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UK sound system culture stays strong with the heavyweight new 7” release from Vibronics and veteran roots vocalist Tann-I Browne, dropping now on the SCOOPS label. Titled “COLD WORLD”, this is a hard-hitting vocal and dub cut.
A first-time collaboration between these two UK reggae powerhouses, “COLD WORLD” is a potent slice of UK Roots Vocal + Dub, driven by Tann-I Browne’s unmistakably rich and powerful voice and reality-driven lyrics. The production is signature Vibronics: an up-tempo, militant stepper riddim laced with deep bass, crisp percussion, and the unmistakable touches of future dub.
The B-side version strips it down and dubs it out in true Vibronics style—ready for sound system play at full power.
This release is pressed on 7” vinyl and presented in a full-colour printed SCOOPS label sleeve, making it a collector’s item as much as a sound system weapon.

First time reissue of this French cold-wave / minimal-synth treasure.



November 1981 – In the heart of autumn, we set off in two cars along the Nationale 1 (!) to reach Choisy-le-Roi, where a 16-track studio was waiting for us—a place where, over the course of a weekend, we would finally be able to carve our own grooves into vinyl. We were quite nervous, as Guerre Froide had already been around for a year and a half. Our elders in Kas Product had already released two EPs—one with four tracks, the other with three—in 1980, even though they’d started only a few months before us. Admittedly, there wasn’t really a sense of urgency—some of us came from the punk movement, where the prevailing mood was still very much No Future, even if we’d long since stopped believing in it... And yet others had truly lost everything, like those from the generation before us. The reasons, ironically, were often the same: heroin and/or love—hard drugs, in both cases.

Speaking of which, I had a terrible stomach ache—due to nerves or some form of tension—which forced us to make a pit stop in the Oise region so I could rush to the toilet of a local café. That same stomach discomfort would hit me again once we arrived at the studio—whose name, incidentally, I’ve since forgotten...

We had gotten there thanks to the generous initiative of a friend, Sylvain S., known as “Perlin” (what a phonetic coincidence!?), who had specifically created the Stechak Products label to produce our record. Stechak because it was consistent with his earlier association called Tchernoziom, and Products as a plural tribute to the trailblazers from Nancy.

Guerre Froide originally consisted of four members: Fabrice Fruchart on guitar-synth (Korg MS-20), Patrick Mallet on bass, and Gilbert Deffais, known as “Bébert”, on Korg drum machine. At the time, I was already singing in a rock/post-punk band called Stress, and that’s how Guerre Froide picked up the bad habit of rehearsing in the same basement in Amiens as Stress. Within a month or two, we had half a dozen songs. We then had the opportunity to record a 4-track demo with a friend from Radio France Picardie, and to perform in October at a festival held at the Amiens municipal circus. Then came the now-legendary concert on November 11 at B.J.’s Club. After that, we self-produced and released 50 completely DIY copies of a cassette titled Cicatrice. A few concerts later—after Jean-Michel Bailleux had joined us on bass and Patrick had switched to guitar, which felt more natural to him—and with more concrete plans starting to take shape, we had to find a new rehearsal space and start renting a room.

Then came the moment when Fabrice told us he was leaving to go study in Lille... After the June 19, 1981 concert, which was naturally dubbed “Farewell to 2F,” Marie-José, Bébert’s wife, offered to take over on synth.

That’s when Perlin, who was a close friend of the Deffais couple and a great fan of our music, offered to fully finance the production of a 4-track 12-inch EP—covering the studio time, mastering, pressing, and artwork. What up-and-coming band would have turned that down? An improvised contract was signed with each member of Guerre Froide. The first step was choosing which four songs we would record. Berlin 81 was an obvious pick, having already become the group’s flagship track. We wanted to avoid reusing songs from Cicatrice, so the focus shifted to new material—some written before, some after Fabrice’s departure. Ersatz, for example, was his composition, but Mauve and Peine Perdue, which were also selected, were both written by Patrick.

Double LP pressed on transparent neon pink and opaque neon green vinyl Including exclusive unreleased tracks Holographic gatefold sleeve Reversible artwork concept After months of overwhelmingly positive reviews on the game and half a million streams on the digital album, it is finally time to announce the physical release of the original soundtrack for Sorry We're Closed. Akupara Games, à la mode games and Black Screen Records put every effort into the vinyl that lives up to the one-of-a-kind nostalgic, survival horror game with rich lore, deep characters and multiple endings. While players explore unsettling locations in Sorry We're Closed, they're being haunted by the chilling tracks, created by C.Bedford, Okumura, Devix and Catton Arthur. The soundtrack is as diverse as its artists: From the atmospheric and minimalistic electronic pieces by C.Bedford, who involved in the development of the game, to the full-on hip hop tracks by Okumura, Devix is adding a sensible folk track, while Catton Arthur is finally throwing in some heavy guitars to complete this excentric and highly enjoyable mix. For the vinyl release of the Sorry We're Closed soundtrack, the teams of à la mode, Akupara and Black Screen created a package that has its twists and turns. It comes with colourful neon LPs, transparent pink and opaque green, that are housed in a shiny holographic gatefold sleeve that you can turn around to see a second, alternative artwork.

In for the Kill! is the fourth studio album by Welsh rock band Budgie. It was released through MCA Records in May 1974.
The album includes the song "Crash Course in Brain Surgery," originally released in 1971
as a single and was included on their self-titled debut album.
The song was covered by Metallica for their 1987 EP The $5.98 E.P. - Garage Days Re-Revisited,
while the album's title track was covered by Van Halen during the group's club days

Jonathan Sings! is the fourth album by American rock band Jonathan Richman and the Modern Lovers, and was released in 1983. Richman emerges as an incurable romantic on Jonathan Sings!, an infectiously sunny effort which stands among his finest LPs. Recorded after a long layoff with a new Modern Lovers lineup, Richman sounds thoroughly recharge, even extolling the simple virtues of "This Kind of Music"; among his other enthusiasms are kids; "Not Yet Three" and travel; "Give Paris One More Chance", but his primary focus here is romance, "You're the One for Me," "That Summer Feeling" and "Someone to Hold Me" are positively joyous. NME ranked it at number 19 in their "Albums of the Year" list for 1984. Jonathan Sings! is available as a limited edition of 1000 individually numbered copies on purple coloured vinyl.

Never Turn Your Back on a Friend" is the third studio album by Welsh heavy metal band Budgie, released on 18 May 1973.
This was drummer Ray Phillips' final appearance on a Budgie recording to date.
The album shows the band continuing the successful heavy metal formula of their previous album Squawk,
adding a hint of speed metal in the single "Breadfan," one of the band's best known songs.

Phoenician Drive is a six-piece band from Brussels, blending Western rock with traditional Eastern music into a style they describe as Dune Krautrock. Oud, darbuka, and riq meet distorted guitars and pop textures, weaving connections across the Mediterranean. Inspired by East–West fusions from the 1970s (like Erkin Koray and Orient Express) and the German krautrock scene (Neu!, Can, Faust…), their music explores borderless, hypnotic landscapes rooted in both rhythm and experimentation.

Following a debut EP released on EXAG' Records in 2017, the band put out a self-titled LP and collaborated with choreographer Wim Vandekeybus in 2018. In 2019, Phoenician Drive reimagined their sound in an acoustic format, which they toured extensively for two years throughout the post-Covid period.

Between 2021 and 2022, the group returned to electric instrumentation and recorded Glow, an EP released in June 2023 via EXAG' Records. The release was celebrated with a powerful live show at Brasserie Illegaal in Brussels — a performance captured in the live album Live in Brussels '23. The record channels the band’s raw stage energy and deepens their sonic exploration of trance, tension, and Mediterranean melodies.

"New Juke Swing" marks SHONIIA's debut in the Juke/Footwork genre, where he fully embraces the rhythmic freedom that defines the style. Centered around sampling, the release weaves together a rich palette of New Jack Swing, R&B, and soul samples, layered over rapid, broken Chicago rhythms built primarily on the genre's staple drum machines - the RolandR70 and 808 - and spiced with looping vocal phrases.

The album doesn't reject the genre's rules - it plays with them. You'll hear breakbeat elements (MY MUSIC), signature clipping and lo-fi textures (KEEP FREAKY, LOOK AT ME), and even drill influences (HUNG UP AGAIN). The final countdown in DROP ITDOWN LIKE THIS can be read as both a tribute to the cyclical nature of beat-driven music - a core part of the producer's background - and a hint at a possible continuation of the series.

Shortly following a double disk album from Humble B Flat on Pond Life Records, Humble B is launching an edits label. Kicking off proceedings is a dance floor, beauty of a three tracker. Opening with sped, chopped & layered beautiful gnawa track. Moving into a D inspired African cut. On the flip - a pool side cocktail sippin classic, Tell Me, dipping between sun filled sweetness & dark dubby goodness. A very exciting opening release - Vol 1 - for ‘Indigo Reels and Cuts’.

Released in 1996 at the height of Britpop’s cultural takeover, Free Peace Sweet saw Dodgy break into the mainstream with a sun-drenched sound that set them apart from their more angst-ridden peers. Bursting with optimism, melody, and a touch of psychedelic sparkle, the album became the band’s biggest commercial success. Its lead single, "Good Enough", was a bona fide anthem, climbing to No. 4 on the UK Singles Chart—Dodgy’s highest-charting track to date. Follow-ups "In a Room" and "If You're Thinking of Me" also struck a chord with listeners, hitting No. 12 and No. 11, respectively. Even "Found You", the album’s final single, secured a strong No. 19 spot, solidifying the band’s chart credentials. Free Peace Sweet reached No. 7 at the UK Albums Chart and later achieved certified platinum. Dodgy's Free Peace Sweet includes a 4-page booklet.

GAISTER (Olivia Salvadori, Akihide Monna and Coby Sey) release their self-titled LP.

The record captures the embodiment of an encounter, one moment of the trio’s ongoing relationship as artists who communicate with each other through sound, voice and music.
After orbiting in the same circles at each other's shows around 2016 in London, Sey and Salvadori eventually crossed paths. In 2017 Sey joined Salvadori’s artistic collective Tutto Questo Sentire on a residency in Capalbio, the southernmost part of Tuscany, Italy, and started working together. Down the line the pair ended up joining with Akihide Monna (of Bo Ningen), performing together in 2019 at Camden Art Centre on Cork Street in London.

When the trio come together something new is created, brought out after laying dormant, like an Icelandic Geysir. The setting of this particular encounter amongst the trio is essential in the album’s sonic palette, process and emotion. The album was recorded in Iceland at
Greenhouse Studios, where the trio formalised a set of intuitions; how nature can provide a guideline in the choices of the instruments, their materials and related rhythms; reflections on the voice as a sculptural element, pure sound and words.

As Akihide has said of the experience during their short and intense recording period: “The sound spontaneously spun out as if we were pulling at each other's hearts and minds with a strange internal connection and sensation. Something pure was brought out.”

‘Gaister’ itself is a made up word, sprung from the German ‘Geist’ to mean ‘spirit’, and made into a sound of its own. A purity, spirit and essence is pulled from the trio, in spite of their varying mother tongues (Italian, Japanese and English), musical genres and identities to create something new. Olivia Salvadori’s operatic vocals run free, flowing and moving in
synergy with Monna’s rhythmic drumming. Sey sings freely with Salvadori, their voices braided together like a waterfall.

This flowing nature is reflected in the album itself, its timestamps and scores are marked by encounters rather than tracks themselves. This album can be considered as one constant piece and a journey of its own that is not foreclosed, in keeping with the band’s ethos of
constant conversation and collaboration.
As Sey speaks of the trio’s relationship: “Olivia, Monchan and I had performed live together once before, several years before this song and this album came to be… and yet, we fully trust each other’s intuition when performing and creating music together because of our unified belief in the ability of sound and music to communicate and connect.”
credits
releases November 1, 2024

Olivia Salvadori: voice
Akihide Monna: voice, drums, percussions
Coby Sey: voice, percussions, synths, wurlitzer

Recorded at Greenhouse Studios in Reykjavik, Iceland

Recorded and producer: Sandro Mussida
Sound engineer: Francesco Fabris
Studio assistant: Domiziano Maselli and Jakob Vasak

Mixing engineer: Kristian Craig Robinson at Total Refreshment Centre, London, UK

South London singer, songwriter and cultural powerhouse Joy Crookes has today unveiled the news that her worth-the-wait second album Juniper will be released on September 26th ahead of a full UK & EU headline tour.

A stunningly candid and fearless body of work, the album reaffirms Joy as one of the UK’s most vital and original voices. A once-in-a-generation talent, Crookes delivers a record that is both emotionally raw and sonically rich; humorous, heartbreaking and profoundly human.

Following the success of her 2021 debut Skin, which earned BRIT and Mercury Prize nominations, went Top 5 in the UK charts, and drew acclaim from The Guardian, NME and many more, Joy set out to make an album that pushed her further both musically and personally.

Juniper is the result: a project defined by its depth and dynamism.

Written with a stripped-back approach and produced by long-time collaborators including Blue May (Kano, Jorja Smith), Tev’n (Stormzy) and Harvey Grant (Arlo Parks),

Juniper features standout guest appearances from Vince Staples on the incendiary ‘Pass The Salt’ and Kano on the bittersweet confessional ‘Mathematics’.

Crookes describes the record as “more nuanced” than Skin: “With Juniper, every situation is visceral and I’m very much in it. It’s me in the centre of it all.”

The title itself nods to resilience (an evergreen that thrives in harsh conditions) and the album dives deep into themes of body politics, mental health, queer love, anxiety, industry hypocrisy and the ecstasy (and terror) of falling in love.
Lead singles like ‘Pass The Salt’ and ‘I Know You’d Kill’ showcase Crookes’ lyrical agility – blending poetic detail with razor-sharp wit. Meanwhile, the euro-pop inspired ‘First Last Dance’ channels euphoric melodies to mask deep emotional struggle, and the cinematic ‘Perfect Crime’ sees Joy fully self-actualise in the style of a Western showdown.

On ‘Paris’, the closing track, Joy reflects on a formative queer relationship: “Something I feared so much finally, actually felt like love.” It’s a sentiment echoed across Juniper – a record that captures the beauty and brutality of emotional openness.

The album arrives after a period of personal upheaval for Crookes, including a mental health crisis that shadowed the album’s creation. “I was in the trenches,” she says. “But the studio became my solace. What you hear is live and direct from that time.” Despite the darkness, Juniper radiates warmth, levity, and life, powered by Crookes’ ever-restless creativity and artistic excellence. Ahead of her performance this weekend at BBC Radio 1’s Big Weekend event in Liverpool, followed by a slot at Glastonbury, Joy is pleased to announce a full UK & EU headline tour for the backend of the year.

In celebration of Juniper's release, Joy will head out to all major cities including Dublin, Manchester, Bristol and London where she’ll play the much coveted 02 Academy Brixton for the first time. See below for full routing and ticket info.

Multi-BRIT Award and Mercury Prize nominee Olivia Dean announces her highly-anticipated second album, The Art of Loving, arriving on 26thSeptember via Capitol Records.

The Art of Loving is a tender, intentional deep dive into the many dimensions of love – romantic, platonic, self, and everything in between. The album will feature Olivia’s recently released single, ‘Nice To Each Other’.

Berlin based producer and trombonist Youarei (Uri Selinger) and producer/instrumentalist Wandara (Idan Amos) team up on this increasingly unmissable label's third release, a slow motion dark disco affair that rumbles like stormy skies, complete with eerie pitched down vocals giving it a truly chilling edge. Flip it over and you'll find 'Mangal Remangaled', the remix from Ma Ze regulars UV & Nenor, adding more hypnotic chug to its atmosphere and some 'live voodoo drums' without compromising an inch of the original's spooky charm/menace. Bad juju, but of the very best kind.

Die Berliner Künstlerin Rosa Anschütz, bekannt für ihre fesselnde Gesangsarbeit im elektronischen Underground, veröffentlicht ihr neues Album "Sabbatical" auf dem Kultlabel Heartworm Press. "Sabbatical" ist ihr erster internationaler Release außerhalb Deutschlands und ein ambitioniertes 14-Track-Statement, an dessen Entstehung über ein Jahrzehnt gearbeitet wurde – ein Album von eindringlichem Minimalismus und visionärer Tiefe. Anschütz tauscht pulsierende Clubbeats gegen eine rohe, filmische Intimität und kanalisiert die geisterhafte Schönheit von Cat Power aus der "Moon Pix"-Ära, die Mystik von Nico und die experimentelle Klarheit von Björk und Dead Can Dance. Das reduzierte Arrangement stellt Anschütz’ fesselnde Stimme in den Vordergrund und trägt Texte, die sowohl prophetisch als auch persönlich wirken. Mit "Sabbatical" erweist sich Rosa Anschütz als eine der überzeugendsten Avantgarde-Stimmen ihrer Generation – eine Künstlerin, die sich nicht scheut, Genres, Geografien oder Erwartungen zu dekonstruieren. Das Album ist eine mutige Neuerfindung und ein Beweis für die Geduld und Präzision einer einzigartigen kreativen Vision.

Superstar Silvestre strikes strong on Studio Barnhus, bringing moronic dance music and stupendously haunting
ambient ditties to the forefront once again, following his highly reputable It's 2024!! EP, released in 2024.
On his most expansive and accomplished work yet, tensions between Silvestre’s many expressions – bass-faced rave maker,
hazy lo-fi crooner, absurdist beat poet, etc. – reach catastrophic levels, resulting in an album that shimmers and convulses
with both inviting warmth and that rare, essential hint of danger at the core of club music's spirit.
There's just never a dull moment with this Silvestre guy, whether he's out blessing club crowds with electroid techno sets or
effortlessly delivering instant classic albums like this one. Delivered via 16 digital tracks and/or cassette tape designed by
Stefan Fält, Silvestre’s Fantasma arrives on Studio Barnhus on Sept 26

NILS FRAHM and F.S.BLUMM have confirmed the release of their fifth collaborative album, Handling. Containing three tracks but 40 minutes long, it finds the duo advancing from 2021’s dub-influenced 2X1=4, deploying its lessons in ambitious new territory that also nods to earlier collections. Recorded at his studio in Berlin’s Funkhaus, the album will be released by LEITER on vinyl and via all digital platforms on September 19, 2025.

Handling’s three exquisitely detailed pieces are each entitled ‘Leuchter,’ German for ‘candlestick,’ encapsulating the LP’s luminescent glow and rising inner energy. Its scrupulous arrangements exploit a magic cabinet of instruments, among them pianos, celestas and cristal baschets, glockenspiels, guitars and multiple forms of percussion. Their painstakingly engineered improvisations were equally meticulously reassembled in a series of intense editing sessions.

That the duo’s collaboration is built on a friendship and mutual admiration dating back to the early 2000s enables an unusual level of trust, despite both operating in their own distinct manner. “It’s not Frank, it’s not Nils,” they reflect. “We’ve become a new persona.” Handling blends Blumm’s organic chaos with Frahm’s structured intuition, offering a distinct and luminous experience that doesn’t just sound different, but feels like its own evolving world.

Essential Liverpool psychedelic folk collective mapping their territory with a record rooted in place and memory.
For fans of: CSNY, Tim Buckley, Talk Talk, The Byrds, Sufjan Stevens and Love.
Like Tame Impala doing Nick Drake covers.
Professor Yaffle have created their most focused and expansive work yet. Following acclaimed previous releases, ‘Everyone Wants to Dream’ finds the band at their creative peak.
The album turns on Everton Brow - an unremarkable Liverpool hill offering the city's finest view. Rogers returns to this vantage point throughout eight tracks, using it as both setting and metaphor for looking back on life without nostalgia. From here, you can see the Mersey stretch toward Snowdonia, the city spread below like a living map.
'Lost in a Dream (On Everton Brow)' weaves Lee Roger’s lyrics as an eighteen-year-old lyrics with newly composed music. 'Everyone Wants to Dream' confronts the disorientation when your children grow and your role shifts. 'On Top of the World' becomes what Rogers calls 'a stoned love letter to Liverpool'.
This is Professor Yaffle's first release with Violette Records, marking the beginning of a partnership between two Liverpool entities who've circled each other for years before finding their moment.
Featuring a 1979 Karl Hughes photograph of a policeman surveying Liverpool from Everton Brow, capturing something essential about the record: that those who maintain order might dream the biggest dreams of all.
"Songs that speak clearly about things that are difficult to articulate - the changing nature of purpose, the ways we dream our fears away, the view from unremarkable hills."
Because sometimes you need to be above it all to see what's been right in front of you.

Two Seminal albums from cult Ghanaian musician Alhaji K. Frimpong and his group the Cubano Fiestas, recorded in 1976 and 1977 respectively and considered to be some of the best highlife albums ever recorded, at the pinnacle of West African musical tradition and innovation.

Both originally self titled, they have become known by the colour of the covers - Blue and Black respectively. The Blue Album brings new arrangements to traditional Ghanaian melodies and features the masterpiece Kyenkyen Bi Adi M’awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more. The Black Album expands the electronic elements and features the equally visionary Hwehwe Mu Na Yi Wo Mpena, although the real gem is hiding on the B side: the extended groove of “Adam Nana”. Sinuously evolving guitar lines, clavinet vamps, harmonised vocal snatches and otherworldly percussion expand and contract over a full quarter of an hour - a Ghanaian repost to the Afro Jazz experiments going on at the same time on the other side of the Atlantic. Although popular in Ghana at the time of the release, the albums were never distributed internationally and original copies of the album are extremely rare.

The albums got a limited reissue in 2011 and have been unavailable since - even reissue copies sell for high prices on the second hand market

Moody McIvor and Nerang Recordings proudly present the launch of a new sublabel, Ronnie’s Records, created to explore raw, emotive, and immersive sonic worlds. The first release, Shadow Frequencies, is a deeply personal body of work developed over four years by Christopher McIvor
(Moody McIvor), with production support from Felipe Bortoloti. This album blends ethereal soundscapes with pulsating rhythms, weaving together electronic textures and organic depth in a journey that feels both intimate and expansive.
Shadow Frequencies is dedicated to the memory of Benaiah Fiu, a close friend who passed in January 2024.

Every track serves as a tribute to love, loss, and memory— channeling deep storytelling through haunting melodies, evocative vocals, and emotionally rich atmospheres

Black Truffle is pleased to announce Melopea, presenting two new pieces highlighting the incredible voice of Amelia Cuni (1958-2024), the great Italian singer, based in Berlin in later life, whose mastery of the classical Indian dhrupad developed in parallel with a commitment to contemporary experimental approaches. After two stunning archival releases documenting traditional dhrupad performances in India in the 1990s (BT079 and BT092), the two side-long pieces here embody the freedom with which Cuni explored new contexts and settings for her singing.

Both make use of a long recording of Cuni singing the pentatonic Raag Bhoop (or Bhopali) made in 2012 by her partner Werner Durand in Berlin. ‘Melopea’ began from Cuni and Durand’s superimposition of this recording with violinist Silvia Tarozzi and cellist Deborah Walker’s performance of Éliane Radigue’s ‘Occam River II’. Inspired by the beauty of this chance encounter (and other experiments with non-synchronous collaboration during the pandemic years), Tarozzi and Walker recorded independently, without hearing Cuni’s voice but ‘having her present in memory’. Tarozzi and Walker’s bowed strings places Cuni’s magisterial performance in a new context, emphasising, as Radigue commented upon hearing the initial layering of her piece with Cuni’s voice, a shared ‘searching toward the partials, overtones, these natural constituents of acoustical sounds in their richness’. Beginning with whispered bowed harmonics, the violin and cello swap the stability of dhrupad’s traditional tanpura drone for a slowly evolving, uneasy web of harmonic interactions recalling some of Harley Gaber’s work, sometimes sitting on dissonances for long periods or allowing changing interference patterns to come to the fore. Primarily focusing on her lower register, Cuni’s performance demonstrates her mastery of microtonal pitch subtleties, elegant sweeping glissandi and meditatively unhurried pacing.

The continuation of the same recording by Cuni forms the foundation of ‘Bhoop-Murchana’, with Anthea Caddy on cello and Werner Durand on soprano saxophone. In contrast to the randomised layering of the first piece, here Durand and Caddy have carefully selected pitches based on the raag Cuni sings, using the ‘Murchana’ form, which uses the constituent notes of the raag as tonics of new raags, retaining the same interval structure. Both players who have developed tones of striking depth and harmonic purity on their instruments, Caddy and Durand’s patient long tones are simultaneously rigorously grounded in the physical properties of sound and possessed of an immaterial, floating quality. Combined with Cuni’s voice and, near the piece’s end, her contributions on hammered and plucked tanpura, the effect borders on miraculous. To surrender to this music is like slipping into an onsen pool, feeling the instantaneous release of every tension. Accompanied by liner notes from Durand, Tarozzi and Walker, Melopea is both a moving tribute to the profound art of Amelia Cuni and, for the uninitiated, a perfect introduction to it.

The Rachel's band began when Jason Noble joined forces with Christian Frederickson. Within months of their meeting on a crowded trolley, they had formed a small ensemble to perform original compositions. In the next three years, madness ensued. Christian finished his degree at the Peabody Conserva-tory of Music, traveled to Switzerland to study, returned home, then wound up in NYC to attend the Julliard School. Jason didn't finish his degree, moved back to Louisville, began employment as an artist by day, dishwasher by night, and be-gan working with friends in a band that would become Rodan. This insane, all over the world life-style, led to a barrage of telephone, demo tape, notepaper, sheet music & mail communication. This, combined with sporadic two-week or two-day person-to-person collaborations in whatever city was central enough, became the bizarre process of the music. During this long gestation, Rachel Grimes became involved, first assisting Jason in his brute comprehension of written music, then joining as a pianist & confidant. Soon she was fully entrenched, providing the strange coincidence of possessing the name "Rachel," and an incredible backbone to the project. Several recordings had been finished, some in the studio, hundreds of 8-track cassettes, a few jambox cuts, but the time for a concentrated attempt at an LP seemed far away. Finally, Rachel, Christian, & Jason began assembling musicians who they respected; John, Mark and Barry from the Chicago supergroup The Coctails, Kevin Coul-tas from Rodan, Bob Weston, and several other string players from various walks of life. The result was a group of semi-vagrants, some reading from sheet music, some rambunctious noisemakers, working from an equally improvisational and tight-assed way. The real character comes from the musicians involved, participating in what can only be called a "labor of love." Handwriting, the band's debut album, was originally released by Quarterstick Records in 1995. Jacket custom screen-printed by Jeff Mueller at Dexterity Press.

Following the success of the first season’s release, the official soundtrack to Vikings Season 2 returns to vinyl with another immersive chapter in the saga. Composed by Emmy Award-winner Trevor Morris (The Tudors, The Borgias, Dragon Age: Inquisition), this score continues to build the series' signature atmosphere. From pulse-pounding battle themes to introspective, ambient textures, the music reflects the growing scale and complexity of Ragnar's world as alliances shift and empires collide. For this second season of Vikings, Trevor Morris collaborated with Einar Selvik from the band Wardruna. The soundtrack features original music by Einar as well as co-compositions together with Trevor. Vikings (Music From Season Two) is available as a limited edition of 750 numbered copies on red coloured vinyl. This 2LP package includes a 4-page booklet with pictures and liner notes by Trevor Morris.

“Tunggak Semi” is the third album from Indonesian musician and producer Bambang Pranoto. Originally released in 2000, it’s an exemplary slice of what has become his signature style, a dream-like meditation on aspects of nature, combining elements of accordion, acoustic guitar, flute and percussion. The compositions cross eastern and western notation to inhabit a world of their own, a world between worlds, where harmonies reflect the beauty and joy of nature.

Bambang had a rather atypical entry into music, and studied electronics and telecommunications, before he took advantage of the wave of computer software like Cubase and Protools in the 1990s that enabled him to set about recording his own compositions and soundscapes. After playing in groups, he developed his own approach to constructing his productions. He invites musicians to record interpretations of his themes, which he then pieces together in Protools like a jigsaw puzzle. “The musicians have never even met!” he chuckled on a Skype call.

“Tunggak Semi” refers to the giant trees that appear all over Bali, and their process of renewal and regeneration. “If you cut the tree, and leave the roots, they will grow again. Everytime we cut, they grow again. It’s limitless. This philosophy means there’s always something new coming, whether an idea or music, anything.” This approach has grown out of Bambang’s studies into meditation, including Indian and Chinese scriptures, also Balinese and Indonesian religions. Music, like meditation, is a daily practice, and acceptance of the music and its ‘unfinishedness’, forms a central part of the process.

“We must not just think, but we must also feel, and we must accept that feeling,” explains Bambang, and that’s a step of opening one’s mind to possibility. It seems in keeping with two of Bambang’s musical inspirations, namely Ryuichi Sakamoto and Peter Gabriel, both known for their love of world folk music, and fusion of musical traditions. That’s mirrored in Bambang’s own collage-like approach, recording elements and piecing them together to make something unimagined. While the acoustic sound palette for “Tunggak Semi” is rooted in live recordings, Bambang is not afraid to put the digital technology to good use.

“We have to use the computer as a tool in the best way we can,” Bambang says. “Sometimes people say music is made by people, not by the computer, but it’s just another piece of equipment. What can we compose from this equipment? It’s technology music!”

Written and produced by Bambang Pranoto at interactive garden studio, Depok, Bogor between September and December 2001. 2025 version remastered by Wouter Brandenburg at Brandenburg Mastering.

Pizzicato Five Tribute Album “The Only Way to Oppose War: Songs and Words of Pizzicato Five”Reggae Disco Rockers’ Cover of “Such A Beautiful Girl
Like You” Released on 7” Vinyl!

Immerse yourself in the soothing riddim of Reggae Disco Rockers’ exquisite lovers rock rendition.
This track blends tender feelings of first love with a bittersweet charm, wrapped in a gentle sound and melody that feels like whispered words of love on
a tropical beach.

With soft guitar chops and a deep bassline, the Japanese lyrics are simple yet nostalgic, resonating deeply with the listener. True to its title, “Such A Beautiful
Girl Like You” expresses heartfelt emotions directly, evoking memories of each listener’s own “you”a gem of a love song that gently embraces the heart.

Hard Rock mit Haltung - SURRENDER THE CROWN melden sich mit Album Nr. 5 zurück!Mit TRAVAILS veröffentlicht die saarländische Hard-Rock-Formation SURRENDER THE CROWN am 19.09.2025 ihr fünftes Studioalbum. Die Band hat sich mit kraftvollem Modern Rock, emotionaler Tiefe und starker Bühnenpräsenz einen festen Platz in der deutschen Rocklandschaft erspielt. Nun präsentieren sie 12 neue Songs - druckvoll produziert, musikalisch gereift und thematisch tiefgründig.________________________________________Albumkonzept - Zwischen Dunkelheit und HoffnungDer Titel Travails (frz./engl. für Mühen, Plagen) ist Programm: Das Album thematisiert die dunklen Phasen im Leben - Ängste, Zweifel, Verluste - und wie wir ihnen begegnen. Der Titelsong umreißt die Botschaft des Albums klar: Wir entscheiden, ob uns das Leben bricht - oder ob wir daran wachsen. Travails ist ein Album, das nichts beschönigt, aber umso mehr ermutigt.________________________________________Singles & Pre-Order:• 18.07.2025 - Erste digitale Single "Toe The Line" veröffentlicht (Spotify, Apple Music, etc.)• 08.08.2025 - Zweite digitale Single + offizieller Pre-Order-Start für alle Formate________________________________________Highlight für Sammler: Colored Doppel-LPTravails erscheint in einer hochwertigen Gatefold-Colored-Doppel-LP. Exklusiv für den Fachhandel und echte Fans - ein Must-have für Sammler und Vinyl-Liebhaber.________________________________________Begleitend zum Release setzen wir auf umfassende Promo-Aktivitäten:- Print & Online-Pressearbeit (Fach- & Musikmedien)- Gezielte Social-Media-Kampagnen mit Fokus auf Rock- & Metal-Zielgruppen- Content-Promotion über Instagram, Facebook & YouTube________________________________________Für Fans von: Shinedown, Alter Bridge, Breaking Benjamin, Staind, Nickelback (früh)

A favourite selector for many within the underground, UK-born, Ibiza-based Miller has built a reputation for his hypnotic, low-end-led productions and seamless ability to weave obscure rhythmic patterns into immersive DJ sets. Founder of the Real Gang collective, he honed his craft as a resident at Ibiza institutions The Zoo Project and Ibiza Underground, where his dynamic, vinyl-focused style earned him recognition as a key player in the island’s grassroots scene. This natural progression has since led to the launch of Tomodachi, his new club, an intimate space that refl ects his artistic ethos and evolving infl uence on the island.

Harley Maxwell, meanwhile, brings a raw energy to the project, blending his sharp vocal delivery and lyrical edge with Miller’s meticulous production style. Their collaborative debut at fabric, during Miller’s all-night set, showcased a shared ability to push conventional boundaries, as they provided a fi rst glimpse into the music that would in turn become ‘Caviar’.

The EP opens with the title cut, a stripped-back yet infectious roller that glides between deep basslines, textured percussion, and subtle melodic fl ourishes. ‘How It Runs’ follows with its sharp drum work, zippy synths, and a playful groove built for the dancefl oor. Rounding off the release, the vinyl-only ‘Dreaming Experience’ sees Miller step out solo as he delves into deeper territories with hazy atmospherics, creating a tripped-out late-night journey. Arriving at a pivotal moment for both artists, their ‘Caviar’ EP signals a bold debut on FUSE – a label celebrated for its commitment to forward-thinking club music.

A truly unique voice, Giggs’ combination of slow flow, dark lyrics, a well-documented past and explosive street sales saw him hailed as one of the most exciting voices in British rap. He first burst onto the scene in 2008 with his debut ‘Talkin The Hardest’ a freestyle which has become one of British rap’s biggest anthems (over 12M views at YouTube). Giggs’ sold tens of thousands of copies of his mixtapes on his own SN1 (Spare No 1) label and won 2008’s BET Award for Best British Hip Hop Act before signing to XL Recordings for his iconic debut proper, ‘Let Em Ave It’ in 2010. 15 years on the album gets its first ever release on vinyl, featuring bonus tracks from the era that originally appeared as singles, including ‘Talking The Hardest’ and ‘Slow Songs’ featuring The Streets’ Mike Skinner.





















[s] D1: Don’t Go There (feat. B.O.B) [Bonus]
[t] D2: Talking The Hardest [Bonus]
[u] D3: Blow Em Away (feat. Shola Ama) [Bonus]
[v] D4: Slow Songs (feat. Mike Skinner) [Bonus]

The 1st clash of the necks from polymath guitarists MacKay & Walker, taped live at Chicago"s own Whistler bar for release on the Whistler label. Reissued by us "cause of these dudes" uncanny alchemy and their constant, ever-melding flow. It"s an imperative: there"s not enough records around with such intense properties! Coincidentally, it came out 10 years ago. Big deal! We"d have done it when it was only 9 years old too - we just got busy, okay?

Two Seminal albums from cult Ghanaian musician Alhaji K. Frimpong and his group the Cubano Fiestas, recorded in 1976 and 1977 respectively and considered to be some of the best highlife albums ever recorded, at the pinnacle of West African musical tradition and innovation. Both originally self titled, they have become known by the colour of the covers - Blue and Black respectively. The Blue Album brings new arrangements to traditional Ghanaian melodies and features the masterpiece Kyenkyen Bi Adi M"awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more. The Black Album expands the electronic elements and features the equally visionary Hwehwe Mu Na Yi Wo Mpena, although the real gem is hiding on the B side: the extended groove of "Adam Nana". Sinuously evolving guitar lines, clavinet vamps, harmonised vocal snatches and otherworldly percussion expand and contract over a full quarter of an hour - a Ghanaian repost to the Afro Jazz experiments going on at the same time on the other side of the Atlantic. Although popular in Ghana at the time of the release, the albums were never distributed internationally and original copies of the album are extremely rare. The albums got a limited reissue in 2011 and have been unavailable since - even reissue copies sell for high prices on the second hand market.

West coast writer / producer George Semper recorded four sides on the Sherilles − a group led by Vessie Simmons, who had been lead singer for the Ribbons in the early 60s. She would go on to have a prolific solo career in the 70s, right through to the 90s. Ace sleuth Alec Palao found four Semper-produced sides on two DCT acetates and we licensed the rights from the Semper family.

These fully realised recordings are from 1968 when the group had to swiftly change their name from the attempted one of the Shirelles − which they had hoped to get away with, and presumably cash in on that outfit’s fame. A court injunction put paid to that plan and though the name change was only slight, it was never tested in court, as the tracks were never issued. ‘Nobody’s Gonna Love You’ is an excellent George Semper song and judging by the 100 Club’s audience reaction to recent plays will become a staple of forward-thinking club’s playlists.

‘Make It On My Own’ is in the same groove and not far short of the A side. Vessie would re-write and re- record it in 1975 as ‘I Can Make It On My Own’ for a solo release on her Simco label.

RELEASE INFO: Robert Plant's "Saving Grace", sein erstes Album mit einer neuen, hochkarätig besetzten Band, ist, wie er es nennt, "ein Liederbuch der Verlorenen und Gefundenen". Es entstand während der Lockdowns in „The Shire“, als Plants übliches Umherwandern fast verboten war. Auf dem englischen Land fand er engen Kontakt zu einer Gruppe von Musikern - der Sängerin Suzi Dian, dem Schlagzeuger Oli Jefferson, dem Gitarristen Tony Kelsey, dem Banjo- und Streicherspieler Matt Worley und dem Cellisten Barney Morse-Brown -, die alle eine gemeinsame Vorliebe für seine stimmungsvollen Lieder hatten. Saving Grace wurde von Plant und der Band produziert und über sechs Jahre hinweg in den Cotswolds und an den walisischen Grenzen aufgenommen. Das Album haucht einem Schatz von Songs von Memphis Minnie, Bob Mosley (Moby Grape), Blind Willie Johnson, The Low Anthem, Martha Scanlan, Sarah Siskind und Low neues Leben ein. MARKETING: Umfassende Marketingkampagne mit Print-Anzeigen in MINT, Classic Rock, ROCKS, Slam Magazine und GoodTimes. Begleitend Digitalmarketing mit Fokus auf Onlineversandhändler.

RELEASE INFO: „Altar“ auf 12-Zoll-Vinyl aus recyceltem schwarzem Vinyl mit bedruckter Innenhülle. „Altar“ ist das zweite Album von „Irlands nächster großer Gitarrenband“ und das dritte Album ihrer produktiven Frontfrau Julie Dawson in weniger als zwei Jahren. Es ist ein grungiger Alternative-Rock-Klassiker der Zukunft, der zwischen wütenden Hymnen auf der einen Seite und düster-intimen, melancholischen Selbstreflexionen auf der anderen Seite hin- und herpendelt. Mit ihrem gefeierten Debütalbum „Madra“ haben sie sich eine treue Fangemeinde aufgebaut, und wenn sie gut genug für den Godfather of Goth sind, sind sie auch gut genug für dich... „Ich mochte das NewDad-Album, das habe ich lange Zeit in meinem Auto gehört“ (Robert Smith). MARKETING Umfassende Marketingkampagne mit Fokus auf Digitalmarketing. DE-Shows in Hamburg und Berlin Anfang Oktober.

Some of Desmond Dekker’s most well-known songs are featured on the compilation album “The King of Ska”, which highlights his enormous impact on ska and reggae music.
Dekker's musical range and ability to combine lively rhythms with moving social critique are perfectly captured in these songs. In addition to being commercially successful, songs like "Israelites" and "007 (Shanty Town)" were crucial in introducing Jamaican music to a global audience.

Released on 180 gram Purple Transparent vinyl + insert with sleeve notes.

Nobody 2 is the sequel to the 2021 action-packed blockbuster film starring Bob Odenkirk, Connie Nielsen, Christopher Lloyd and Colin Hanks. amongst others The soundtrack for the film was composed by Emmy-nominated filmcomposer Dominic Lewis (Bullet Train, The King's Man, Karate Kid: Legends) and features two cover songs. The first one is a cover by José James of the classic 1962 song "The Good Life". The song was originally sung in French by Sacha Distel, but became more popular when released in English by Tony Bennett. The other cover is performed by American rock musician Des Rocs of "Ring of Fire", written by June Carter and Merle Kilgore and popularized by Johnny Cash. Nobody 2 is available as a limited edition on turquoise coloured vinyl and includes an insert.

Released in 2015, Get To Heaven is the third studio album by British art-rock band Everything Everything. The album blends elements of indie rock, electronic, and experimental pop, showcasing the band's signature complex rhythms, sharp lyricism, and dynamic vocal performances by frontman Jonathan Higgs.Featuring standout tracks like "Distant Past", "Regret", and "No Reptiles", the album explores themes of political unrest, media influence, and societal anxiety, wrapped in vibrant, high-energy production. Get To Heaven received widespread critical acclaim for its bold sound and thought-provoking lyrics, solidifying Everything Everything as one of the most innovative bands of the 2010s.With its infectious hooks, intricate instrumentation, and emotionally charged songwriting, Get to Heaven remains a defining album in modern alternative music, appealing to fans of intelligent, genre-blending rock.This much sought-after cult classic is now reissued on 1LP for the first time in a decade. Get To Heaven is available as a limited edition on translucent magenta coloured vinyl.

Originally released in 2023. Combining the mutant funk-punk looping of Battles and Tortoise with a cinematic wall of sound akin to that of post-rock titans Russian Circles, NYOS continue to contrast their outstanding compositional complexity with live improvisations. First explored on the 2022 LP `Celebration', this newfound call and response creative freedom on `Waterfall Cave Fantasy, Forever' sees NYOS reach new heights of playful chaos and uninhibited, soaring joy. Already renowned for their inimitable control over layers of looped guitars and polyrhythmic percussion, `Waterfall Cave Fantasy, Forever' sees Brooke and Kainulainen contrast their formidable precision with the chaotic potential of free-jazz inspired, call and response improvisation. Not only is this one-take compositional approach further testament to the astounding musical bond the friends share, it represents an exciting new chapter in NYOS' sonic evolution that can be felt on this record as much as it can be heard.

Originally released in 2023. Combining the mutant funk-punk looping of Battles and Tortoise with a cinematic wall of sound akin to that of post-rock titans Russian Circles, NYOS continue to contrast their outstanding compositional complexity with live improvisations. First explored on the 2022 LP `Celebration', this newfound call and response creative freedom on `Waterfall Cave Fantasy, Forever' sees NYOS reach new heights of playful chaos and uninhibited, soaring joy. Already renowned for their inimitable control over layers of looped guitars and polyrhythmic percussion, `Waterfall Cave Fantasy, Forever' sees Brooke and Kainulainen contrast their formidable precision with the chaotic potential of free-jazz inspired, call and response improvisation. Not only is this one-take compositional approach further testament to the astounding musical bond the friends share, it represents an exciting new chapter in NYOS' sonic evolution that can be felt on this record as much as it can be heard.

The title of Tom Skinner"s first release (2022) under his own name is a reference to cellist Abdul Wadud"s ultra-rare 1978 solo album By Myself, which Skinner listened to repeatedly during lockdown. Wadud"s album was privately pressed on his own label, Bisharra, and whilst Skinner"s title uses the more conventional spelling of this common Arabic name, they both have the same intention or meaning: it translates as "good news", or "the bringer of good news". The result is a tight, hypnotic and unique 31-minutes of music. Voices of Bishara is sculpted around timeless and deeply emotional music that contains masses of movement and exceptional harmonic depth and texture. It sweeps and soars through soundworlds, rich in musicality and always anchored by the deep doubling of cello and bass. It also, of course, contains Skinner"s percussive magic.

"Alternative rock band Kanadia have announced their third album The Fire That’s Tearing Through Our Home for release on September 26th.
The album showcases an abundance of dreamlike rich soundscapes, massive hooks, and haunting melodies throughout its expansive 50-minute journey examining the fragility and beauty of human emotion.
The Fire That’s Tearing Through Our Home has been recorded at Evolution Recording Studios in their Oxford hometown, produced by Willie J. Healey guitarist Chris Barker and mixed by Tom Leach (Lewis Capaldi, Pa Salieu, Spiritualized) at Snap Studios, London. Kanadia have recently treated audiences to songs from the forthcoming album live on their recent UK tour with Black Foxxes. They now have a hometown album launch show announced at O2 Academy Oxford on September 5th with more live dates to follow soon"