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What changed between Av. General Roçadas and Junkeira? Seven years in people's lives — yet the team's commitment remains untouched, and the steady hand on the plumb line that keeps dance music (still) upright holds firm. Years of sustained research and field work from both producers, with their own records, mutually independent and independent too in how they brought them to life. Moreno Ácido has been navigating detours through a conceptual yet grounded underground — in sound and in format (two self-released cassettes since 2019) — while keeping one eye on the floor. His post pandemic reawakening carries a clear message: Call to Action is the label that in 2023 put the still-in-demand Trash/Treasure out on vinyl. Diogo keeps Discos Extendes as his shelter, gathering talent and retreating into it. At the same time, a disseminating vocation — that talent turned outward, on a mission to champion the different sensibilities that can converge in music made for dancing.

Junkeira is direct. It hides nothing in its intent, nor does it conceal the origin of its love, nor the way it exercises its fascination with the source. Geography can define movements, described and echoed countless times outside and then inside the net. The signifiers are known to all — it's a matter of applying them with respect and flow. Perhaps the craft in this production really does come down to love, when it comes to it. What is "WTF" if not a declaration of love — at the very least of closeness — to the sonic essence of the English rave? The piano stab, the breaks defining that hardcore state of mind, the string bed lifting feet off the floor. Closing out the EP, "Freak" gathers different emotions — eyes still shut, body in comedown while still moving. Chill. Everything rounded. Bassline, vibes, vocals woven into the rhythm.

Rewinding, the opening track "100 Planos" is a throwback to Roçadas (2019) — harder on the ground, with a 4/4 beat broken up by claps, a circular structure built for DJs, with mix-friendly entry and exit points. Then "Turbo Love" puts the keys in control, foregrounding them, letting a car alarm ring out and balance the beat — a reverential nod to UK Garage felt as raw material, already part of the lineage that has been the continuous evolution from Disco onwards: an evolution that traces a line and its branches, from which you can isolate any chronological point since at least 1977 and combine whatever elements form a personality. The spirit lives, as summer kicks in.

2026 marks the 30th anniversary of Three Lions (Football’s Coming Home), released to coincide with the World Cup and celebrating one of the most iconic songs in British sporting and music history.

This special edition CD single features brand new illustrated artwork by Guardian Cartoonist David Squires.

Three Lions remains a truly unique chart phenomenon. It is the only song ever to reach UK Number One on four separate occasions with the same artist — twice in 1996 on its original release, for three consecutive weeks during the 1998 World Cup, and again in 2018 when it made chart history by jumping from No.24 to No.1 in a single week.

Acclaimed London collective Kokoroko have announced a brand new remix EP titled Brownswood Remix Editions 009 - Kokoroko remixes, set for release on 12th June 2026. The project reimagines standout tracks from their 2025 album Tuff Times Never Last, offering fresh perspectives on three fan favourites through a carefully curated selection of producers.



The EP brings together a dynamic trio of remixers: IG Culture, IZCO, and Musclecars, each delivering a distinct sonic interpretation rooted in club culture, soul, and rhythm-forward experimentation.



Brownswood Remix Editions 009 - Kokoroko remixes will be released on vinyl as part of the Brownswood Remix Editions series, landing as Edition 009. Known for spotlighting forward-thinking reinterpretations from across the global jazz and electronic spectrum, the Brownswood imprint brings a tangible, collector-friendly dimension to the project. This limited vinyl run offers fans and DJs alike the chance to experience these reworks in their fullest analog form, further cementing the EP’s place within the label’s celebrated remix catalogue.



Each remix expands the sonic world of Tuff Times Never Last, an album that resonated widely upon its release in July 2025, praised for its uplifting themes and rich blend of jazz, afrobeat, and soul influences.



With this release, Kokoroko continue to highlight the evolving dialogue between live instrumentation and electronic reinterpretation, reinforcing their place at the forefront of contemporary UK music.

Wewantsounds continues its Middle East reissue series with Assa"d Khoury"s 1978 rarity, Electronic Touches Belly Dance. Reissued for the first time in nearly 50 years in partnership with Byblos Records founder Mozart Chahine, the album features Oriental classics reimagined through Khoury"s pioneering electronic keyboards. This definitive edition includes original artwork, remastered audio, a new introduction by Ahmed Khalil (Dikraphone), and an exclusive interview with Chahine, the album"s producer, conducted by Mario Choueiry (IMA)

Step into the golden era of soul-jazz with the long-awaited vinyl reissue of “Vibrations” by Roy Ayers Ubiquity — a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers’ sound at its peak.

Originally released in 1976, “Vibrations” stands as a cornerstone in Ayers’ catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide.

Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the “Godfather of Neo Soul,” Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and “Vibrations” is one of its purest expressions.

The album flows effortlessly between moods: from the jazz-inflected elegance of ‘Searching’ to the irresistible funk pulse of ‘The Memory,’ the dancefloor-ready ‘One Sweet Love to Remember,’ and the laid-back, atmospheric title track ‘Vibrations.’ Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment.

Beyond its original impact, “Vibrations” has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture.

After almost two decades out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Whether you’re discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.

Ghost Funk Orchestra are a mystery. Plain and simple. Dirty, soulful production, verbed and fuzzed out guitars, mysterious vocals that feel like a lost score to a Quentin Tarantino film. The brainchild of one-man producer/musician/arranger Seth Applebaum, GFO is forging new territory and blurring the line between soul and psychedelic.

Following his previous appearances on Figure, French producer Arkan returns with Mad Race, a four-track EP that further sharpens his distinct vision of mental techno. Balancing hypnotic restraint with driving intensity, the release finds the artist navigating deeper into textured, immersive territory while maintaining a strong sense of propulsion throughout.

The title track Mad Race opens the record in forceful fashion, locking into a tightly wound groove as restless synth movements and looming atmospheres continuously build pressure around the rhythm section. Revival follows with a more spacious approach, letting emotive chords and swelling layers unfold gradually over a firm, rolling foundation, capturing a feeling of momentum suspended somewhere between tension and release.

On the flipside, Sawlim pushes further into trippy terrain. Dense percussion and spiralling effects interact with pulsing low-end pressure to create a heads-down club tool filled with subtle movement and detail. Closing track Interlude shifts the focus once more, exploring a more restrained and introspective mood through cavernous textures and hypnotic repetition while still holding onto the EP's underlying drive.

Digital bonus track Make You Horny rounds out the package with a rawer and more playful energy, bringing punchy drums and jagged synth work together into a functional late-night workout.

With Mad Race, Arkan continues refining his own blend of deep, atmospheric and cerebral techno, further cementing his place within the evolving sound of Figure.

"Imagine a classic singer/songwriter record loaded with the intimacy and grit reminiscent of Alex Chilton or Nikki Sudden." Shindig

Los Angeles singer-songwriter Tracy Bryant returns with his new album The Well, which is his first release since 2019’s critically acclaimed Hush. His fourth solo album, The Well marks a striking new chapter, trading his signature guitar-driven sound for piano-led songwriting that took root during the pandemic. The album was born out of one of the most turbulent periods of his life, written in the wake of his father’s sudden passing and birth of his first child. It was produced by longtime friend and compatriot Joo-Joo Ashworth at Studio 22 in Cypress Park, CA, and mastered by Dave Cooley at Elysian Masters. The nine songs are filled with raw emotion and driving motorik rhythm, telling tales of loss and love, relationships beginning and ending.
 
When the pandemic upended Bryant’s promotion for Hush and brought his 2019 European tour to a halt, he found himself at home rediscovering his musical roots at the piano, listening to Vince Guaraldi and Arthur Russell to take inspiration for the song structures. Without a band around, Bryant used the instrument to create both rhythm and melody, which resulted in a repetitive and precise backbeat, which was elevated when he began working with drummer Carmeron Gartung to rehearse the new songs. This different approach would define the style of The Well, creating an amalgamation of sounds with classic songwriting structures blended with post-punk, 90s indie, krautrock and psychedelia.
 
To produce the record, Bryant turned to Joo-Joo Ashworth, who share a friendship stretching back to 2011 (when Joo Joo was only 18) when both of their bands, Corners and Froth, were at the forefront of the bourgeoning Los Angeles/Echo Park music scene of the time and embarked on their first national tours together. Ashworth, who has since become one of underground music’s most respected producers, recorded the album throughout 2024/2025 on half inch tape at Studio 22 in Cypress Park, California, giving The Well a warm, considered sound that matches the weight of its subject matter.
 
The album’s emotional core was forged by two significant life events arriving in close succession. In January 2022, Bryant’s father passed away unexpectedly at the age of 67. Just three months later, Tracy and his wife welcomed their first child. The Well is a direct result of those experiences, a songwriter processing grief and joy, endings and beginnings in real time. 
 
The nine songs take the listener on a meticulously crafted journey through the nooks and crannies of Bryant’s mind. Spanning 37 minutes, the album is an exploration of classic songwriting elements moving fluidly between driving beat punk, like “Weight” and “Widow”, and more melancholic tracks like “Halfway” and “Danny”. Album opener “Cold Floor” sets the tone immediately, Bryant’s lyrics confronting the day of his father’s death with unflinching directness – the breezy California piano sound is in direct contrast to the heavy theme. The Bowie-esque title track is perhaps the album’s most expansive moment – a fully realised epic composed with a dynamic flare. 
 
 The Well feels like an arrival. Dramatic and expansive, it is a true, visceral reflection of the life changing events that altered the course of Bryant’s life. Fans will be surprised by the heavy focus on piano but they will welcome the change as a bold turning point for an artist who has lived long enough to know exactly what he wants to say. 

Some previous press:

"feels like a slice of California, down to its ringing post-surf guitars and bright melodies, but cross-cut with a folk sensibility more aligned to the work of Elliot Smith or, on occasions, Conor Oberst." Uncut - lead album review

"…sees the Los Angeles rocker confront both the finer and uglier aspects of love and life, combining classic rock with psychedelic tinges and catchy melodies." Evening Standard 4*s

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

With their fourth full-length album Signal Fire, GENGHIS TRON awaken us from the post-apocalyptic daydreams of their previous work with a violent—and most welcome—shove. This time, the distant-future reveries we first heard on Board Up The House give way to an unsettling awareness of the present we’re actually living, as our circumstances grow too pressing to try and escape. “Signal Fire envisions a Kojima-esque dystopia of endless proxy warfare,” says vocalist and lyricist Tony Wolski (The Armed), “where the deluge of available information has outmoded the human ability to parse it. A world where those amoral, shameless and cunning enough can literally reshape reality at their whim through sheer insistence." Having roared onto the scene in 2004 with a uniquely demented blend of extreme metal, synthesizer textures, and drum-machine madness, GENGHIS TRON are no strangers to making a forceful impression. But Signal Fire marks the first time bandleaders Michael Sochynsky and Hamilton Jordan –joined again by Wolski and Nick Yacyshyn (SUMAC) on drums, plus newcomer Kenny Szymanski (The Armed) on bass–has captured this level of urgency with such visceral precision. “This album is very much rooted in the now,” confirms Jordan. Album opener “I Am All” sets the table with a chest-throbbing synth pulse as Wolski declares “I’m on a tear, I’m on a tear,” over swirling industrial rhythms and creeping synthlines. “Nothing Blooms in the Hollow” grafts desert-rock swagger onto interlocking layers of dizzying riffs and chants before Wolski steers the band into full-on sonic burnout, like a spaceship careening into the sun. “Born Prey” navigates deftly through Genghis Tron’s classic sonic touchpoints: furious blastbeats, electronic breaks, haunting vocal earworms, and a towering synth-pop crescendo. Meditative interludes like “Like Fotocrom” and “Without Form” deliver shimmering, ominous beauty. And “New Gods” invokes Rabies-era Skinny Puppy to bring the album to a bludgeoning, anthemic finale, as Wolski screams on repeat: “New gods to bleed me out / No new peace / Bleed me out / I love it.” Twenty years into their career, having proven their ability to forge common ground between Ministry and Aphex Twin, between Brutal Truth and Boards Of Canada, between Cluster and Converge, ugly-beautiful new genre hybrids from GENGHIS TRON no longer come as a surprise. What’s remarkable, however, is how Sochynsky and Jordan have taken a project that started in 2004 as a dorm-room genre-pastiche experiment —”a chaotic, wild amalgamation of all our favorite stuff, literally slammed together,” says Jordan—and refined their songwriting craft to deliver a sound that is unmistakably their own.

‘In The Bay’ is our 21st release for The Boxmasters. Songs were all inspired by and either written or partially written in the small beach town of Morro Bay, California. It’s a slight departure from our Abbey Road influenced album ‘Pepper Tree Hill,’ but is still in the same wheelhouse. ‘In The Bay’ has a strong Brian Wilson influence in the way the instrumentation is used. It is our humble attempt at making our ‘Pet Sounds’. We’re certainly not The Beatles or The Beach Boys, no one will ever be, but those heroes continue to inspire us.

Mission of Mercy, the fourth full length album from celebrated guitarist and songwriter Mike Campbell (Tom Petty and The Heartbreakers, Fleetwood Mac) and his band The Dirty Knobs, is due June 12 via Soundly Music/Thirty Tigers. The album features appearances from the B-52s’ Kate Pierson and Morgane Stapleton alongside the Dirty Knobs’ Chris Holt (guitars, keys), Lance Morrison (bass) and Campbell’s fellow Heartbreaker Steve Ferrone (drums, percussion). Mission of Mercy displays Campbell’s full songwriting range, with tracks ranging from the unbridled rock & roll of “I Remember” to the Americana ballad “More Than Gold” and even the Brian Wilson-inspired psychedelia of the title track. Campbell states that “Mission Of Mercy is an action-packed collection of tunes that continue the vibe we established as well as some new directions in the songwriting. It’s full-throttle Knobs from start to finish and we look forward to playing these live this year.” Last year saw the release of Campbell’s New York Times Best Selling memoir Heartbreaker, which Rolling Stone hailed as “essential…a vividly told new autobiography,” while the Los Angeles Times praised its “tale of endurance and patience rewarded” and No Depression proclaimed it “does what the best music memoirs do: encourage readers to listen once again, or for the first time, to Tom Petty and the Heartbreakers and to Campbell’s solo works.” The Dirty Knobs (named after tech slang for a broken amp dial) were founded in 2000 by Campbell as a writing and club-date project outside the Heartbreakers. The group finally got on record with 2020's Wreckless Abandon and 2022's External Combustion. Those LPs, Campbell says, were the Knobs “trying to find our way as a rock & roll band.” “Now it’s down to great songs,” adds Campbell, “the depth in the lyrics and chords.” He recalls something Petty once told him: “Tom said, ‘I love the English language. There’s so much you can do with it.’ I'm discovering that, too. Looking for rhyme schemes, the right word. At first it was a struggle. Now that door has opened,” Campbell says. “I’ve turned a corner.” The Dirty Knobs are “still a rock band but growing into different feels.”

Yellow Days' new album Rock And A Hard Place is a tour de force which sees George van den Broek returning to his soul roots, channelling everyone from Stevie Wonder to Gil Scott-Heron to his idol, Ray Charles, in a set of emotionally charged songs constructed with an attention to detail worthy of the Brill Building.
Beautifully sung, brilliantly played and almost glowing with intelligence, it's the sound of Yellow Days coming of age.

"4EVER" is a complete and eternal album.
It celebrates friendships, connections, discoveries, travels, and experiences that Buvette has honored over more than ten years of activity around the world. Through 4EVER, he pays tribute to those without whom nothing would exist: loved ones, those who have passed, love itself, and this life, which must be lived as fully as possible. Music remains the universal language, and 4EVER is a kind of Buvette DNA, one he invites you to incorporate into your own.

Roland Kirk was an extremely talented multi-instrumentalist, who lost his sight at a very early age, and played unconventional jazz, which was not entirely free but in which melodic and very beautiful phases alternated with moments of complete dissonance and conjured up his urban background, especially reflecting his view of the world as a handicapped man. Kirk was not only famous for his unique sound achieved through his playing several instruments simultaneously and his innovative approach to music but also for his dynamic live performances.

In November 1967 Kirk left EmArcy for Atlantic Records, leading his quartet through a highly introspective, somewhat melancholy programme, which was based in the blues and groove traditions of the mid-60s. Kirk himself played flutes, the stritch, manzello and tenor saxophones, the whistle, clarinet and more – precisely those instruments that had created his unique sound, particularly when some of these instruments were played simultaneously by him. Jazz critics who had previously criticised Kirk’s sound now praised him once they had heard the restrained and elegantly layered "Black And Crazy Blues", the breathtakingly executed Creole "Love Call", the razor-sharp soul in "The Inflated Tear" and the gyrating lyricism of the winds in "Fly By Night" – and quite rightly so.

Roland Kirk convinced his listenership anyway and sold over 10,000 copies of the present LP in the very first year of its release. This is Roland Kirk in his most competent and visionary form; his reading of jazz harmony and capricious sonances is virtually incomparable.

Rosati continues mapping the sonic identity of Global Pulse with the ‘Sweetest Taboo EP’. Across this collection, he delivers four hard-boiling grooves, engineered to keep the energy on the dance floor high. GP06 explores the duality of contrasts: ‘Red Valve’ and ‘Sweetest Taboo’ focus on bright rhythmic pressure, while ‘Tranquillizer’ and ‘Ignition’ lean into darker, shimmering atmospheres. Melting tradition into the present, this record highlights the interplay of seductive sound design and a refined taste for warm grooves. The sound from Amsterdam, built for the global pulsation.

Few artists arrive as compellingly yet elusively as did Stuart Moxham upon the startling debut of Young Marble Giant's sole studio album, Colossal Youth. Initial excitement was thrust upon the young Alison Statton, who sang songs written by Stuart with a couple of exceptions. The unaffected tone of her voice was in steep contrast to the typical goings-on in that still quite punky time, but it was what she sang that fully sold it. Moxham's lyrics were both intensely personal and woefully oblique. There seemed to be a sort of story in there. Confusingly, that story often felt like it was Alison's rather than the fellow who'd penned it. The unexpected miracle a deal with Rough Trade and the album's subsequent success had the band stymied for a second act and it wasn't long before the group disintegrated, although circumstances often brought members and a few of their peers - among them Debbie Pritchard, Spike Williams, and a third Moxham brother, Drew. - Phil Moxham was the band's bassist - together in odd combinations and pairings. None of the three YMG members have been especially prolific, but it's Stuart's career that has seemed the least straightforward, as if he'd wondered, "What to do when your debut is a nearly perfect artefact?" In the case of his first "solo" full-length in thirty years, Stuart took the unusual step of entering an alien studio with American producer Dave Trumfio (who's also the leader of Pulsars and bassist for Mekons) and allowing him to decide what tracks (of a large number submitted by Stuart) to record, and how they'd be orchestrated. Or not. In this case - save for the writing and composing - it's really Dave's album as much as Stuart's. The tracks went with Dave back to LA, where they were mixed, a few parts added (including subtle backing vocals from the incredible Linda Smith) . . . then later unmixed and reworked by John Henderson and Roni Ayala back in Valencia. Both versions will be made available, and both have a compelling cohesion missing from some of Stuart's work since YMG. Stuart's minimalism is quite intact, the range of emotions quite wide. There are few artists operating today like Stuart Moxham, a composer of the upper echelon of innate talent who combines avant-garde ideas with deceptively forthright personal lyrics, solid hooks, ambience and vaguely off-centre instrumentation which defies the casual marketplace as confoundingly as it ever did to the underground, whatever that is these days. His songs have been admired and / covered by everyone from Lush to Kurt Cobain, adaptations in Japanese and even a French-language hit by Etienne Daho, adaptations by Hole, Galaxie 500, Magnetic Fields, Belle And Sebastian and many others - but a new Stuart Moxham album is a special kind of joy.

This album, recorded in 1988 at Elkar Studios in Lasarte, is a happy accident, like much of La Polla Records' early output, by Jean Phocas (who also worked with other bands of the genre such as Cicatriz) and César Ibarretxe. It was lovingly designed, with a medieval atmosphere for the cover (by Txefo, Joseba Olalde and Txarly) featuring a huge scroll containing five tarot cards, a back cover in the same style with heraldic figures, and a meticulous presentation of the lyrics with separate spellings for each song, on a double sheet with photos of piglets suckling from their mother on one side and various images on the other. With animals as the common thread for the songs, it represents the confirmation that the concept album had arrived on the national punk scene. Perhaps a work of maturity, the band's traditional objectives disappear from the lyrics, and although there is still room for specific protests and chronicles of nights of alcohol and violence (such as those of La Rata), the emphasis is on revelling in the description of all kinds of personal, psychotic and hallucinatory hells. Evaristo confessed to being influenced by Umberto Eco's book The Name of the Rose (1980) in the making of this work. Far from indicating any departure from the foundations laid in previous works, it shows that the spectrum of the anti-establishment struggle the group was committed to was broad. A very complete album.

A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.

As a follow-up to our previous work reissuing the recordings of Pau Riba, key figure in Catalonia's counter-culture and music scene, we now present "Juguetes de época y cajas de cerillas - Singles y rarezas. Primera época (1967-1969)," compiling songs drawn from rare releases in his catalog as well as his singles from this period. It includes previously unreleased material sourced from the artist's own tapes, along with an extensive booklet featuring notes and photographs of the artist. This collection brings together songs taken from rare releases in his discography-such as the album recorded at one of the concerts performed by Grup de Folk during its brief existence, "Folk 2" (1968)-as well as from his singles: "Taxista!" (1967), "Noia de porcellana" (1969), "Miniatura" (1969), "L'home estàtic" (1967), "Pau i Jordi" (1968), and "El Nadal no té 20 anys" (1967). Alongside these tracks, this compilation also releases for the first time part of the previously unheard material found on magnetic tapes discovered in the artist's studio after his passing. Among these tapes were the instrumental recordings of "Taxista!"-versions with slight differences from those issued on the original single, possibly prepared for television playbacks. These recordings provide further insight into the making of Riba's first release, particularly regarding the mixing process and the later addition of subtle details.