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Single-Sided 12 inch with etched B Side, cut and remastered from the original tapes and housed in a new foil sleeve printed on 300gsm card with gold Stardust is Thomas Bangalter, Alan Braxe and vocalist Benjamin Diamond. Twenty one years since its original release in 1998, their iconic track "Music Sounds Better With You" is now available again on vinyl and digitally for the first time.

TALCO melden sich mit ihrem bisher wohl ambitioniertesten Werk zurück. "Freek" erscheint am zweiten Freitag des Jahres 2027! Eine kühne und unverblümte Reise durch mentale Käfige, ruhelose Gedanken und schwebende Träume. Das Album präsentiert TALCOs unverkennbare Punk-Ska-Energie mit einer schärferen, introspektiveren Note. Geschrieben von Tomaso De Mattia (Dema), Sänger und Frontmann von TALCO, setzt sich das Album mit den unsichtbaren Strukturen auseinander, die uns in einer von Image und Performance besessenen Welt prägen. Im Zentrum steht die Frage: "Lohnt es sich, den Traum vom offenen Meer aufzugeben, nur um ein von anderen entworfenes Rennen zu gewinnen?" Es ist ein Konzeptalbum, das mit surrealem Storytelling eine statische, dekadente Gesellschaft reflektiert, die unfähig scheint, kulturelle oder politische Risiken einzugehen. Die italienischen Alternative-Ska-Punk-Rocker aus Marghera/Venedig haben sich mit ihrer Kombination aus schnellem Punkrock, Ska-Einflüssen, Blasinstrumenten und italienischer Volksmusik sowie ihren sozialkritischen, oft politischen Texten in ganz Europa einen Namen gemacht. Freek markiert eine Rückkehr zu den Wurzeln des Albums "Gran Galà", angetrieben von der kalifornischen Punk-Energie von "Videogame". Und dies ist erst der Anfang einer Reise, die weit über die Musik hinausgeht. Viele Überraschungen erwarten uns. Ein volles Dutzend Tracks im beliebten Punkchanka-Stil zum Genießen (plus vier weitere (die B-Seiten)), darunter das bereits digital veröffentlichte "Dalla Mia Parte Ella Strada" und die kommende Single "Disco Inferno". Das "Freek"-Konzept wird von einer Geschichte begleitet, die in den offiziellen Videos, den zusätzlich digital veröffentlichten B-Seiten (auch als Bonustracks auf CD erhältlich) und einem Graphic Novel/Comic aufgegriffen und erweitert wird. Das Comicbook ist Bestandteil der limitierten Freek Deluxe Pizzaboxen der beiden Formate. Als LP schwarz, LP farbig, CD mit Bonustracks und limitierte Deluxe Pizzaboxen mit Extras erhältlich.

TALCO melden sich mit ihrem bisher wohl ambitioniertesten Werk zurück. "Freek" erscheint am zweiten Freitag des Jahres 2027! Eine kühne und unverblümte Reise durch mentale Käfige, ruhelose Gedanken und schwebende Träume. Das Album präsentiert TALCOs unverkennbare Punk-Ska-Energie mit einer schärferen, introspektiveren Note. Geschrieben von Tomaso De Mattia (Dema), Sänger und Frontmann von TALCO, setzt sich das Album mit den unsichtbaren Strukturen auseinander, die uns in einer von Image und Performance besessenen Welt prägen. Im Zentrum steht die Frage: "Lohnt es sich, den Traum vom offenen Meer aufzugeben, nur um ein von anderen entworfenes Rennen zu gewinnen?" Es ist ein Konzeptalbum, das mit surrealem Storytelling eine statische, dekadente Gesellschaft reflektiert, die unfähig scheint, kulturelle oder politische Risiken einzugehen. Die italienischen Alternative-Ska-Punk-Rocker aus Marghera/Venedig haben sich mit ihrer Kombination aus schnellem Punkrock, Ska-Einflüssen, Blasinstrumenten und italienischer Volksmusik sowie ihren sozialkritischen, oft politischen Texten in ganz Europa einen Namen gemacht. Freek markiert eine Rückkehr zu den Wurzeln des Albums "Gran Galà", angetrieben von der kalifornischen Punk-Energie von "Videogame". Und dies ist erst der Anfang einer Reise, die weit über die Musik hinausgeht. Viele Überraschungen erwarten uns. Ein volles Dutzend Tracks im beliebten Punkchanka-Stil zum Genießen (plus vier weitere (die B-Seiten)), darunter das bereits digital veröffentlichte "Dalla Mia Parte Ella Strada" und die kommende Single "Disco Inferno". Das "Freek"-Konzept wird von einer Geschichte begleitet, die in den offiziellen Videos, den zusätzlich digital veröffentlichten B-Seiten (auch als Bonustracks auf CD erhältlich) und einem Graphic Novel/Comic aufgegriffen und erweitert wird. Das Comicbook ist Bestandteil der limitierten Freek Deluxe Pizzaboxen der beiden Formate. Als LP schwarz, LP farbig, CD mit Bonustracks und limitierte Deluxe Pizzaboxen mit Extras erhältlich.

TALCO melden sich mit ihrem bisher wohl ambitioniertesten Werk zurück. "Freek" erscheint am zweiten Freitag des Jahres 2027! Eine kühne und unverblümte Reise durch mentale Käfige, ruhelose Gedanken und schwebende Träume. Das Album präsentiert TALCOs unverkennbare Punk-Ska-Energie mit einer schärferen, introspektiveren Note. Geschrieben von Tomaso De Mattia (Dema), Sänger und Frontmann von TALCO, setzt sich das Album mit den unsichtbaren Strukturen auseinander, die uns in einer von Image und Performance besessenen Welt prägen. Im Zentrum steht die Frage: "Lohnt es sich, den Traum vom offenen Meer aufzugeben, nur um ein von anderen entworfenes Rennen zu gewinnen?" Es ist ein Konzeptalbum, das mit surrealem Storytelling eine statische, dekadente Gesellschaft reflektiert, die unfähig scheint, kulturelle oder politische Risiken einzugehen. Die italienischen Alternative-Ska-Punk-Rocker aus Marghera/Venedig haben sich mit ihrer Kombination aus schnellem Punkrock, Ska-Einflüssen, Blasinstrumenten und italienischer Volksmusik sowie ihren sozialkritischen, oft politischen Texten in ganz Europa einen Namen gemacht. Freek markiert eine Rückkehr zu den Wurzeln des Albums "Gran Galà", angetrieben von der kalifornischen Punk-Energie von "Videogame". Und dies ist erst der Anfang einer Reise, die weit über die Musik hinausgeht. Viele Überraschungen erwarten uns. Ein volles Dutzend Tracks im beliebten Punkchanka-Stil zum Genießen (plus vier weitere (die B-Seiten)), darunter das bereits digital veröffentlichte "Dalla Mia Parte Ella Strada" und die kommende Single "Disco Inferno". Das "Freek"-Konzept wird von einer Geschichte begleitet, die in den offiziellen Videos, den zusätzlich digital veröffentlichten B-Seiten (auch als Bonustracks auf CD erhältlich) und einem Graphic Novel/Comic aufgegriffen und erweitert wird. Das Comicbook ist Bestandteil der limitierten Freek Deluxe Pizzaboxen der beiden Formate. Als LP schwarz, LP farbig, CD mit Bonustracks und limitierte Deluxe Pizzaboxen mit Extras erhältlich.

Double vinyl reissue of Skullflower’s epochal “IIRD GATEKEEPER” album - the first time that this album has been available on vinyl for 30 years. In addition to the original LP this definitive and expanded edition includes extra and unreleased tracks taken from the recording sessions. For the first time all the tracks recorded by the band during this period can be heard together giving fans unprecedented access to material previously only available in the bands’ archives. Recorded in London in 1991 and released in 1992 on Justin “Godflesh” Broadrick’s HeadDirt label in 1992, IIRD GATEKEEPER established a worldwide reputation and following for Skullflower and convinced many who heard it that they had encountered nothing less than the best band on the planet. Arriving at the height of the “grunge” and the expansion of underground guitar “rock” into corporate America, IIRD GATEKEEPER had its roots deep in the UK noise and power-electronics scene. Guitarist Matthew Bower and bassist Anthony Di Franco were both graduates of the Broken Flag school of British noise making with their respective projects PURE, TOTAL and JFK. IIRD GATEKEEPER was Skullflower’s third album and was the first of the band’s albums to feature a consistent line-up throughout its production: Matthew Bower (guitar), Anthony Di Franco on (bass) and Stuart Dennison (drums). Recorded and mixed in four sessions between January and June 1991the tracks on this edition of IIRD GATEKEEPER shows the band’s new line up developing their sound, warping and evolving in real time. As such this edition of IIRD GATEKEEPER provides a unique document of the band in a state of transition, with the chemistry of the individual playing combusting in the studio to create a wave of astonishing creativity. IIRD GATEKEEPER is perhaps the definitive British underground rock album of the 1990’s – unique and never equalled. With this new edition Dirter Promotions allows Skullflower fans old and new to listen to this classic album as it was intended: spark up, crank it up and prepare to have your ears and mind blown

The first release in the Between Dimensions vinyl series, BDREP001 , presents Oi Zé EP by Lipp — a deep and hypnotic journey rooted in minimal grooves, organic percussion, and timeless underground aesthetics.
Crafted for intimate dance floors and extended listening sessions, the EP balances raw rhythmic energy with refined textures, delivering a warm and immersive sound signature that reflects the identity of Between Dimensions.

On the A side, “Atleta Do Ano” and “Oi Zé!” explore stripped-back grooves, subtle melodic movements, and rolling low-end pressure. The B side features a special reinterpretation of “Oi Zé!” by Barac, transforming the original into a deeper and more atmospheric late-night tool.

BDREP001 marks the beginning of the Between Dimensions wax journey — a carefully curated series focused on timeless electronic music, connecting artists from different parts of the world through a shared vision of depth, rhythm, and dance floor storytelling.

Credits
Original Tracks
by Filipe Rodrigues Bezerra
Remix by Nicolae Barac
Mastering by Rob Smalls
Visual art by Steph Gar

After more than a decade shaping dancefloors and curating sound, ROOTS steps into a new chapter with the launch of its vinyl imprint: ROOTS LTD, a platform dedicated to exploring the essence of “the sounds of Roots.”

The inaugural release comes courtesy of Gojnea76, delivering a refined four-track EP built with the dancefloor in mind. Drawing on the spirit of ‘90s tech house and memphis rap, the record blends solid basslines, groovy vocal cuts, and rolling pads into a cohesive and timeless journey.

With his unmistakable signature, Gojnea crafts a debut that feels both nostalgic and forward-thinking, a statement piece to mark the beginning of ROOTS LTD.

“As always the darkest moments of human existence
have a shadow of sheer light

But it’s never to be found while sitting still

even when we want to

It’s to be found in scraping ourselves up and doing . . .

Not overthinking about

Just doing

Just making a permanent mark

Leaving a permanent reminder

for our future selves to revisit and learn from when the times right

If that’s ever comes

So many milestones . . . ?”

Slope114 are Dmitri SFC & Elise Gargalikis, a duo that makes their house music live from home in San Francisco. That lends it a rare musicality and melodic lushness that sit their work right up there with deep house forefathers. This outing starts with the slouchy goodness and endearing bass of 'Dystopian Blues', complete with aloof vocals that exude cool. The dub is even more pillow and smooth than the Mark Ambrose mix that brings a little more roughness to the drums but still locks into a hypnotic vibe. 'Emu 2' is a gentle rhythm with dusty pads and candle-lit chords for when slow-burn subtlety is prized over immediacy. Classy stuff.

A decade into life, Secret Society marks this notable milestone year with a release that stays true to its ethos of depth and groove. Ewan Jansen started producing in the early 90s in Perth, often with the same hardware he used in his live shows. He's back on the label with two driving cuts built squarely for the dancefloor: 'Hydroid' is bright mid-tempo techno with pixelated synth charm, and 'Bodywash' is a deeper, more syrupy sound for late-night cruising. Alongside them sits a more introspective collaboration with Italian producer Luca that trades peak-time punch for texture and restraint. On remix duties, John Dimas adds his trademark crisp momentum and understated flair, a fitting choice given his long-standing connection to the camp.

NYC's Afro-Latin house player Doug Gomez, who was also half of the defunct Drrtyhaz, leans into club weight and musical detail on Signals 3, a confident new drop built on persuasive rhythms. 'The Space Between Us' introduces his vocal production with Fe Malefiz, who has a sultry, stylised tone that drifts between deep house and Afro-soul with great control. 'The Red Room' shifts gears into peak-time territory with a groove shaped by late-night exchanges with DJ Loka. Closing cut 'To Do Good Na Em Dem Pay' widens the palette further, pulling from Afrobeat's restless rhythmic energy and layering in some bold and brassy horns.

A fragile sense of time and memory runs through 'Thrill', the third collaborative album from Yana Pavlova and Pavel Milyakov. Recorded across four years and completed shortly before Pavlova's passing in February 2025, the collection expands the delicate language they introduced on Blue. The 14 scratchy, diaristic pieces move between ambient drift, field recordings and loose jazz inflections where haunted vocals, blurred guitars and faded textures surface then dissolve again. Rather than settling into fixed forms, the music unfolds patiently, revealing quiet emotional weight and space. It makes for a fitting closing chapter and a great document of Pavlova's singular, ethereal voice.

Gary Bartz und das neue Londoner Ensemble Your Brother’s Keeper präsentieren mit "Where Rivers Meet" ein tiefgründiges und intuitives Studioalbum, das die seltene Begegnung zweier Generationen von Jazzmusikern einfängt. Das Album, das pünktlich zum 20-jährigen Jubiläum von Brownswood erscheint, vereint Bartz' Tradition mit der jungen, pulsierenden Szene Londons. Das Ergebnis ist Musik, die sich mit Offenheit und Intensität entfaltet, getragen von tiefem Zuhören und gemeinsamer Improvisation.

Im Zentrum des Projekts steht Bartz, eine der einflussreichsten Vertreter des modernen Jazz. Der Saxophonist, dessen Karriere sich über mehr als fünf Jahrzehnte erstreckt, machte sich einen Namen durch Auftritte mit Charles Mingus, Max Roach und Art Blakey, bevor er sich Miles Davis in dessen elektrisierender Phase der frühen 1970er-Jahre anschloss. Mit seinen gefeierten Aufnahmen mit der NTU Troop wurde er schnell zu einer prägenden Figur des Spiritual Jazz und schuf ein Werk, das Generationen von Musikern und Zuhörern gleichermaßen begeistert. Sein Spiel – lyrisch, tiefgründig und unverkennbar gefühlvoll – zählt nach wie vor zu den markantesten Stimmen des Jazz.

Das Album markiert zudem die Gründung von Your Brother’s Keeper, einem neuen Kollektiv um Schlagzeuger und Produzent Jake Long (Maisha), dessen musikalischer Dialog und die Improvisation tief in der Musik verwurzelt sind. Mit Ali MacSween (Piano, Synthesizer, modulare Effekte), Axel Kaner-Lidstrom (Trompete), Twm Dylan (Kontrabass), Tim Doyle (Percussion) und Chelsea Carmichael (Tenorsaxophon) sowie Long am Schlagzeug spiegelt die Gruppe eine Szene wider, die den Sound des zeitgenössischen Jazz im letzten Jahrzehnt maßgeblich geprägt hat.

Released on Polydor in 1972, He’s Coming captures vibraphonist Roy Ayers at a creative apex, as Ubiquity’s sound settled into the blend of jazz improvisation, funk rhythm, soul harmony, and spiritual import that would define his work throughout the decade. Emerging at the start of the 1970s, the album reflects Ayers’s deepening move toward a groove-centred musical language rooted in soul-jazz and early jazz-funk. The vibraphonist, keyboardist, composer, and bandleader is supported by a core ensemble that includes Harry Whitaker on electric piano, organ, and vocals; John Williams on bass, with Ron Carter featured on ‘We Live in Brooklyn, Baby’; David Lee Jr. and Billy Cobham on drums and percussion; guitarists Sam Brown and Bob Fusco; saxophonist Sonny Fortune; and percussionist Juma Santos. Tracks like ‘He’s a Superstar’, ‘Sweet Butterfly of Love’, and ‘Fire Weaver’ embody the record’s mix of urban narrative, spiritual reflection, and deep rhythmic momentum — qualities that would later make Ayers’s catalogue a source of inspiration for soul, funk, hip-hop, and neo-soul artists.

Snoop Dogg’s 22nd album is a tight, 35-minute project that blends his classic G-Funk style with a more futuristic sound.

Featuring production from Pharrell Williams, Swizz Beatz, and Erick Sermon, it moves between high-energy tracks like

“Step” and smoother moments like “QTSAMYAH” with October London. The album presents a polished, cinematic look at Snoop’s evolution,

reinforced by an accompanying short film, showing his style and influence remain strong in 2026.

Snoop Dogg’s 22nd album is a tight, 35-minute project that blends his classic G-Funk style with a more futuristic sound.

Featuring production from Pharrell Williams, Swizz Beatz, and Erick Sermon, it moves between high-energy tracks like

“Step” and smoother moments like “QTSAMYAH” with October London. The album presents a polished, cinematic look at Snoop’s evolution,

reinforced by an accompanying short film, showing his style and influence remain strong in 2026.

As anticipation for The Rolling Stones’ Foreign Tongues album grows ever more feverish, the legendary band have served up another irresistible preview with the new single ‘Jealous Lover’. It’s the latest fantastic example of the Stones’ effortless ability to switch between styles, as they glide from the pop-rock dynamism of ‘In The Stars’ to this soulful groove featuring a captivating falsetto lead vocal by Mick Jagger.

Eloquent guitar detail by Keith Richards and Ronnie Wood is further enhanced by the redoubtable rhythm section of Darryl Jones on bass and Steve Jordan on drums and percussion, as well as the Stones’ longtime friend Steve Winwood on Rhodes and organ. ‘Jealous Lover’ continues the band’s lifelong love affair with R&B, as Mick delivers a “hands off” message to an over-inquisitive partner with such whip-smart lyrics as “You pray like a mantis, you’re emerald green”

For the first time in decades, The Clash’s iconic track ‘Should I Stay Or Should I Go’ will be released as a 7” single on colour vinyl. With brand new artwork and pressed on sunshine yellow vinyl, this striking product will also feature the full version of ‘Straight to Hell’ on the B-Side for the first time; a nod to the original 1982 7” release which featured an edit of this track. Coming out on June 12th

Leopard DaVinci is the official keyboardist of Dabeull's Band.

“Casual Conversation” pairs Leopard DaVinci’s high-gloss funk production with Moniquea’s signature vocal charisma for an instantly addictive modern funk single. Flirty, confident and groove-heavy, the track balances retro-inspired synth textures with a contemporary boogie pulse, making it a strong fit for editorial playlists centered around funk-forward, danceable and soulful music.
Moniquea already holds a respected position in the global modern funk community, and this release delivers exactly what that audience wants: attitude, melody, replay value and undeniable groove. “Casual Conversation” has crossover potential between dedicated funk listeners, nu-disco audiences and feel-good R&B selectors.

“Flaws” pairs Leopard DaVinci’s signature synth-led funk production with Helena’s fresh and expressive vocal presence for a release that feels both timeless and relevant. Built around a message of self-acceptance and inner strength, the track transforms vulnerability into groove, offering a refined mix of modern funk, boogie and soulful pop energy.
Its lyrical theme makes it especially effective beyond niche funk circles, opening space for playlisting tied not only to groove and retro-funk aesthetics, but also to confidence, empowerment and uplifting mood. “Flaws” is melodic, elegant and emotionally direct — a strong crossover track with both artistic identity and listener accessibility.

Odlazak – the third full-length from multidisciplinary artist and musician Ivan Masic as Ex Ponto – takes its name from the Serbian word for departure. It’s a theme that reverberates throughout the release as the motifs of departure, arrival and the journey between the two are woven into an intimate personal narrative from 1980s Yugoslavia to contemporary suburban Coburg and back. Odzalak feels like a bookend to a decade of concerted, illuminating visits to the place of his birth and a countenance to the departure that long defined his youth.

Alongside Ex Ponto’s signature mix of electronic and organic textures, Masic has interspersed moments of exchange from his homeland. The haunting sound of the gusle — a traditional Serbian instrument played by his ancestors — opens the album, alongside 40-year-old VHS recordings of family members reflecting on life and death. The cover was designed by long-time friend Rick Milovanovic (TRiC), whilst photographs from Masic’s visits to Serbia and Bosnia-Herzegovina by his wife, photographer Sarah Pannell, are featured on the inner sleeve. The release was mastered and partially mixed by Belgrade-based Goran Simonoski (La Plant), a collaboration rooted in shared lineage and a mutual love of the darker edges of the sonic spectrum.

Taking cues from ambient to kosmiche, dub to post punk and everything in between, this is a sonic journey as much as it’s a personal one. Part Balkan Bladerunner soundtrack, part Vini Reilly in wonderland, Odzalak is Ex Ponto’s most pointed and heady release to date, equally at ease in the club and at home.

The Ron Trent Collection Vol. 1 launches the long-awaited return of the legendary Nite Grooves label, revisiting the deep house roots that helped define the sound of New York’s underground scene.

Kicking off the relaunch with house pioneer Ron Trent, this first volume brings together a selection of his productions and aliases from the label, including New African Orchestra, Lost Tymeez and USG.

With deep rhythms, rich percussion and hypnotic grooves, these tracks showcase the musical depth and spiritual house sound that has made Ron Trent one of the genre’s most respected producers.

As the first release in the relaunched Nite Grooves catalogue, this collection offers strong appeal for both deep house DJs and collectors of classic New York house.

A strong opening chapter for the return of Nite Grooves and an essential addition for stores supporting deep and soulful house.

,Rainbow Body" ist das Debütalbum einer außergewöhnlichen musikalischen Zusammenarbeit mit Taylor Goldsmith und Griff Goldsmith (Dawes), Rick Mitarotonda (Goose), Eric Krasno (Lettuce, Soulive), Ross James (Phil Lesh & The Terrapin Family Band) und Adam MacDougall (Chris Robinson Brotherhood, Circles Around the Sun), mit Gastauftritten von Oteil Burbridge (Dead & Company, The Allman Brothers Band) und Nicki Bluhm. Das in Island aufgenommene, selbstbetitelte Album verschmilzt nahtlos Psychedelic Rock, Americana, Soul, Folk und Improvisation zu einem Sound, der sich zugleich zeitlos und abenteuerlich anfühlt. Getragen von Taylor Goldsmiths ausdrucksstarkem Songwriting und bereichert durch die Chemie der versierten Musiker ist ,Rainbow Body" ein facettenreiches Debüt, das den Raum zwischen Americana und Alternative Rock ausfüllt.

More than sixty years after its original recording, a masterpiece that has captivated audiences around the world is reborn on an analog mono pressing with truly powerful sound.

Few drummers shine as brightly in the history of Japanese jazz as Hideo Shiraki, a musician renowned for his exceptional artistry and commanding presence. One of his defining achievements is In FIESTA, originally recorded in 1961. Leading the album is the extraordinary centerpiece "In FIESTA", a miraculous composition and performance that transforms traditional Japanese melodies into supremely cool modal jazz through distinctive arrangements featuring the koto. The excitement continues with the relentlessly thrilling "Just One Or Eight" and the breathtaking "Cherokee," highlighted by an explosive drum solo from Shiraki himself.

The album is further elevated by the outstanding performances of master musicians such as Hidehiko Matsumoto and Yuzuru Sera, whose inspired playing contributes greatly to its enduring appeal. More than six decades later, the music still sounds remarkably innovative, radiating the same sense of passion and excitement that made it so groundbreaking upon its release.

Now celebrated worldwide as a landmark recording, this timeless masterpiece returns on analog mono vinyl. Experience one of the true monuments of Japanese jazz history, presented with all the impact, depth, and immediacy of its powerful original sound.

Mogwai release this new 30-year, career-spanning compilation. As with their debut single ‘Tuner’ in 1996, Happy Tears is being released via the band’s self-owned and run record label Rock Action Records, also celebrating its 30 year anniversary. The album features the physical release of the incredible dream-come-true pairing of Mogwai and Iggy Pop with the single “Underground”. Happy Tears also features highlights from across the band’s discography, including a previous digital only single and a special new re-working of a Mogwai classic, titled ‘Brand New Paths to Helicon 1,’ featuring the Budapest Art Orchestra, and orchestrated by Adam Wiltzie

(A Winged Victory For The Sullen, Stars Of The Lid).



• The DLP features 13 tracks on one artwork matching black and one yellow vinyl.

Mogwai release this new 30-year, career-spanning compilation. As with their debut single ‘Tuner’ in 1996, Happy Tears is being released via the band’s self-owned and run record label Rock Action Records, also celebrating its 30 year anniversary. The album features the physical release of the incredible dream-come-true pairing of Mogwai and Iggy Pop with the single “Underground”. Happy Tears also features highlights from across the band’s discography, including a previous digital only single and a special new re-working of a Mogwai classic, titled ‘Brand New Paths to Helicon 1,’ featuring the Budapest Art Orchestra, and orchestrated by Adam Wiltzie

(A Winged Victory For The Sullen, Stars Of The Lid).



• The DLP features 13 tracks on one artwork matching black and one yellow vinyl.

(180gr) The 1980 solo album by legendary jazz bassist Isao Suzuki, who has earned worldwide acclaim, is set to be repressed in a new heavyweight pure clear vinyl edition! Created entirely by Suzuki himself through extensive multitrack recording, the album layers an extraordinary range of instruments, including double bass, Hammond organ, vocoder, Taisho koto, and erhu, together with his own vocals. Suzuki handled not only the composition and performances, but also the jacket artwork and liner notes, making this an extraordinary one-man album that literally brings together and embodies every aspect of Isao Suzuki.

(180gr) The album recorded in 1981 by internationally acclaimed jazz bassist Isao Suzuki together with his longtime musical partner Tsuyoshi Yamamoto is set to be repressed in a new heavyweight pure clear vinyl edition! Featuring Brazilian rhythms throughout, the album captures a festive and vibrant session with outstanding musicians including Takayuki Kato, Ichiro Doi, and Donald Bailey.

Recorded the year after "Spiritual Nature" (1975), one of the defining works by the great Japanese drummer and percussionist Masahiko Togashi. After becoming paralyzed from the waist down, Togashi developed his own unique playing technique and continued his musical career.

A landmark recording that captures Togashi at the height of his creative powers, "Guild for Human Music" has earned exceptionally high acclaim among collectors of Japanese jazz and spiritual jazz. Fifty years after its original release in November 1976, this classic album is now set to be reissued as the 12th installment of "Spin This Now!"

Released in 1971 by drummer George Otsuka, a leading figure in the Japanese jazz scene, "Sea Breeze" incorporates a wide range of styles, from waltzes and bluesy numbers to more pop-oriented sounds. The fiery performances by a quintet featuring some of the era's most exciting musicians, including Hideo Ichikawa, Takao Uematsu, and Shunzo Ohno, are not to be missed.

hese tunes are really 'Sound System' music for me so i'm glad they'll finally see the light of the day on such a legendary label rooted in releasing sound system music" Von D 2026


A1: Low Octave
B1: Seven Senses
B2: Arkitekts

One of Japan’s most world-renowned female keyboardists, Himiko Kikuchi released "Flying Beagle" in 1987, and this classic album now returns on vinyl. Having collaborated with artists such as Takuro Yoshida and Junko Ohashi, and performed as a member of prestigious bands like Nobuo Hara’s Sharps & Flats and Minoya Central Station, Kikuchi — along with guitarist Masatsugu Matsumoto — became a key figure in Japan’s live fusion scene. From the 1980s onward, she consistently released solo albums, including several recorded overseas, establishing herself as a legend in the crossover and fusion genres.

Featuring Kikuchi (piano, keyboards, synthesizer, organ), Matsumoto (guitar), Akira Okazawa (bass), Naoki Watanabe (bass), Katsuo Okamoto (drums), Yasushi Ichihara (drums), Yuichi Tokashiki (drums), Keiichi Ishibashi (bass), Yoshikazu Kishi (trumpet), Kenji Yoshida (trumpet, flugelhorn), Michio Kaguwada (trombone), Jake H. Concepcion (alto saxophone, flute), Hirofumi Kinjo (tenor saxophone, flute), Masamichi Takano (baritone saxophone), and Yoshinori Nomimi (percussion), the album assembles top-tier musicians — including members from Spectrum, AB’S, Yuji Ohno’s You & The Explosion Band, and Toshiyuki Miyama’s Inner Galaxy Orchestra.

A masterpiece of Japanese fusion, reissued as a 180g heavyweight, limited-edition analog pressing. Originally released on October 21, 1987.

2026 Repress

This release represents the musical union of two friends who, despite the distance, have always found in music the place where they stay close. This EP is the proof that when the connection is real, sound becomes common ground - a space to share moments, ideas, and energy beyond geography.

Both artists have been devoted to physical formats from the very beginning, especially vinyl. They have always been record collectors, and that passion shapes the intention behind this project: a work conceived with the depth, respect, and materiality that only vinyl can convey. This EP is more than music; it is a cultural object that preserves a way of understanding techno.

Creatively, Truncate and Pushmann set out to merge their sonic identities. The result is an EP charged with strength, built for the dancefloor, and defined by a clear aesthetic: raw energy, firm rhythm, and a contemporary reading of hardgroove and jackin. These are intense, direct tracks - the kind that emerge when two visions complement each other effortlessly.

In a scene often driven by speed and overstimulation, this release stands out for its authenticity. It is fast, funky techno, yes, but crafted with soul, intention, and emotional depth. It does not chase trends; it delivers groove, substance, and a recognisable sonic character from the first bar.

Inspired by rave culture and the pure roots of hardgroove, this EP offers a journey that blends functionality, sensitivity, and force. A project that reinforces LILA's philosophy: preserving the essence of techno and supporting those who create it with passion.

Bifu is a new curation project by Pirka that translates the concept of a gentle wind into a refined electronic signature.

Marking the label's inaugural release, Barut crafts an atmospheric, airy landscape where floating textures meet dancefloor weight.

By seamlessly weaving mellow synths and emotive vocals over the organic warmth of swooshing congas and groovy basslines, this debut defines a space where deep house feels entirely natural, refreshing, and moving as a gentle wind.

New 4-track Ep From Austin, Texas Analogue Hardware Enthusiast Bill Converse. Immersed In The Early Days Of The 90s Midwest Rave Scene, Bill Began Djing At A Young Age In Lansing, Michigan. Luminaries Such As Claude Young, Traxx, And Derrick May Were Key Early Influences. Techno, Noise, Ambient And Tape Processing Are All Part Of His Uncanny Sound Palette. His Debut Album 'meditations/industry' Was Released On Cassette In 2013 And Edited For A Vinyl Release On Dark Entries In 2016 Followed By Two 12' Singles 'warehouse Invocation' And '7 Of 9' The Same Year. In 2017 Converse Released His Second Album 'the Shape Of Things To Come' Followed By The Double Ep 'salt Of Mars'.

'hulled' Is A 25 Minute Journey Spread Across 4 Tracks Of Glacial Abandon. All Tracks Were Recorded Directly To Tape With No Overdubs, Made At Converse's Home Studio. Bill Says These Tracks Represent 'ocean Waves In Stormy Conditions, Dark Grey Blue Water, Or More Generally Speaking Something Ominous And Beautiful.' The Songs On This Album Reveal A Sublime Influence From Detroit Techno, Idm, And Acid. Built Around Vintage Synthesizer Lines And Gritty Drum Machine Percussion, The Tracks Ebb And Flow Like The Effect Of Sun Shimmering On Water, Woozy, Gauzy And Ephemeral. All Songs Were Mastered For Vinyl By George Horn At Fantasy Studios In Berkeley.

Each Ep Is Housed In A Die-cute Jacket Designed By Eloise Leigh With Peachy Pink Patterns Landing On An Alien Water Planet And Seeing Mysterious Playing Forms Under The Turquoise Water. Each Copy Includes A Postcard Featuring Photo Of Bill With Notes.

Cat.no.: De 222
Format: Ep

Tracklisting

Turn On The Sunlight is the long-running project of Texas-born, Maui-based musician and producer Jesse Peterson.

Originally formed in New York in the late 2000s, Turn On The Sunlight has evolved into a fluid, location-spanning practice rooted in collaboration, intuition and process. Now based on Maui, Peterson’s work draws together a wide network of musicians and environments, with recordings taking shape across Los Angeles, Tokyo, London, San Miguel de Allende and Haʻikū.

Loosely situated within a framework of organic, ambient-leaning jazz, 'Iseo' unfolds as a series of open, exploratory pieces, with electronics sitting subtly beneath acoustic and environmental elements. Built from layered instrumentation including synthesizers, guitar, zither, flutes, voice and field recordings, Peterson moves between grounded, tactile detail and more expansive, immersive states. A sense of warmth and permeability runs throughout: organic percussion, environmental textures and drifting rhythmic elements lend the record a gently saturated humidity, reflecting Peterson’s base in Hawaii, where the presence of nature is felt as much as it is heard.

Underlying the project is a way of working rooted in gathering, listening and tending. Instruments, ensemble sessions, field recordings and everyday environments are approached with attentiveness, shaped through collecting, refining and allowing things to settle. Relationships, landscape and lived experience shape the sound, giving 'Iseo' a tactile, almost hand-made quality.

Rather than fixed arrangements, the album feels as if it has been organically and lovingly assembled through a process of listening and response, each element finding its place within a wider, evolving whole. This approach reaches a natural centre point in the 15-minute piece 'Medianoche En La Calle Aurora', which unfolds patiently, bending through shifting environments as motifs and textures emerge and dissolve with quiet continuity.

Peterson’s role as both instigator and facilitator is central to the project. Bringing together a diverse group of collaborators including Carlos Niño, Mia Doi Todd, Laraaji, Ko Ishikawa, Luis Pérez Ixoneztli and Miles Spilsbury, he creates space for individual voices to emerge within a shared language. The result is a music defined by openness and generosity.

'Iseo' takes its title from Peterson’s son’s middle name, a word that can be understood to mean ‘one-world life’. The piece itself takes the form of a gentle lullaby, its melody loosely shaped around the syllables of his name and sung to Peterson’s son by Luis Pérez Ixoneztli, a close collaborator whose presence across the record reflects a long-standing relationship that extends beyond the music itself.
Sleeve art and design by Michael Willis.

'Electronic lullabies and folk songs from Ethiopia! A landmark recording from Ethiopia’s vibrant cassette era of the 1980s, Resonance of Time features pioneering composer Wesenyeleh Mebreku reimagining Ethiopian folk melodies through the humble circuitry of an early Casiotone keyboard.
'Historically, the works featured on Resonance of Time (የጊዜ ቃና Yegizie Kana) stand as quiet documents of Ethiopian musical memory. Many of the original songs included in this release emerged during important moments in Ethiopian history when music carried the collective emotion of the nation - love, loss, resistance, dignity, and hope. By arranging these pieces from Ethiopia’s musical heritage instrumentally, Wesenyeleh Mebreku aimed to preserve their essence while protecting them from being confined to a single era or performance style. In doing so, his preservation of Ethiopia’s musical heritage became a contribution to his country’s musical legacy itself, as Resonance of Time serves as an important musical milestone of this composer’s innovative recordings and musical developments in the prolific era of Ethiopia’s 1980s cassette tape culture.
'On Resonance of Time, Wesenyeleh made use of the first Casio electronic keyboard - the Casiotone CT-201 - to arrange and perform Ethiopian folk songs in his own unique style. Implementing the soulful, lo-fi character of the keyboard, Wesenyeleh’s interpretations of these works take on a life of their own. Charming analog tones interpret swirling sounds of organ and piano in kignit modality to the beat of a nostalgic rhythm machine while twinkling synthesizer sounds carry the melodies drifting out of time. The recordings reflect a watershed moment in Ethiopian musical history - when traditional melodies started being interpreted on electronic keyboards, and the advent of cassette tape recording allowed for music to be transmitted more accessibly than centuries-old oral traditions. During this time, Ethiopian musical modes were syncretized with new technology and budding musical experimentation, and Wesenyeleh’s interpretations on Resonance of Time are a landmark recording of this era, following in the tradition of reflecting upon and re-interpreting historical Ethiopian music for a new generation.
'Featured on the release are timeless Amharic folk songs and lullabies, Tigrinya love songs, Gurage and Oromifa popular songs, and even works closely associated with performers from Ethiopia’s 1970s popular music era such as Tiz Alegne Yetintu (ትዝ አለኝ የጥንቱ) which was famously performed by Tilahun Gessesse. Each piece, thoughtfully chosen by Wesenyeleh, is beautifully transformed into instrumental music of his own style - allowing these worlds of song to echo into the future while they are synthesized with the electronic innovations of the 1980s and Wesenyeleh’s own musical history.
'Wesenyeleh says this about his musical approach - ”Instrumental music, for me, is a space of reflection. Without words, the listener is invited to remember, imagine, and feel freely. In Resonance of Time, I hear my own musical philosophy: respect for Ethiopian kignit, careful dialogue with Western harmony, and a deep trust in melody as a storyteller.”
'Each piece performed on Resonance of Time speaks to a time when Ethiopian music was shaped by oral transmission through live performance and communal listening. In today’s fast-moving musical environment, revisiting these works is an act of cultural responsibility. These works remind us that melody once traveled slowly, settling deeply in the listener’s heart. The instrumental format allows these works to cross linguistic and generational boundaries, making them accessible to audiences who may not know the original lyrics but can still feel their spirit.
'Resonance of Time also reflects a broader historical dialogue: the meeting of tradition and adaptation. Ethiopian music has always evolved while holding onto its core identity. These arrangements affirm that evolution does not mean abandonment. Instead, it can be a form of safeguarding - ensuring that the musical wisdom of the past continues to resonate in the present and inspire the future.
'In this sense, the album is both personal and collective. It carries Wesenyeleh Mebreku’s own musical fingerprint, shaped by decades of practice, but it ultimately belongs to a wider cultural continuum. It is the artist’s contribution to keeping time audible so that memory, history, and sound may continue to speak to one another.'

Melody As Truth and Future Days Radio present ‘At the Emerald Pool’, an album by Tomo Katsurada and Jonny Nash.

Netherlands-based artists Tomo Katsurada (Ex-Kikagaku Moyo / Future Days Radio) and Jonny Nash (Melody As Truth) combine forces for an exploration into the sonic potential of the guitar duo, rooted in their experiences performing together over the last 12 months.

Friends and admirers of each other’s work for a decade, their musical collaboration began in 2024 with Katsurada asking Nash to contribute guitar to his debut EP ‘Dream Of The Egg’. Sensing the need to explore this further, they spent the following year performing together in different configurations, with Nash joining Katsurada’s trio and Katsurada in turn playing with Nash as a duo, across a wide spectrum of spaces, from churches and temples to concert halls, theatres and outdoor festivals. With new ideas developing organically out of these performances, recording new material became the next logical step. A short period of three days was set aside with a clear goal: to capture the essence of their fluid, intertwining melodies and guitar playing in a way that felt as direct and unfiltered as possible. Working from a handful of pre-existing sketches, they left ample room for experimentation to unfold within the process.


The results are presented on ‘At The Emerald Pool’, a collection of ten pieces that offer the listener a full immersion into the pair’s sound. With guitar as the primary instrument for both artists, it is no surprise that the core of the album lies here, specifically in the fluid interplay between the two players. Layers of gentle, delay-soaked fingerpicking often make it almost impossible to distinguish where one player ends and the other begins. As soloists, both Katsurada and Nash have a gift for crafting melodic lines that feel open and ascending, expressive and hopeful without becoming saccharine. Longer, more abstract pieces are counterbalanced by a series of shorter songs, with five vocal tracks appearing across the album. The decision to share vocal duties lends the record a unique quality and a strong sense of variation, bringing a wide expressive range out of a deliberately focused musical framework.


‘At The Emerald Pool’ represents the first chapter in an ongoing musical dialogue, an attempt to capture a moment of connection, openness and discovery, laying the foundation for what continues to unfold.