, but also prevented from flourishing. This gem of Ethiopian-style afrobeat came out in 1976 (and, by way of a parenthesis, before the FESTAC 1977 in Lagos, which was attended by an impressive delegation of Ethiopian musicians — although Fela was already personna non grata in his own country). Despite everything that might distinguish this ethio-groove from Fela’s music – no colonial axe to grind, no question of political confrontation with the authorities, no claims to negritude or Africanism for the Ethiopian musicians, and less extrovertion! –, this LP fits beautifully into the saga of intense and electrified soul of the new “African” groove that Fela and Manu Dibango embodied so well from that point onwards.

In restoring this record to its place in the afrobeat epic, it can be seen that, if nothing else, the timeline bestows a legitimate pedigree and a historical primacy to works that had no international impact when they were originally released.

Warning! Masterpiece!

a 1.1 KAKUMEI DOUCHUU - ON THE WAY FROM "DANDADAN"
b 1.2 DAIJOUBU FROM "MOONRISE"
[c] 1.3 HANA MUSOU - PEERLESS FLOWERS [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[d] 1.4 KATSUBOU [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[e] 1.5 LOVE SICK [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[f] 1.6 AIKOTOBA - THE SPELL [FROM "THE APOTHECARY DIARIES"]
[g] 1.7 RED:BIRTHMARK [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]
[h] 1.8 HOUSEKI NO HIBI [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]

[a] 1.1 KAKUMEI DOUCHUU - ON THE WAY [FROM "DANDADAN"]
[b] 1.2 DAIJOUBU [FROM "MOONRISE"]
[c] 1.3 HANA MUSOU - PEERLESS FLOWERS [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[d] 1.4 KATSUBOU [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[e] 1.5 LOVE SICK [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[f] 1.6 AIKOTOBA - THE SPELL [FROM "THE APOTHECARY DIARIES"]
[g] 1.7 RED:BIRTHMARK [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]
[h] 1.8 HOUSEKI NO HIBI [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]

[a] a1 KAKUMEI DOUCHUU - ON THE WAY [FROM "DANDADAN"]
[b] a2 DAIJOUBU [FROM "MOONRISE"]
[c] a3 HANA MUSOU - PEERLESS FLOWERS [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[d] a4 KATSUBOU [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[e] b1 LOVE SICK [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[f] b2 AIKOTOBA - THE SPELL [FROM "THE APOTHECARY DIARIES"]
[g] b3 RED:BIRTHMARK [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]
[h] b4 HOUSEKI NO HIBI [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]

[a] a1 | KAKUMEI DOUCHUU - ON THE WAY [FROM "DANDADAN"]
[b] a2 | DAIJOUBU [FROM "MOONRISE"]
[c] a3 | HANA MUSOU - PEERLESS FLOWERS [FROM "MONONOKE THE MOVIE THE ASHES OF RAGE"]
[d] a4 | KATSUBOU [FROM "MONONOKE THE MOVIE THE ASHES OF RAGE"]
[e] b1 | LOVE SICK [FROM "MONONOKE THE MOVIE THE ASHES OF RAGE"]
[f] b2 | AIKOTOBA - THE SPELL [FROM "THE APOTHECARY DIARIES"]
[g] b3 | RED BIRTHMARK [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]
[FROM "MOBILE SUIT GUNDAM THE WITCH FROM MERCURY"]

Schon in den späten Achtzigern waren Teile von Ampyre in Gruppen wie Tindale Creek, Silk´n´Steel oder Dark Haze aktiv, die Veröffentlichungen vorweisen konnten. Mit Sängerin Elke Grötzinger, die auch heute noch erfolgreich mit FRONTROW WARRIOR die Bühnen rockt, hatte man dazu einen perfekten Fang gemacht. Somit hatte man im Raum Stuttgart direkt einen guten Start und volle Häuser, trotz starker Konkurrenz.

Für das im Marquee Studio produzierte 5-Track-Demo griff man tief in die Tasche, was zu einem dementsprechend professionell klingenden Ergebnis führte. Das musikalische Können und ein für diesen Stil perfektes Songwriting hätten eigentlich für den großen Knall sorgen müssen, doch 1991 änderte sich die musikalische Landschaft und auch der melodische Metal musste gegen Grunge, Crossover, sowie Thrash- und Death Metal antreten. Das Label Golden Core machte diese Aufnahmen erstmals zugänglich und die Reviews in Magazinen wie Rock Hard oder Break Out waren traumhaft. Aus der Schweiz stammten Sacrifice, die sich 1984 mit einer selbstproduzierten Single vorstellten und dann einen Deal mit dem GAMA Musikverlag bekamen. „On The Altar Of Rock“ erschien 1985 auf dem GAMA-Label Camel und platzierte die Band in der damaligen Heavyrock-Szene.

Die Mischung aus melodischem Hardrock und Heavy Metal macht den Reiz dieses Albums aus. Geschicktes Songwriting mit vielen Hooklines paart sich mit dem spielerischen Können.

Die Wiederauflage auf Golden Core enthält als Bonus die zwei raren Tracks der 12“ Single und ist remastert. Ende der Siebziger befanden sich The Teens auf dem Siegeszug und dominierten die Jugendhefte wie die Bravo. Natürlich sollte es nicht lange dauern, bis man Konkurrenz bekam. Speedy waren eine waschechte Band, die beim Musizieren in ihrem Proberaum entdeckt wurde. Kurze Zeit später wurde die erste Single „Willy Is Back“ von Didi Zill (Birth Control, The Nighthawks) produziert, der auch als Fotograf für die Bravo bekannt war. Man schaffte es ohne Umweg in die Kultsendung Ilya Richer´s Disco. Dies führte zur ersten und leider einzigen LP „Much Too Young To Rock´n´Roll“ und zur gleichnamigen Single mit dem Knaller „Fight Like A Fighter“ auf der B-Seite.

Beide Tracks schafften es erneut ins TV (eine Ferienshow mit Karl Dall und zum zweiten Mal die Sendung Disco) – das Thema Speedy brodelte! Leider entschieden sich die Eltern der minderjährigen Musiker gegen eine Tournee mit Def Leppard, was die Karriere beendete. Die Wiederauflage enthält als Zusatz auch die Songs, die es nur als Single gab.

"Guerra Total Na Boca Do Lixo" is CAVEIRAS' new album, to be released on February 13, 2026. The album will include 12 brand new tracks, displaying the usual mix of punk aggression, batucada rhythms, industrial / noise bravado and bass music.

---------------------

CAVEIRAS deal in obsessive rhythms and low frequencies, infusing punk with Afro-Brazilian vibes. Their spiritual birth can be traced back to a visit to Favela Rocinha: while watching two young boys improvise a batucada with a bucket and a bin, band members became obsessed with the possibility of an occult alliance between Rio de Janeiro and Einstürzende Neubauten’s Berlin. Back home, Caveiras made a blood oath, vowing to channel the dark side of samba. Armed with an electric bass, scrap percussions and a machine-gunning sampler, they began to butcher Brazilian standards with a wild and iconoclastic attitude. Claves and rhythms of the Brazilian tradition are heavily treated through electro-acoustic techniques, dub-oriented bass lines strip melody down to the bone, while screams cross the line separating punk’s rants from Quimbanda’s curses.

Long regarded as singular architects within European post-rock, EF have built a catalogue defined by dynamic patience, melodic clarity, and widescreen emotional reach. Across two decades of touring, the Gothenburg ensemble have carried that language to clubs and theatres at home and abroad, earning a reputation for meticulous, high-impact live shows and a body of work that has steadily gathered critical regard and a devoted international following. Reimagined and with expanded production including strings and brass, this edition is a considered re-engagement with the material that first crystallised EF's voice. The band returns to thesesongs with the benefit of twenty years' craft, presenting new arrangements that stretch time and deepen narrative, while retaining the quiet-to-catharsis arc that has always set their music apart. "Since it's our precious first born we wanted to give it the love it surely deserves. We felt we didn't want to celebrate its big 20th birthday by just remastering it and we surely didn't want to make the songs too modern and unrecognisable for the old fans. We wanted to give it a tighter, more dramatic and bombastic make over_ a gentle touch of today's EF." (Niklas Åström) Originally released in 2006, `Give Me Beauty_ or Give Me Death!' introduced EF's signature blend of cinematic guitars, patient dynamics and aching melody. For this new edition, along with an incredible cover illustration by Phillip Janta and brand-new bonus track `Noll', the band returned to the material with fresh ears and clear intentions: to open more space in the arrangements and to enrich the melodic lines with orchestral colour. `Give Me Beauty_ or Give Me Death!' (20th-Anniversary Edition) is a document of growth rendered with care: more instrumentation, more time, more consequence. The album is an act of stewardship_ both a homage and a forward-looking manifesto for EF and for discerning listeners everywhere. FOR FANS OF Explosions in the Sky, Mogwai, Caspian, Gospeed You! Black Emperor, Yndi Halda, Mono Black or White Double Vinyl, Digisleeve Single CD. Includes bonustrack Noll.

Long regarded as singular architects within European post-rock, EF have built a catalogue defined by dynamic patience, melodic clarity, and widescreen emotional reach. Across two decades of touring, the Gothenburg ensemble have carried that language to clubs and theatres at home and abroad, earning a reputation for meticulous, high-impact live shows and a body of work that has steadily gathered critical regard and a devoted international following. Reimagined and with expanded production including strings and brass, this edition is a considered re-engagement with the material that first crystallised EF's voice. The band returns to these songs with the benefit of twenty years' craft, presenting new arrangements that stretch time and deepen narrative, while retaining the quiet-to-catharsis arc that has always set their music apart. "Since it's our precious first born we wanted to give it the love it surely deserves. We felt we didn't want to celebrate its big 20th birthday by just remastering it and we surely didn't want to make the songs too modern and unrecognisable for the old fans. We wanted to give it a tighter, more dramatic and bombastic make over_ a gentle touch of today's EF." (Niklas Åström) Originally released in 2006, `Give Me Beauty_ or Give Me Death!' introduced EF's signature blend of cinematic guitars, patient dynamics and aching melody. For this new edition, along with an incredible cover illustration by Phillip Janta and brand-new bonus track `Noll', the band returned to the material with fresh ears and clear intentions: to open more space in the arrangements and to enrich the melodic lines with orchestral colour. `Give Me Beauty_ or Give Me Death!' (20th-Anniversary Edition) is a document of growth rendered with care: more instrumentation, more time, more consequence. The album is an act of stewardship_ both a homage and a forward-looking manifesto for EF and for discerning listeners everywhere. FOR FANS OF Explosions in the Sky, Mogwai, Caspian, Gospeed You! Black Emperor, Yndi Halda, Mono Black or White Double Vinyl, Digisleeve Single CD. Includes bonustrack Noll.

FONTINE’s debut full-length Good Buddy arrives October 7, 2025, marking a gritty, heartfelt turn from her folk-leaning EP. Recorded live to tape with her road-tested band, the album captures the loose, unfiltered energy of her live shows, pairing raw instrumentation with FONTINE’s powerhouse vocals and emotionally rich songwriting. It’s a rock record with a sensitive core — scrappy, cathartic, and full of heart. The title track, “Good Buddy,” uses CB radio slang for queer love as a playful, anthemic entry point into a record about identity, connection, and vulnerability. FONTINE, who identifies as Indigenous and queer, brings humour, honesty, and a deep sense of place to her writing. From personal struggle to activist fire, her lyrics are grounded and bold, wrapped in a sound that blurs the lines between alt-rock, Americana, and indie folk. With over a million streams, national CBC radio support, and a growing live presence across Canada, FONTINE is emerging as one of the most vital new voices in Canadian roots music. Her breakout charisma, fearless storytelling, and genre-fluid style make Good Buddy a debut worth turning up loud.

Magnus Carlson and The Moon Ray Quintet join forces for a new album of inspired vocal jazz versions of some of their favourite music. Carlson is known as the vocalist of Weeping Willows, and The Moon Ray Quintet features members of top Swedish jazz acts Oddjob, Goran Kajfes Tropiques, La La Lars, etc. Together they form arrangements that capture the beauty of each song while bringing something fresh to the table. The Moon Ray Quintet was formed in 2009 around singer Magnus Carlson during a break from the band Weeping Willows which had been his musical habitat for over a decade. In the artistic vacuum he experienced then, he met jazz musician and producer Goran Kajfes in a bar. The two gentlemen had crossed paths musically before although this moment resulted in ideas that would lead Magnus career in a whole new direction. Also, it give birth to a brand new band consisting of a number of highly sought-after jazz musicians.

The FOX GOD has decreed a new prophecy: for the very first time in BABYMETAL history, the band’s four iconic albums—BABYMETAL, METAL RESISTANCE, METAL GALAXY, and THE OTHER ONE—will be unleashed as limited edition splatter vinyl.

From the explosive birth of kawaii metal to the cosmic journey across galaxies and the restoration of THE OTHER ONE, these four albums have carved the path of the Metalverse. Each one is a chapter in BABYMETAL’s legend—now reborn in a form unlike anything ever released before.

Splatter vinyl is new territory for BABYMETAL. Each pressing radiates with bursts of chaotic color, echoing the energy and intensity of the music itself. They are not just vinyl records, but sacred artifacts—collector’s editions destined for the chosen disciples of the FOX GOD. Once these limited runs vanish, their true form will never return.

This is more than a release; it is a celebration of the entire BABYMETAL saga. From the self-titled album that started the global revolution, to the second chapter declaring our Resistance, to the interdimensional odyssey of METAL GALAXY, and the rebirth told through THE OTHER ONE—every disc is infused with Kitsune Power.
The FOX GOD commands: seize this moment, honor the prophecy, and claim your relic before it disappears into legend.

Prepare your turntables. Summon your spirit. The Splatter Vinyl Apocalypse has begun.

2025 Repress

What Two Great Producers Other Then Lee Perry And Bunny Lee Would Be Best Suited For A Dub Soundclash.
Both Producers Were Integral At The Birth Of Dub Music And Would Share Many Rhythms And Sessions, Their Musical Paths Would Cross All Through Their Careers.
It Was In Fact Bunny Lee's Rhythm That Provided The Back Drop To Lee Perry's 'shocks Of Mighty Cut.
Jobs Were Passed From One To The Other, Bunny Lee Taking Over Lee Perry's Position At Wirl Records.
Yes Two Producers Whose Paths Always Seemed To Cross As It Does With This Release.
We Have Selected Some Of Lee Perry's Rhythms, Side One Of This Set, Against Some Bunny Lee Rhythm On Side Two.you Can Hear The Distinctive Sound Of Lee Perry's Black Ark Studio With His Echo-plex Giving His Trademark Whirling Sound Against Bunny Lee's Rhythms Cut At Many Different Studios.
The Winner Of The Soundclash We Will Leave That Decision Up To You The Listener.....
But In This Dub Session There Is No Loser...
All Killer ..no Filler...enjoy...

Composed by John Williams for George Lucas’s 2005 film "Star Wars: Episode III – Revenge of the Sith," this soundtrack captures the tragic
fall of Anakin Skywalker—his fear of losing Padmé, his desire for recognition, and his growing arrogance lead him down the dark path to
become Darth Vader, an agent of fear across the galaxy. Yet, even within the darkness, traces of light remain. Alongside the series’ iconic themes,
Williams introduces powerful new compositions such as "Battle of the Heroes" and "Anakin vs. Obi-Wan." The album concludes by returning to
the beginning of the saga with "A New Hope and End Credits."

As Moxy marks an incredible seven years as a trailblazing label, The label unveils Moxy Editions 9 — a four-track collection that captures the spirit of his DJ sets and the global energy of his dancefloor community. Already a highlight of the summer season, these records have been making serious waves across Ibiza and beyond.

At the heart of the release is “Gypsy Woman (Moxy Edit)” — a track that started as a spontaneous edit for Darius’s own sets and quickly took on a life of its own. With re-recorded vocals from Holly Jazz and official publishing clearance, the track has become a defining anthem of the year.

From DC-10 to clubs across Europe, the record has been met with full-room singalongs and explosive reactions. Early support from DJs including Prosper and Liam Palmer has further cemented it as one of the most in-demand edits on the circuit. Now officially released, “Gypsy Woman” arrives on vinyl, just in time for the label’s milestone birthday.

Next up comes a standout comes from Harry Collett “Check up”. A longtime Moxy fan and emerging talent, Collett’s production has already earned support from MK and a growing roster of influential selectors. “Harryette” has been a staple in Darius’s summer sets, marking Collett as one to watch.

Also featured are two more highlights from the summer — “Tengo La Musica (Crackazat Remix)” and “Never Let You Go”, both driven by irresistible samples and undeniable grooves. These cuts embody the energy and emotion of Darius’s signature club sound — upfront and built for the dancefloor.

"We're in the joy business," says frontman Ketch Secor, who launched the Grammywinning band in 1998. "From the very start, a lot of the virtues of Christmas -- the revelry, the singalongs, the happiness -- have been present in our show." Nowhere is that more apparent than OCMS XMAS , the group's first holiday album. Decorated with seasonal spirit and string-band stomp, it's the rare breed of Christmas record that packs a punch all year long, shining new light on the band's chart-topping version of American roots music. Old Crow Medicine Show aren't just reinterpreting their favorite yuletide standards; they're adding new songs to the canon, too, from "Jolly Man" -- a country-blues number inspired by Mississippi John Hurt and laced with harmonica, sleigh bells, and resonator guitar -- to the Zydeco- flavored "All About A Baby." They're telling fresh stories, too. On "Corn Whiskey Christmas," a bootlegger drives his Chevrolet through the snow on Christmas Eve, bringing moonshine to those craving a cup of cheer. On the John Prine-worthy "Bethlehem, PA" -- a sly reimagining of Jesus' birth story, with lyrics that substitute Steel Country for Jerusalem -- the band heads to the Keystone State to witness the Nativity, making stops at Wawa and Motel 6 along the way.

"Grandpa's Gone" grapples with the loss of a family figure during the holiday season, while the wicked "Krampus Night" puts a minor- key spin on the Christmas catalog, paying tribute to a folkloric creature who, according to Secor, "just might leave ya coal and steal your soul." Old Crow have thrived for more than a quarter century. Like many of their heroes, they've become torchbearers of classic folk music, reshaping those sounds for the modern world. They're creators, not replicators, and OCMS XMAS finds them tackling another tradition -- the time- honored Christmas album -- with humor, hillbilly twang, and novel ideas. Supported by the band's first-ever "Holiday Hootenanny" tour, OCMS XMAS just might be the start of a new tradition itself: a celebration of the seasonal sounds, shared joy, and holiday rituals that bring us all together. Christmas just got a new soundtrack.